Festival on ennast nende aastate jooksul üles töötanud ja tõestanud Euroopa suurimate festivalide seas. PÖFF has very friendly attitude towards Estonian film.
The purpose of the workshop is to provide an informal atmosphere for the discussion of resource assessment and management problems. Each participant presented a one hour morning talk; afternoons were reserved for informal chatting.
The workshop was successful in stimulating ideas and interaction. The papers by R. Deriso, R. The others should use it and make the festival big to realise the economic potential of PÖFF fully. Estonia could develop PÖFF into a cultural event directly related to its reputation like Pusan in Korea, Rotterdam in Holland, Gothenburg in Sweden or Locarno in Switzerland has done, there are good prerequisites for that.
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I would not want to compare us with Berlin or Cannes, but the role of the festival as a part of creative economy and tourist magnet, developer of local SMEs and promoter of the regional film industry is similar to these events where Germany and France contribute.
In PÖFF we have today a potential for forming the reputation of the whole country.
But it will take wider changes in attitude and financing to use it fully. Today PÖFF starts every year with fundraising and the festival budget consists of small contributions. Survival is an issue every year. It is outlandish that many are surprised as to hurt brush vienna PÖFF would need fullyear employment and an office. Many are surprised that the organisation of the festival starts immediately after the end of the winter festival. In order to help these big purposes, we work now hard to become a desirable mida te toodeldi artriitide kommentaare and communication channel like other similar festivals in the world.
We wish to introduce these possibilities and show that there might be marketing power in using moments and experiences. But naturally we already have partners that have discovered marketing potential of PÖFF, reserving thus their industry in the list of our supporters and already making profit on this. How independently can you make decisions about PÖFF with your team?
We did not join any international film organisation before we had found our own way. This does not mean that they did not invite us — on the contrary.
FIAPF registers film festival formats that are used to accept them and that they have to stick to. We also have to coordinate festival dates with them. FIAPF membership sets its restrictions, but these come with benefits. Problems of our festival are hurt brush vienna international problems. We have won great trust, but in a competitive film industry we have to work to keep it. Therefore, we have to make great efforts to keep up the quality and reputation of our festival.
But why do you do this? There must be many dead moments during the festival when you think about giving up. Or on the contrary, what is giving you strength in these moments? It cannot be money. Naturally there are plenty of such moments when I feel that nothing can motivate me. It seems very attractive in bad moments to step down and 17 go somewhere else where it would be easier in terms of health, nerves and benefits.
I am certainly not alone in this; all team members feel the same.
But emotionally it hurt brush vienna a lot to go to cinemas during the festival. You see starry-eyed people and guests who thank you for a great festival and give you a very warm feeling. In moments like this I realise how necessary this event is for many. At the end of the day it is people around you that motivate you — team, spectators, students. At the end of the 90s, did you believe that in 15 years this festival would still be alive and have grown exponentially bigger?
Of course, I did not imagine such a future. It is absurd that this festival has grown so big.
I dreamed about such a festival, but really I could not believe that it would be possible with our tiny market and film industry. These two are important prerequisites for the festival to become a reputation event it is becoming now. A festival is a window into show business. The face and format of the festival were fixed by the 7th festival.
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Since then there have not been big changes in volume, programme and general look; since then developments have been somewhat predictable. That part is connecting local film industry to an international one. We have also done a lot to develop and build an organisation. The festival format is mostly set. But it is like with a sculptor who has cut the statue out and then has to pay attention to outlining the details and enhancing every part separately to bring the character out.
How much time will it take until PÖFF switches to autopilot and starts to move irrefutably along its track? What is the future of this festival? The festival must not switch to autopilot — it would be deadly.
A festival must be and remain a living organism in our changing time and space, only then can it be successful. Currently the festival is at a crossroads, and the question is about financing. If the city of Tallinn and Estonian state decide that PÖFF as one of the most important festivals in Northern Europe is valuable for their reputation, economy and tourism and that it should be financed keeping in mind common purposes, then we have a chance to use this opportunity in the interests of Estonia and Hurt brush vienna.
In such a case not just the state will lose, but also spectators, as no one will give us good and fresh films then. Why do people hurt brush vienna here?
The keywords for PÖFF are synergy and atmosphere that is liberal and open to everyone. Our programme is oriented mostly to local people and their tastes.
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At the same time programme is strong and we keep the bar high. Everyone knows that in November you can have here pretty much the best overview of what has happened in the film world during the year. Our festival has a niche, too: we are a Nordic festival where focus is on the Nordics, Baltic countries and CIS as an explosively developing region in the cinema world.
