SEAFIC OPEN HOUSE PANEL DISCUSSIONS
NOV 3, 2018 at Goethe-Institut
18:30 - 19:30
DEVELOPMENT AND FUNDING OF POSTCARDS FROM THE ZOO
Director Edwin and producer Meiske Taurisia shall discuss the script development of POSTCARDS FROM THE ZOO at TorinoFilmLab and Sundance Lab, and how the film was pitched at Busan Asian Project Market and Cannes Atelier and was eventually financed as co-production between Indonesia, Germany and Hong Kong.
NOV 4, 2018 at Alliance française Bangkok
14:00 - 15:00
FRANZ RODENKIRCHEN ON DEVELOPING OSCAR AND BERLIN WINNING SCRIPTS OF A FANTASTIC WOMAN AND TOUCH ME NOT
SEAFIC Script Consultant Franz Rodenkirchen worked on the screenplay of Best Foreign Language Film Oscar winner A FANTASTIC WOMAN and Berlin Golden Bear winner TOUCH ME NOT. What was his method in working on these two very different projects? And how do projects such as these differ from those originating from Southeast Asia?
moderated by Produire au Sud’s Guillaume Mainguet
15:00 - 16:00
A PERSPECTIVE ON SOUTHEAST ASIAN CINEMA FROM EUROPEAN TV DISTRIBUTOR, WITH MEINOLF ZURHORST
Germany’s public TV channel ZDF has helped finance films such as Apichatpong Weerasethakul’s CEMETERY OF SPLENDOUR and Boo Junfeng’s APPRENTICE, as well as buying TV rights to Pen-ek Ratanaruang’s HEADSHOT, among others. How do they come on board film projects, what do they look for in terms of distribution, and how do they view Asian films in today’s market?
16:00 - 17:00
MASTERCLASS WITH CAROL AND BOYS DON’T CRY PRODUCER CHRISTINE VACHON
Throughout her career, Christine Vachon has produced many works by 1st- and 2nd-time directors: Todd Haynes’ POISON, Todd Solondz’ HAPPINESS, Kimberly Pierce’s BOYS DON’T CRY, John Cameron Mitchell’s HEDWIG AND THE ANGRY INCH, and most recently Brady Corbet’s VOX LUX. How does she work with them, and what makes her pick these filmmakers or projects to work with?
17:00 - 18:00
20 YEARS OF SOUTHEAST ASIAN CINEMA AT HONG KONG INTERNATIONAL FILM FESTIVAL AND HAF, WITH JACOB WONG
Jacob Wong, who curated for Hong Kong International Film Festival for the past two decades, championed some of SE Asia’s foremost auteurs. As director of Hong Kong-Asia Film Financing Forum (HAF), he also invited directors such as Anocha Suwichakornpong, Lee Chatametikool and Phuttipong Aroonpheng to pitch their feature debuts. How does he curate, and what were some of his career highlights?
moderated by Kong Rithdee