MEET BUCHSCOUT AGENCY IN CANNES 2022, May 18-23

What a pleasure to be back in Cannes !!! ūüíę Meet us in the Village International.
For appointments contact us: info@buchscout.net

BUCHSCOUT & SERIENSCOUT Agency offers an international film script consultancy and content creation ‚Äď from the initial idea to the finished shooting scripts. We create, search, develop and broker sophisticated series, TV or cinema movies, novel-to-film adaptations to become a unique experience and success on the national and international markets.¬†www.buchscout.net

April 7-10, Suzanne Pradel will lecture @ 1st European edition of the American Writers Lab (TWL)

BuchScout is happy to announce that Suzanne Pradel will teach at the first European edition of the successful American Writerrs lab (TWL)

The Writers Lab (TWL), the script development programme for women and non-binary writers over 40.

The non-profit initiative will run virtually from April 7-10, and is designed to discover an intersectional range of diverse new voices in the film sector. The successful participants will be connected with leading screenwriters and producers in the industry. 17 writers from 13 countries have been selected.

Mentors and guests include directors Susanne Bier (The Night Manager), Jasmila ŇĹbanińᬆ(Quo Vadis, Aida?), Isabel Coixet (Secret Life Of Words), Nadine Labaki (Capernaum),¬†Agnieszka Holland (Europa Europa),¬†producer and writer Jantje Friese (Dark), playwright and writer Christina Ham (Them), and producer¬†Ameenah Ayub Allen¬†(Rocks, Ali and Ava), script consultant Suzanne Pradel (BuchScout Agency).

TWL Europe is produced by co-founders Elizabeth Kaiden and Nitza Wilon in partnership with Untamed Stories, lead by Julia Berg and Ruth Spencer. The UK and Ireland TWL programme backed by Cate Blanchett¬īs Dirty Films was launched last year, whilst the US iteration¬†started in 2015, is produced by¬†NYWIFT¬†and counts Meryl Streep and Nicole Kidman among its supporters.

The 17 participants of The Writers Lab Europe 2022:

  • Regine Anour,¬†Underdoc (Comedy, Austria)
  • E Coleman,¬†Dumas¬†(Historical Drama, Switzerland)
  • Ilaria Freccia & Bebetta Campeti,¬†Hold Me Tight¬†(Feature Drama, Italy)
  • Mumta Mala Ghedia,¬†No Monsters in Berlin (Drama, Germany)
  • Virginie Gourmel,¬†Concussion¬†(Feature Thriller, Brussels – Belgium)
  • Tuija Halttunen,¬†Hard Boiled Eggs¬†(Feature Comedy, Finland)
  • Orla Hannon,¬†Bereft of a Talisman¬†( Drama, Ireland)
  • Marta Hopfer-Gilles,¬†Good Enough¬†(Comedy, Norway)
  • Nicole van Kilsdonk & Marijke Schermer,¬†Breakwater¬†(Feature Drama, Netherlands)
  • Tereza Kotyk,¬†Faith: A Fair Balance of Pain¬†(Feature Drama, Austria)
  • √Ālfr√ļn √Ėrn√≥lfsd√≥ttir,¬†Shitballs¬†(Feature Comedy, Iceland)
  • Carlota Pereda,¬†The Blondes¬†(Feature Comedy/Thriller, Spain)
  • Ninon Schubert,¬†The Plague Doctor¬†(Feature Horror, Germany)
  • Raquel Stern,¬†Imperfect Cadence¬†( Comedy, Germany)
  • Francesca Tasini,¬†Unclean¬†(Drama, Italy)
  • Dorotea Vucic,¬†Hadi¬†( Sci-Fi, Croatia)
  • Agnieszka Zwiefka,¬†She¬†(Feature Drama, Poland)

Welcher Roman eignet sich zur Verfilmung?

Wussten Sie. dass mehr als 80% der erfolgreichsten Filme auf Romanen basieren?


Aber welcher¬†Roman eignet sich zur Verfilmung? Wie √ľbersetze ich den Text in einen gelungenes audiovisuelles Erlebnis, dass ein Hit an der Kinokasse wird?
Eine erfolgreiche Adaption fordert nicht nur eine richtige Einschätzung des Potenzials, sondern auch viel Geschick in der Umsetzung. 

