CEEA Talks: Corinne Destombes & Tonje Skar Reiersen about the CEE Animation Workshop

“Group work is the backbone of the Workshop”

In the run-up to a new year for the CEE Animation Workshop, we look back at previous editions with two group leaders. Producers Corinne Destombes (France, Folimage) and Tonje Skar Reiersen (Norway, Mikrofilm) guided 12 participating teams (two groups of six film projects each) along an intense trajectory of group sessions, expert talks, script feedback… and wine tasting! The Workshop seems to capture exactly what CEEA stands for, it is an overwhelming professional experience, but also ‘an adventure on an interpersonal level’.

 

Can you both introduce each other and tell why she is perfectly placed to be a CEE Animation Workshop group leader?

Tonje Skar Reiersen: Corinne has a long track record as creative producer in animation. We always looked to Folimage for inspiration. They’re making quality films for young audiences, and they’re good at getting them out in the market, through theatrical distribution or festivals. Moreover, Corinne is a warm, enthusiastic person – “everything is possible, everyone is welcome” – and the entire Workshop environment benefits from her positive energy. There’s a lot of good producers out there, but a group leader needs to have that certain pedagogical instinct, and an honest interest in people and in the projects they’re developing.

Corinne Destombes: When I first met Tonje, she had just completed TITINA, a beautiful but hugely demanding project. At Folimage, risks often feel minimal – in this well-established company one project can compensate for another. The risk for Tonje is much bigger. She gives it her all, she is very convincing and utterly well organised. I am constantly questioning myself about ideas and methods, while Tonje is totally confident, which I admire about her.

 

In the Animation Workshop, you are both group leaders. But now that the new edition was announced, I couldn’t find your names on the list.

Skar Reiersen: Because we have completed our two-year term. In general there are two groups per workshop, and for every group there is one producer as group leader, and one script consultant. The new group leaders are Annemie Degryse (Belgium) and Reka Temple (Hungary), while Phil Parker and Rita Domonyi stay in post as script consultants. Maybe we’ll return in a few years; it has been such an interesting assignment!

 

Would it really be an option to have you doing it again in a few years?

Skar Reiersen & Destombes: Definitely!

 

What is the role of a group leader?

Skar Reiersen: More than just a script lab, the CEEA Workshop offers a full package. Teams enrol with one producer and one or two creatives. Over the course of a year, we pay attention to everything a project needs to develop. By the end of the trajectory, you should be ready to go into production or apply for funding. We use a holistic approach, discussing every single aspect: How will the project be positioned? How will the financing be done? We comment on the script, the financing plan, the budget, the co-production set up, etc. More feedback comes from the script doctors and from the other participants. CEEA invites a host of experts, advising on marketing, company development, contracts, etc. This makes the Workshop a very intense experience, but immensely rich in content.

Destombes: When comparing the status of a project during the first meeting with the final product, it will have undergone a complete change. We motivate people to question every aspect of their work: How to sell the project, how to put together a production package, how to present it to broadcasters? We treat the projects as if we were the producers.

 

Did the Workshop unlock a new network not only for participants but also for you?

Destombes: In France the film industry is very self-focused. My work at CEEA made me realise about the broader European context. With the six projects in my group, we all feel closely involved with each other’s work. Coming from different countries and cultures with our own backgrounds, we empathise with the situation of others. That makes it also an adventure on an interpersonal level.

Skar Reiersen: Over such a period of time, you get to know each other in and outside of the sessions. From this international group, you learn about politics, history, food,… It makes you feel like being a part of a big European family. At international festivals, as for example at CEEA’s garden party in Annecy, we seek each other’s company.

 

I thought you only did it for the money! I watched a CEEA clip and what I saw was images of fancy hotel furniture and yachts in a harbour. As if I found myself among the category of super rich.

Skar Reiersen: As if anyone in Europe had ever gotten rich from animation! CEEA brings you to a bunch of lovely places. We have been to Bratislava, Vilnius, Ljubljana, and Opatija (Croatia). We connected with the local animation industry, breaking out of our ‘hotel bubble’ and mingling with producers, distributors and animation artists.

Destombes: When gathering abroad, some participants brought their children and families. Spending a week together adds a kind of ‘extended family’ feeling to the project. The super intense programme always leaves some time for ice cream, beers and laughter. I asked everyone to bring a bottle from their home country, which resulted in an exquisite wine tasting session on a Croatian beach!

 

Thank you for promoting local tourism and agriculture! I suppose you need a local partner to host you?

Skar Reiersen: CEEA teams up with national film institutes, like the Lithuanian or Croatian Film Institute. They take care of everything, they introduce us to the local film industry and explain about local funds and conditions for co-production.

 

The Workshop welcomes different formats, like shorts, features, documentaries, TV-series… Do different formats require different methods?

Skar Reiersen: This year for the first time, we had a VR project! When it comes to creative development, the essential questions are applicable to any format: What’s the arc of a character? Which type of visuals would serve the story? How to get the target audience emotionally engaged? But the scope is different. A short film project can evolve from an early development stage to being fully prepared for financing. A feature is much more complicated and requires more time.

 

When I see how many experts and facilitators are being involved, I wonder if you as group leaders just have to sit back and relax?

Skar Reiersen: The group work is the backbone of the Workshop – that’s where projects grow and develop. Experts come and go with lectures, but as group leaders we are all the time involved with every aspect of the trajectory. In every module we dedicate two hours to group feedback on every project, about both the creative and the production side.

