“Kinotavr” Seminar Programme Curator – Anna Gudkova

This year the programme of round tables and discussions of the festival includes both traditional and innovative events. There will be a round table on the theme of “The Russian script writing: crisis of the profession or crisis of the industry?” in the hotel “Zhemchuzhina” on 10 June. The lack of talented scripts in modern Russian cinema is not a new problem. Nevertheless, under the conditions of a turbulently developing industry the shortage of fresh stories and striking and vivid heroes can turn into a real disaster. The demand for good films for cinemas, not to speak about the required amount of hours for television, significantly exceeds the offers – for lack of original ideas and talented authors. In this situation everybody suffers. Producers have to be content with average stories and often have to agree to begin film production before the script is completed; directors more and more often have to take the pen in their own hands in order to have adequate material for realising their cinematic ideas. Finally, the spectator more and more frequently has be satisfied with films where the plotlines don’t add up.  
On 10 June at 15.00 at the round table, which will be lead by the editor-in-chief of the journal Iskusstvo kino (Film Art) Daniel Dondurei, the heads of television channels, important Russian producers and well-known script writers of both the “Soviet” and “new” generation will talk about the reasons for and ways of overcoming this crisis in scriptwriting, which for the last fifteen years has attained quite disturbing proportions. The conversation will be published in full in the journal “Iskusstvo kino”.  On 11 June at 14.00 a discussion will be led by the film critic and FIPRESCI president Andrei Plakhov. It is devoted to another important theme: whether there is topical cinema in Russia. The presence of new Russian films in the programmes of international film festivals can hardly be called regular. Nevertheless, individual films not only break through to the largest European screenings, but they also receive top awards there. What is the reason for such a non-uniform participation of Russia in the global film-process? Is there a recipe for gaining the love of western spectators and professionals? Can national masters of cinema fit into the overall direction of the development of world cinema, or should we search for our own way, not looking at others’ tastes and work habits? These questions will be discussed within the framework of the round table on 11 June at 14.00 by the foreign visitors of “Kinotavr”, the directors and selectors of the largest European film festivals, leading film scholars and critics.
The materials of this round table will be published in the journal “Kino-Process”. If the round tables have already became an integral part of the film festival in Sochi, then the producers’ pitching is an entirely new event for the Russian industry. Pitching is the presentation of a project in a limited amount of time, delivered by the producer, either on his own or with the creative team, including the director and possibly the script writer. The form of the pitching firstly enables the producer to speak about his new creation without having to rely word-of-mouth propaganda of mobile phone conversations. By virtue of the time limit, the format of pitching disciplines the speaker, forcing him to concentrate on the most significant aspects of his script. Presenting the project to an experienced and professional audience and observing its reaction, the producer begins to see the advantages and effective episodes, and also on the contrary, the flawed fragments of the future film long before the shooting, which allows him to correct the project, if necessary. In some sense the audience of a pitching is an ideal focus group: interested and professional; the pitching itself becomes an extremely effective tool for analysis.   The prospective schedule of events, which will take place on 9 June is thus: seven young producers will have 10-15 minutes for the presentation of their project. In this time they should not only present effectively and convincingly the basic idea, the "message" of the project, but also state the basic business information, such as preliminary casting, choice of location, and financial situation of the project. New projects are presented by the producers Natalia Mokritskaya (“Playing the Victim”), Olga Vasilieva (“Island”), Roman Borisevich (“Free Floating”), Elena Glikman (“Piter FM”) and other young professionals who have already achieved a certain level.The audience of the pitchings will include the key players in the Russian film-market: producers, distributors, representatives of television channels. The result of the pitching should be the creation of new associations, the establishment of both working and personal contacts, and, as a consequence, the appearance of fresh, impressive and talented films on the national screens. For the pitching a separate catalogue with information on participants and their projects will be issued. 



Moderator – Inna Tkachenko 

The creation of film posters and outdoor advertising.
The production of trailers.
The drafting of the advertising text.
Today producers and distributors demand high quality of the advertising package, which has become the main element in the promotion of a film. But “quality” as a subjectively understood “something” often becomes an issue of dissent between the customers of film advertising and its authors-producers.
What are the motives that guide designers and directors who make suggestions to producers and distributors?How well versed are the makers of domestic film advertising in the global and historical context of a given area?The main producers and the authors of the best Russian film advertising will present their work, knowledge and ideas in the form of a show-seminar on editing and design.   A special event of the seminar is a masterclass by Jamie Bradshaw, USA, creative director and the co-owner of the company Ignition Creative, one of the leaders in the Hollywood advertising market. Among Jamie Bradshaw’s projects are “Sin City”, “The Aviator”, “Star Wars: Episode 2”, “Mr. and Mrs. Smith”, “Spiderman”, “Spiderman 2”, “Tim Burton's Corpse Bride”, “Kill Bill” (Vols 1–2), “Hero”, “Shooter”.