Die BuchScout Agentur ist¬† seit 2009 spezialisiert auf die¬† Evaluierung von Romanen und begleitet Produzenten in ganz Europa bei der dramaturgischen Umsetzung ihrer Kinohits – ¬†so wie unter anderem auch bei den Zuschauermillion√§ren im Kino: „Ich bin dann mal weg“ oder „Hanni und Nanni“)


Vera Feb 22:Dreams Of The Sea # Ingmar Bergmann Competition @ Göteborg Film Festival

BuchScout is happy to announce that¬†„Vera Dreams of the Sea“ premieres in #Sweden this #February– We are honored that our film is selected in #IngmarBergmanCompetition of the 45th edition of G√∂teborg Film Festival
In selectors words:
‚ÄúThe moving feature film debut is a sophisticated portrayal of female compliance and empathic capabilities in collision with a male honour code.‚ÄĚ

More information: https://program.goteborgfilmfestival.se/en/program/vera-dreams-of-the-sea?fbclid=IwAR3UF3nQXlPOjIiKtRuRVV3-Q6e0ZEMuPL4RcNRrdz7m2o_tn_xgBcGXCu8


Spielfilm „DU BIST DRAN“ mit Lars Eidinger bis zum 29.02.20 in der ARD Mediathek

Eines der von mir dramaturgisch betreuten Lieblingsprojekte l√§uft wieder in der ARD Mediathek (bis zum 29.02.2020): „DU BIST DRAN“ mit Lars Eidinger in der Hauptrolle; Buch & Regie: Sylke Enders; Premiere auf dem Filmfest M√ľnchen 2013; hochgelobt von der Kritik als Qualit√§tsfernsehen. Juliane Bartels Preis 2014.
Viel Vergn√ľgen!!
LINK ZUM FILM

Finalist EWA Scriptwriters‘ Residency 2020

I look forward to be working with two of these talented female screenwriters during the Berlinale residency of the European Women’s Audiovisual Network (EWA). Selection will be out soon.

Celia Rico, The Little Loves

Celia Rico Clavellino (1982) is a Spanish screenwriter and filmmaker graduated in Media Studies and Comparative Literature. She also has a postgraduate in Script Editing and a PhD in Film Theory.

‚ÄúJourney around a Mother‚Äôs Room‚ÄĚ her first feature film, premiered at San Sebastian Film Festival in 2018. The script participated in the Script Station of Berlinale Talents 2015. Her previous work as a director was ‚ÄúLuisa is not home‚ÄĚ, a short film that participated in the Official Selection of La Biennale di Venezia, in the Cannes Short Film Corner and in other important national and international film festivals. Between other awards, it won a Gaud√≠ (Catalan Cinema Academy Awards) as a best short film in 2013.

She is the scriptwriter and co-director of the project „Mironins“, an animated TV series for kids (currently in development) with the collaboration of Joan Mir√≥ Foundation. Celia¬†has worked as an assistant to Claudia Llosa, and was the Second Unit Director on her latest film, ‚ÄúAloft‚ÄĚ. She has directed the project ‚ÄúFilm Diaries‚ÄĚ, an experimental documentary project for old women social integration, in collaboration with La Caixa Foundation and Barcelona City Council.

She has worked for several Spanish film companies such as Arcadia Motion Pictures (‚ÄúBlancanieves‚ÄĚ, ‚ÄúAloft‚ÄĚ, ‚ÄúBlackthorn‚ÄĚ) or Oberon Cinematogr√†fica (‚ÄúThe Milk of Sorrow‚ÄĚ, ‚ÄúChildish Games‚ÄĚ, ‚ÄúElisa K‚ÄĚ).

SELECTED PROJECT:  THE LITTLE LOVES

Ani (70) takes a fall walking her dog and breaks her femur. Her daughter Teresa (42), who lives in the city, changes her vacation plans and moves into her mother’s house in the countryside to look after her until she can walk again.

