A festival without an audience is sad enough. But what does a youth encounter with filmmakers like “Berlinale Talents” do if they are not allowed to meet? Unlike the Film Festival, where the funding initiative has carried hundreds of talented films to Berlin for 18 years, there will be no diversity in attendance in the summer. It’ll only take place this week, by default. After all: 13 public events.
Joseph S. Brundle how deep this slit is in the shape that aims to connect the participants. The production designer was there in 2014 as a “talent” and remembers what it was all about: “getting to know people and have a drink together until the wee hours of the morning – all that will be gone this time,” he says -39.
Brandle will be there again this year. Organizers believe: If young movie fans are only allowed to meet in the virtual room, at least we’ll take a look. To this end, talent heads have turned to those who ensure the imagined world becomes reality in film: to production designers. You are looking for sites where stories can be told.
Production designers create a private background online
Ole Hanish is considered among the best in his field. He began working as a production designer for Christoph Schlingensief and created the worlds of Tom Ticker movies for 20 years, most recently in “Babel Berlin”. The talent department entrusted the design of the virtual meeting place to him and Brandel.
A concept emerged quickly. It is about Hebbel am Ufer with its three locations, which have been home to “Berlinale Talents” since 2007. Hensch and Brandel love the HAU2 entrance area on the Landauer Canal with Neon Team Etchell’s “no time for this” as an item. They modeled and rebuilt it in HAU3, on the other side of the canal.
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Highlighting: the mini interface is a perspective model, the axes of view and proportions are only correct from a certain angle. “Such a model of a single camera view is seldom used in movies these days,” Brundle explains in an interview.
As the moderators move in front of the model during events, the illusion is broken again and again. Then the background can be recognized in this way, and the technology also transfers to the image.
205 talents from 68 countries
Cameras themselves become items of equipment, along with floodlights, screens, and directors’ chairs. “We wanted to create the movie studio as a place of longing in compressed form as a quote,” Hensch explains. This is where 205 talents from nearly 68 countries will meet while at home in front of their laptops.
Hanish this year is also an “expert”. On Thursday, he used his work on the Netflix series “The Queen’s Gambit” as an opportunity to talk about his job. As the only participant in his talk, he’s actually sitting in the background of HAU3.
Other guests are only played during the week via a video wall. And one more thing that’s special about this set: The set is usually discarded once the movie is finished. However, the facade minimized for talent should be retained. “As a memorial for the hypothetical year,” Hanish says. I hope it remains the only one of its kind.