It would be much more difficult to find information and contacts about this region elsewhere, so they come here. Certainly our interesting mix also differentiates us — simultaneous festivals for animation, students, children and youth.
What about PÖFF reputation and prize? There are festivals with very long traditions — Venice, Cannes and Berlin so-called A-category festivals. The value of their prize is in the level of the festival and the prize will guarantee the film a successful distribution. We can talk about long traditions when festival count approaches There is a second category of festivals that have high monetary prizes, like Abu Dhabi.
We do not belong to any of these categories. We do not have a sufficient history for a hurt brush vienna festival — maybe we will have it in 15 years! Another question is, if we can and wish to put more money into prizes, to make the festival more attractive?
Our prize money used to be considerable, but it has been lagging other festivals lately. With respect to prize money we belong to a small festival category that is not fitting to our current volumes and actual position in the film world.
Nevertheless, prize money is not our main problem. In general, A-category festivals have many European and world premiers. But as too many A-category festivals were created once, they do hurt brush vienna have a sufficient amount of good premiers anymore.
This often means that A-category festival actually does not equal strong and consistent, 18 high-level interesting programme. All the festivals are over by that time and immediately after us begins the Berlin festival, which only takes premiers — what film would not want to go there? But I am not worried and try to do a festival that would be interesting and original to both the public and jury, instead of running after festival magnets.
And still our competition programme consists mostly of fresh films that have not been shown much elsewhere. The prize will be all the more valuable, if you get it in such a strong competition. As we do not have enough resources for good marketing, the best advertising channel outside Estonia is our fans, although there are still many for whom we are a nowhere hurt brush vienna. I get this kind of feedback from other festivals all the time. This proves once again that making a festival is a long and continuous process hurt brush vienna you have to build your reputation brick by brick.
PÖFF certainly has an influence on the Estonian film industry, but what specifically has been the benefit that local film artists receive from the festival? PÖFF has very friendly attitude towards Estonian film.
We welcome success of Estonian films and try to help the films that deserve success as much as our contacts and possibilities allow.
But there is a principle of mutuality in film world — if they show our films, then we try to show theirs if they are worth it.
In general we pick both international and Estonian films based on the same rules and therefore there tend to be rather few Estonian films in our festival. Similarly to Estonia we try to keep films of other small countries on the picture. The festival creates excitement around the Estonian film industry and brings many contacts here that otherwise would be very hard to reach.
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The same applies to other Baltic States. It is difficult to underestimate the work of Baltic Event here. Of course, we are not the only ones pushing Estonian film. There are more than ten festivals in Estonia — and I do not mean film weeks but proper festivals. And that is really cool, especially considering how small our market is! This helps us to create value on an entirely new level, regionally creating interest in people, bringing income, creating contacts, etc.
Baltic Event is very useful similar to Tallinn Music Week, but significantly olderbringing here producers and distributors, they see the trailers, get introductory materials and meet people valu kuunarnukis the project level Black Market Online is meant for an export of Estonian films throughout the year.
On top of that technology it is possible to build the online export of the whole culture industry. To come back to Estonian film, next year will be the th anniversary of Estonian cinema. Do the PÖFF program and events reflect that somehow? PÖFF is absolutely ready to help realise common ideas.
Definitely it is important that there be some kind of value added to the films that the public has already seen. What we know for sure is that we will give life achievement awards to people who have contributed to Estonian film.
In addition to that there will be the Tridens competition programme of Estonian and Baltic films plus two Estonian hurt brush vienna in the EurAsia competition programme. How many films do you watch yourself during the festival? Honestly, I am emotionally not capable of watching films then. I do not go to the cinema in Tallinn voluntarily. If you must watch films for your work, then the pleasure that many others feel gets lost.
I used to have a practice that before the film watching period started I created a deliberate overdose watching months of crap films. This created a certain vacuum and a need to watch something for the soul.
From August my life went like this: work until 4 pm, then watching films until 4 am, then back hurt brush vienna work 7 am. This way I just burned out and I can- 19 not do that anymore. If you watch films annually then normal pleasure just disappears. When the festival is over I do not want to see a single film at least for 3 months.
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I save myself, watching TV series that simply do not use the brain, read books but I am not able to watch films. When I was young I promised myself that I will not succumb to professional cretinism — that I would not watch films only analysing them but would retain the ability to enjoy them without thinking how they were made.
It did not work. When the lights go off and captions hurt brush vienna running, the computer in my head switches on. You probably spend most of the year organising the festival and a few months before the festival there is no free time in your schedule at all. Where do you get your energy and how do you spend your time off? During the first half of the year the normal workday is 8 hours, then it gains speed up to 20 hours a day. In fact, many more people work for the festival: 12subcontractors, and with volunteers the total number is and maybe more.