For the first time in many years, mother and daughter spend day and night together. The mother is completely dependent on her daughter, who is useless at housework, and the daughter fully immerses herself into the temporality of her mother, whose griping is insufferable. To make matters worse, the heat is suffocating, and the threat of a summer storm looms heavily in the air they breathe, already dripping with mutual disapproval, memories, and the constant doubting of each other‚Äôs decisions. Teresa, childless and without a steady partner, ferociously defends her independence. Ani, widowed and with the sole¬†company of her dog ‚Äďwho‚Äôs been missing since her fall‚Äď, still harbours the hope that her daughter will not be alone in the future. Otherwise, who will look after her when she, too, takes a fall in her old age?

Geraldine Creed, WANT

She is a filmmaker and writer with vast experience of both drama and documentary production. My most recent documentary Mercury 13 was made for Netflix in 2018. My promo for the film won the ‚ÄúCuban Hat for Best Pitch‚ÄĚ at the Hot Docs International Documentary Festival, Canada in 2015. I have a keen sense of narrative and an exceptional visual flair. My experience of film and media production is extensive from feature films to factual and observational documentaries to arts and history documentaries. Currently, I am developing two feature film scripts Want ( formerly Nightcrawler) and Mercury Rising, both have received financial support from Screen Ireland.

SELECTED PROJECT: WANT

Jess Whelan has an eating disorder. Her mother, a nurse, cannot accept this. They are trying to rebuild their lives after Jess’ latest hospitalisation. Single parent, Bee works shift hours in a local old folks home while Jess returns to school but is expelled for putting her hand through a window. When a tree is felled on their housing estate, Jess finds an old ivory comb nearby. She also finds Anna, a brash and out-going ally. The girls attempt to out do each other with obsessive starvation. They meet Red (a local council worker), at a niteclub. Red takes things too far with Anna.

Meanwhile, Bee is getting grief from the bank and education officers but still no support for Jess, who is on a waiting list for a referral to a psychologist. Bee decides to investigate returning home to Canada ‚Äď at least they‚Äôll get more support for Jess there. Red turns up at Jess‚Äô house and rapes her, Anna helps her kill him. They bury¬†the body in the area where Jess found the ivory comb. Jess meets Billy, a local boy¬†who tells her that the school and surrounding housing estate used to be a workhouse in famine times. Bee wears the ivory comb to work one evening and an elderly patient tells her it should be put back where it was found, no good will come of it, its a death¬†comb, she warns. One evening, Billy and Jess discover the cops digging up the green area. When Jess hears a body has been found, she panics. At home, Bee is waiting for¬†her. She has uncovered Jess‚Äô diary and realises that her daughter is in a psychotic state. Anna and Jess are one and the same person. With the police closing in, Bee decides to make a break for Canada earlier than planned. At the airport, Bee and Jess hear that a famine burial mound has been revealed on the site where Red was buried.

A jet stream rises high into the sky, the famine woman looks up and smiles, we see blood dripping from her mouth. Beside her, in the bushes, sits Red’s baseball hat.

Katharina Suckale, BETWEEN OUR WORLDS

After her masters at the University Paris IX, Dauphine Katharina started in film distribution and sales at MK2 РMarin Karmitz in Paris 1988, moving to film production in Toronto, Canada, where she got to know the American film business. She has been working on the sets in feature film and TV-production in Europe over 16 years, also directing documentaries, short and experimental films.
Furhermore, she was producing under her own banner in Germany, France, Italy, Africa and India. She developed and wrote feature films for the cinema and developed concepts for TV and internet in cooperation with German, French, Italian and Indian producers, channels, studios and web platforms. 2011 she founded the production company Bombay Berlin Film Productions with Arfi Lamba, based in Berlin, Germany and Mumbai, India.

SELECTED PROJECT: BETWEEN OUR WORLDS

The deserted countryside of Maharashtra. An Indian farmer, his wife and four children are eating plain rice in their small hut. Suddenly he starts vomiting and dies on the spot. While his wife still desperately tries to save him, her son discovers that his father has put pesticides in his own rice.

