An ongoing series of mini profiles on the blog German Film @ Canada on the movers and shakers that make the Berlinale one of the most important events in the international film calendar: the filmmakers, programmers, curators, industry promoters and fans, from rookies to veterans.
Name & role: Dr. Simone Emmelius, Senior Vice President International Fiction - Coproduction & Acquisitions; previously head of ZDFneo, ZDFinfokanal, ZDFdokukanal, and multimedia; board member of the Fraunhofer Institute for Intelligent Analysis and Information Systems
This is my 2nd Berlinale for ZDF as Senior Vice President International Fiction.
ZDF is the Berlinale’s main sponsor. What’s your broadcaster’s interest in the festival, and what opportunities does it give you as head of international fiction?
For the national public broadcaster in Germany, it’s not only a “must”, it’s an affair of the heart to be committed to the Berlinale – and by the way, ZDF is media partner for the 17th time.
From the standpoint of my department, the Berlinale as the traditional playground for feature films became even more important and fruitful when it opened up to series five years ago. Now it’s tailor-made for us: Interesting license offers and co-productions in film and series wherever you look.
What does a day at Berlinale look like for you?
The Berlinale means little sleep, for sure: 7a.m.: morning update with colleagues, 8:30 a.m.: press previews, 10a.m. till 10p.m.: partner meetings, project sessions, initial appointments, panels and lectures as well as evening events including our own "International Fiction Reception“ plus a board meeting with partners of the European Alliance, an association of public broadcasters FTV (France), RAI (Italy), and ZDF (Germany) with the aim of co-developing and co-producing primarily high-end fiction series and targeting younger audiences with non-linear content. Look out for "Mirage“ (FTV and ZDF) in spring 2020, "Around the World in 80 Days“ (FTV, ZDF, RAI) in late 2020, and in development “The Swarm“ (ZDF, FTV, RAI), "Leonardo“ (RAI, FTV), and “Survivors“ (RAI, ZDF, FTV).
Then off to another meeting with our Northvision partners. Similar to the European Alliance, the "Nordic Twelve“ is an association with five Nordic public broadcasters (SVT/Sweden, NRK/Norway DR/Denmark, YLE/Finland, and RUV/Island). But this is not about co-productions. Instead, each broadcaster guarantees the "nordic rights“ for all members for certain series --12 in total, thus the "Nordic Twelve“-- that can be offered on all non-linear channels. Not to forget, the highlight of the day: a sneak peek at our 2020 big shot “Shadowplay” on Monday at the Serial Days. The working day normally ends between 11p.m. and 2a.m. An absolute luxury: a film screening!
Project you are most excited about:
Definitely the presentation of “Shadowplay”, written and directed by Mans Marlind with the wonderful cast of Nina Hoss, Sebastian Koch, Taylor Kitsch, Michael C. Hall etc. (watch a
chat with Hoss and Kitsch).
In the competition itself, my department will be represented by the highly political film “Es gibt kein Böses”, which we co-produce for Arte. Director Mohammad Rasoulof lives in Tehran and was under house arrest while filming, and now he faces imprisonment. In my opinion, this very emotional film has a good chance of winning the Golden Bear this year.
Last but not least the long-time "ZDF director“ Ulrike Ottinger will be honoured with the “Berlinale Kamera” followed by the world premiere of her cinematographic documentary “Paris Calligrammes” – also a co-production of my department, for 3sat.
There’s a lot of talk about change (or not) at this Berlinale. Your most profound & lasting impression from past Berlinales and the biggest change you predict for one of the world’s most influential festivals in the future:
The biggest change is done – the switch from analog to digital, a change that can be compared with the invention of the steam engine. Everything that follows now are just further steps, but with great impact on our society. Challenges are not only, from a technical point of view, the need for rapidly increasing storage capacities through more and more digital offers and higher resolution from 2K to 4K to 6 K. Topics like free access to information and the prevention of technological gatekeeper positions are also core issues of our time.
From an editorial point of view, you have to keep much more things in mind while developing and producing a film or a series, such as non-linear viewing, social media and marketing issues etc. Film releases on streaming platforms nowadays reach a global audience – how to guarantee an overview and a real choice instead of echo chambers, how to ensure that our society doesn‘t split even more into those who have access to knowledge and those who don‘t? As far as these questions are concerned, the Berlinale has great impact, being so broadly based with a wide range of offers. It has an important role as a big screen to the world.
We met during the last Toronto International Film Festival. What’s the main difference and the main similarity you see between Berlin & Toronto?
Both festivals delight and inspire as "audience festivals“: professionals and film fans line up waiting to watch together and talk to each other on their favourite topic: movies. My impression: In Toronto you get even more in touch with the regular audience than in Berlin. The main difference is that TIFF is not a competition festival, it is a showcase for the American market and is proud to be the start into awards season, and rightly so.
The Berlin co-pro market announced that they topped 50% female directors for the first time. What does gender equality mean to your job as a (female) SVP at one of Europe’s most powerful broadcasters and for the way you produce and buy films?
Gender equality is an important issue, not only for me personally but also for my company as it has a great impact on selecting the best people for the business. I am convinced that there is no gender-specific but only individual talent. But I still notice a glass ceiling for women due to insufficient numbers of women at the top of companies. This means a disadvantage in terms of support and networking opportunities, as well as leading to a lack of positive role models that could give young talents orientation. Fortunately, ZDF is very much aware of that, not only with respect to their inner management structure but also harnessing its capabilities to increase female power in the production process itself. ZDF has initiated a writer and a director talent program for young filmmakers to promote women for instance. Looking at my own department and the co-production department, we make sure that more women are employed in main creative positions such as directing or script writing. An effort my colleagues from the domestic fiction department undertake as well. And all of us get additional impulses mainly from our Scandinavian neighbours, who seem to be ahead of us.
It will have been a good Berlinale 2020 for me when …
I find at least three new business partners with outstanding ideas or projects, and I can say: "This is the beginning of a beautiful friendship."
interview by
Jutta Brendemühl
image c ZDF/Jana Kay