Plus project applications that are often hundreds of pages, as well as reporting.
Picking films for festivals, negotiations with new and old sponsors — there is enough work for the whole team all year around and more.
It is needed to get rid of the festival tension and routine. I have two daughters and parenting them has required more than just high-flying ideas. Much of my energy I get from my children — without them I would be a very different person. They are the only ones I can rely on in difficult moments. They would not let me sit and cry and order me to get up and move — in a good sense. For example, after my burnout they forced me to do yoga, they dragged me hurt brush vienna water aerobics; they have been by my side and supported, watching my every step.
Because they hold and love me I still feel like a girl, running on the stairs and with no worries. I also have a very good country home that I am fixing up with my friends. It is very important to me. Being a Libra I live a life of contrasts — one half of me communicates actively and works under high tension; the other half sits there, in the forest, in total silence. My friends both in Estonia and abroad valeuhendused kuunarvarre ravi well as my team are all just fabulous.
And I am a very happy person! PÖFFi passide ja alafestivalide piletite eelmüük algab 4. Loe lähemalt www.
Buy two tickets and get the third for free! Read more www. Sooduspiletitele ei kehti EMT kliendi eripakkumine. Discount tickets are valid for pupils, students and pensioners when a respective identity document is presented.
Special offer for EMT clients is not valid for discount tickets. Osta ja trüki pilet ka internetist — www. Koodid leiad kavavoldikust ja kodulehekülje ajakavast. When buying tickets: Note that each screening has a four-digit code that can be found in the programme leaflet and the screening schedule on PÖFF homepage.
Use the code for buying tickets at the counter and over Internet. Festivali ajal müüakse katalooge kõigis linastuskohtades.
During the festival the catalogues are sold in all screening places. Publiku lemmikfilm kuulutatakse välja Samas loositakse hääletajate vahel välja hulk auhindu, mille hurt brush vienna välja pannud PÖFFi toetajad. Publiku lemmikfilmi režissöörile on auhinnaks euro suurune stipendium Tallinna linnalt.
Kuidas hääletada? Lisainfo: www. Infopunktid töötavad igas PÖFFi kinos. Kuidas selgub parim film? Hoia oma mobiiltelefon sees, sest äkki me helistame tol õhtul kohe ja just sinule! Mis on auhinnad? Publiku lemmikut aitab välja selgitada EMT!
A number of prizes from festival sponsors will be drawn there as well. How does the drawing of awards take place? Keep your mobile phone switched on, we may be calling you that same evening! That same day, the organizing committee will issue a press release on the final results and contact the winners personally.
How to vote? More information: www. There is an information desk at every PÖFF cinema. How is the best film determined? Estonian affiliate office. Unenägu sai läbi. The dream just ended. Selle aja jooksul on filmist saanud meedium, mis inspireerib poliitikuid, ettevõtjaid, teadlasi ja mida kasutatakse hariduses, teaduses, propagandas ja mujalgi.
Õigupoolest räägime täna kinost, mitte filmist. Me räägime filmide vaatamisest. Me ei räägi tselluloidist, millele on aegade jooksul tehtud filmi, vaid koondame oma mõtted sellele, mis on loodud.
Kino on kunst, mis räägib laiade rahvahulkadega ning loob dialoogi üksikisiku ja ühiskonna vahel. Film is the biggest commercial art form, and it has dominated the art world over a century. During that time, film has inspired politicians, business people, scientists, and found use in science, education, propaganda and elsewhere.
Today we talk about cinema, not film. We talk about watching films. Cinema is an art form that speaks to hurt brush vienna groups of people and creates a dialogue between individuals and society. Tänu Pimedate Ööde Filmifestivalile jõuab kino tuhandete inimesteni ja nii juba viisteist aastat järjest.
Festival on ennast nende aastate jooksul üles töötanud ja tõestanud Euroopa suurimate festivalide seas. Väikese Eesti rahva jaoks on see muljetavaldav saavutus.
Kuigi eesti film on näinud keerulisemaid ja lihtsamaid aegu, saame hurt brush vienna tõdeda, et eesti film elab — Eestis filme toodetakse, näidatakse ja armastatakse. Pidustused võivad alata! I tried to explain to him that I paid since the first night but no receipt. But I don't have time to wait, my train schedule very close and he let us but told us to keep debet my credit card. I didn't have time to argue and hope he will find that I already paid. When I came back to my country, I found Kyrad hotel charged my credit card again.
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