Johanna (35), a warm-hearted and ambitious lawyer is working in Berlin, where the Rondo headquarters are based in a majestic skyscraper at Potsdamer place overlooking the city. As the most senior lawyer at Rondo, she will fight a case in which Rondo is accused of suicides committed by 300.000 Indian farmers between 1998 and now, as a result of the companies genetically modified, high yield seed schemes. Being informed by her boss Mr. Schneider (65) that she is a runner up for the Board of Directors, this case is a great chance to push her career, or break it.

At the steps of the International Court of Justice in The Hague she has a first encounter with her opponent Shaantanu (39), at which Johanna makes it clear that it is not Rondo Agricorp, but the corrupt Indian political system, the uneducated farmers and the greedy moneylenders that have caused the wave of suicides.

Kirsi Liimatainen, with TERKKU

Kirsi Marie Liimatainen was born in Finland in 1968. She has MA degree in Theatre and Drama studies of the University of Tampere. From 1991-1999, she worked as an actress in films, television and in theatres in Finland.
From 1999-2006, she studied directing at the Potsdam-Babelsberg Academy of Film and Television.¬†Kirsi¬†Marie Liimatainen was awarded scholarships by the DEFA-Foundation, the Nipkow-Program, the Academy of Arts in Berlin, the Finnish Cultural Foundation and took part in the Residence program of the Cannes film festival, C√ČCI, Binger Film Lab, Torino Film Lab and the Residence program Saari of the KONEFoundation.

SELECTED PROJECT: KERTTU

KERTTU (65) comes to the end of her career as a Finnish language and literature teacher in a high school in Southern Finland. Retirement brings long awaited freedom, but also a surprising feeling of loneliness. Kerttu’s husband, SEPPO (67) is still working as a specialist in paper mill engineering and often travels abroad. Kerttu’s grownup daughters, SOFIA (35) and ANNA (32) have their own busy independent lives. Anna is pregnant and even though Kerttu knows her daughter will soon need help with the baby, she feels that her life has become meaningless. She wonders what happened to the young idealistic hippie couple Рshe and her husband Seppo Рand how they became middle class, overweight and old.

Out shopping in the city center with her best friend PIRKKO (63), Kerttu meets PEKKA (32) who is collecting money to help asylum seekers. Pekka tells the women that he is doing a volunteer job at a local reception center. Pirkko is skeptical, but Kerttu is impressed by his youthful idealism. When Kerttu takes the leaflet in her hand, little does she know that everything she takes for granted will be changed forever.

Kerttu and Pekka get to know one another and despite the fact that Kerttu’s husband and her daughters are opposed to the idea, Kerttu starts working as a Finnish language teacher at the reception center. When an Afghan family is threatened with forced repatriation, Kerttu takes action. Together with Pekka, Kerttu hides the family in a summer cottage on the outskirts of the city. Kerttu‚Äôs husband Seppo gets wind of the plan and threatens to report her to the police. The married couple ‚Äď former members of the ‚Äô68 student movement – now stand against each other, no longer side by side.

Oonagh Kearney, with SNOW on BEARA

With a BA in English and Philosophy from University College Cork and M.Phil in Irish Theatre from Trinity College Dublin, Oonagh’s passion for directing was sparked when she got the job as casting director to Ken Loach on his Palm d’Or winning THE WIND THAT SHAKES THE BARLEY in 2005. Since graduating from the NFTS in London, Oonagh has written and directed several award-winning short films, a Reel Art funded feature documentary and TV pilot for RTE. She shadow-directed on the comedy drama series CAN’T COPE WON’T COPE with Deadpan Pictures in 2016 and her most recent short film FIVE LETTERS TO THE STRANGER WHO WILL DISSECT MY BRAIN won Best Director of an Irish Short at the 2018 Cork International Film Festival, Discovery Award and Best Irish Short film at the 2019 Dublin International Film Festival, and Best Short Screenplay at the Irish Writers Guild Awards in June 2019.

As a writer,¬†Oonagh¬†has participated¬†in several Screen Skill Ireland initiatives, Berlinale Talents, She Writes and the ‚ÄėApulia Experience‚Äô a five-week international TV writing workshop.¬†Oonagh‚Äôs¬† feature screenplay SNOW ON BEARA was selected for the Athena IRIS Screenplay Lab in NYC and the BBC Drama Writers Room in 2017 and is in development with Screen Ireland. From January to May 2019,¬†Oonagh¬†was writer-in-residence at Carlow College.