 

Working together over a full year, must make you feel attached to the participants and the projects. Then what…? What can you tell about the process of letting go?

Destombes: We don’t let go; we stay in touch. I recommended projects to French broadcasters and producers. I advised participants on potential international interest, and on sales agents that might help their films enter the right festivals. After working on it for so long, you feel a kind of co-ownership, the projects grow upon you. In November I’ll be attending the Black Sea Animation Workshop in Georgia, and we’ve planned a reunion with our Georgian participants, to discuss further support.

Skar Reiersen: Participants grow bonds that are both professional and personal. This year my group agreed on further exchanging new drafts of their scripts, since the level of feedback was so high. They realise how much they can benefit from the input of other participants.

 

What made the last edition different from earlier editions?

Skar Reiersen: It is impossible to compare, but it’s always defined by the people participating. Both editions were fantastic in a different sort of way. Last year we had some very energetic party people, which was fun! This year, in many projects, the producer and director were life partners. Working with couples aroused a different sort of vibe, which was also fun. Having them bring their kids to Croatia created a holiday-like atmosphere. Animation people generally tend to be nice and generous. If you commit to a workshop in which you’ll spend hours talking about other people’s projects, this attracts a certain type of people willing to create a warm, safe environment. Which is exactly what we do.

 

Those clichés about animation people do make sense?

Skar Reiersen: Animation is a very collaborative art form. You’ll find a lot of sensitive artists there who are more occupied by sitting and drawing than by being out there, selling their work or their persona.

 

You put a lot of information into their heads. Are there also things – like commonly spread false expectations – that you have to put out of their heads?

Destombes: I emphasise how complicated the production part can be, often more demanding than the creative part. Producing a feature film or TV-series is a true adventure: making a budget and a financial plan, convincing potential partners, understanding your local distributor,… I never say they can’t do it, but I want them to realise that it’s challenging and it’s hard work.  Moreover, circumstances and funds for production differ in every country.

Skar Reiersen: The level of professionalism among participants is superb. Most of them are trained professionals with an impressive career. I learned a lot from them. Being a producer is a complex occupation, there are so many different aspects to work on. No one can be good at every single aspect.

 

You have one expert talking about legal issues. I think that’s a smart idea – I am often surprised how little people know about the legal context of their work.

Skar Reiersen: Ulrich Michel is a German lawyer and mediator. His lectures deal with communication and conflict resolution (or more likely how not to get in conflict in the first place) but he also talks quite hardcore about contracts and ownership. Drafting contracts was never my strong point, so I found these lectures very applicable. Legal jargon can scare you off, sounding like a foreign language. But Ulrich has his own way of storytelling, making it more accessible and less scary. I truly believe that I’m better at contracts nowadays than I used to be.

Destombes: Ulrich’s session is not only valuable for producers but also for the creative participants, to get a better understanding of the complexity of film production.

 

Some experts find it particularly important to connect with bigger and stronger markets. You mainly deal with low production capacity countries.

Skar Reiersen: Both yes and no. Production capacities might be low indeed, but on the honours lists of all the most prestigious short film awards, you’ll come across Central and East European titles all the time. Not only do they produce the best shorts, they also know how to get them out to the best festivals. It’s different for feature productions, but except for France and the UK, there’s not many European countries that can deliver an animated feature without co-producing – unless they’d be working with an extremely popular domestic IP.

Destombes: Every Eastern European country knows how to do animation. This is ‘animation territory’, and I was happy to be immersed in it. It’s like making a trip through animation history, based on a tradition of talent and creativity.

 

Did the Workshop boost your international awareness?

Destombes: Last year we had a project from Ukraine. They couldn’t finish their presentation video, because of the noise of the bombs in the background. Such experiences do put things in the right perspective, and make you realise we all have to stand together.

Skar Reiersen: This year again we had two Ukrainian participants. You’re working closely together, you have the same pan-European cultural references, the director and producer are super cool, relatable European women… but after the session we’re going back to our homes and families, and they return to a country at war. That is just unimaginable.

 

How do you feel supported by CEEA as an organisation in facilitating the Workshop?

Skar Reiersen: Totally! They’re so professional, well organised and communicative. They’re truly interested in our advice on things that do or do not work in the context of our sessions.

Destombes: CEEA is constantly considering how to make things better or more efficient. They’re very ambitious and I’m impressed by their methods.

 

With all these experts invited to the Workshop, who would be your ‘ultimate dream expert’? Who’s the one you want to walk into the room to give a lecture one day?

Destombes: Michael Dudok de Wit is such a sweet and kind person. We co-produced his first short, THE MONK AND THE FISH. As a producer, I love listening to creative people sharing their ideas. Last year we had a lecture by Adrien Merigeau. He started talking very slowly and silently, as if he was whispering into our ears, and he took the entire crowd on a fantastic trip to another world.

Skar Reiersen: For me, the most inspiring recent European feature animation was CHICKEN FOR LINDA. I found that film so liberating, fresh and bold. I’d love to hear filmmakers Chiara Malta and Sébastien Laudenbach talking about their creative process. His visuals are amazing and maybe Chiara Malta can tell if her live action background has helped them in capturing those mesmerising voice performances.

Interview conducted by Gert Hermans for CEE Animation.