SELECTED PROJECT: SNOW ON BEARA

In the wilds of Beara, a remote peninsula in West Cork, three women, English surgeon ESTHER (44), local postmistress NELL (36) and local teenager JO-JO (19), meet on a cliff following a near fatal car accident. While trying to get to the nearest village to find Esther a place to stay, things don’t go to plan and they end up stuck on Nell’s tractor looking for shelter to ride out a massive snow storm. Set in the forty-eight hours when their chaotic lives overlap, we are brought on a wild journey through their personal crises, all of which relate to mothering. To survive the night, they must not only work together, but support each other, as they face painful truths about themselves, the past, and the lives they still hope to lead. In Ireland, snowstorms are rare.

 


# Working a the Pichting Platform # Bosphorus Film Lab # Bosphorus Film Festival

Together with Giovanni Robbiano working with Turkish upcoming talents at the Pitching Platform during the Bosphorus Film Festival.

Projects:

„Snow and The Bear“ by Selcen Ergun ¬†(winner of the Pitching Platform) – „Anatolian Leopard“ by Orcun K√∂ksal – „Not As You Know it“ by Vuslat Sara√ßoglu ¬†– „Class Curtain“ by First Reihen – „The Cycle“¬†by Erkan Tahhusoglu – „G√ľlizar“ by √Ėktem Basol & Belkis Bayrak – „Treasure“ by Canberra Yerguz – „Let Who Has the Most Grudge Cast the First Stone“ by Stil Inanc – ¬†„Final Hearing“ by √úmran After – „XLand“ by Kivilcim Okay, Tuncay Akg√ľn


Apply now for the 3. Female Scriptwriter¬īs Residency in Berlin

Apply for the EWA Network 2019 Edition of the Scriptwriter‚Äôs Residency in BerlinEWA scriptwriter’s residency programme¬†is an initiative dedicated to supporting the career of the next generation of screenwriting talents among members of the European Women¬īs Audiovisual Network (EWA). It helps them to enter the industry with the best script (feature films only)¬†possible by working on the strategic positioning of their project.¬†Its purpose is to give¬†a selected woman scriptwriter or director the¬†opportunity to be mentored by a script consultant, to work with her before the Berlinale and to attend¬†the EFM¬†at the¬†Berlinale 2019 to make connections.

„Despite the fact that I am back in a¬†rollercoaster¬†of everyday duties with all the other projects and my kids, I keep a memory of the residency as an important and precious kick off which pushed me so much ahead. It also helped me build up my¬†self-confidence as a female author with a unique view on things.“

filmmaker Andrea Culkova 

 

 

Who is eligible?
1
female scriptwriter, screenwriter/director or screenwriter/producer with a European nationality and resident in Europe (47 Council of Europe countries) having written or directed at least one feature film (fiction or  documentary) distributed (Theatrically/TV/wide festival trajectory) in one European country. No screenwriter teams are accepted.
2 who is an EWA member. If you are not an EWA member you can join us now 
3 who has a first draft of a script in English for a full length feature film. Fiction only.
4  the principal photography of the film should be done in Europe

Elements to be provided:
1 CV in English
2 copy of valid ID
3 Draft script in English
4 Synopsis in English
5 Project status information
6 Motivation letter for the residency in English.
7 Evidence of release of previous films

***Please send the requested material until September 30***

A commitee of three industry experts will select the best project among those received.

The Offer:¬†travel costs from and to Berlin. accommodation in a private room + access to a kitchen¬†in Berlin starting from¬†17 January 2019 ‚Äď and ending¬†17 February 2019, including four working sessions with a well-known script consultant (3 in Berlin + 1 Skype session after the Berlinale) and accreditation for the Berlinale.

The EWA scriptwriting residency and the script consultancy must be mentioned in the credits of the later film.

Suzanne Pradel is the script consultant attached to the programme.

Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for European Filmfunds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.

 

For more information check out:

http://www.ewawomen.com/en/news/apply-for-the-ewa-network-2019-edition-of-the-scriptwriteras-residency-in-berlin.html