1. art and entertainment
2. dance
3. ballet

Dominic Walsh & Frédérique de Montblanc, 2015
Summary
Synopsis
A word FROM the co-director & choreographer
A word from the co-director & writer
Team
A word from the Production Company
Post Production Planning
Budget
CONTACT
+ + Press
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With MALTA KANO, TX, Dominic and I
write an ode to dance and celebrate
the art form that brings us, again
and again, to collaborate together.
01 Synopsis
MALTA KANO, TX tells the story of a couple in crisis where
the man and the woman seem to be unable to tame each
other anymore. Somewhere along the line, communication
was lost. Sometimes, by trying so hard to please to our
partner, one transforms and forgets oneself in this metamorphosis.
In the film, Kumiko (the wife) seems no longer adapted to
the system imposed by her partner Toru. It’s as if the microsociety that the couple had build together was dissolving
and that a revolution was on the verge of erupting.
Kumiko’s new resistance to Toru stems from a contradictory
desire, a tangle between a desire for escape and a desire
for reconciliation. Toru’s mind is invaded by a rampant feeling of jealousy, a diffused sensation of insecurity that forces
him to confront his own demons.
From Kumiko’s reconciliation effort emanates a form of bittersweet nostalgia. It’s as if we were assisting to the celebration of a past complicity that may or may not rise from
its ashes. This film stages the transitory state of a couple
within which one has changed over the years while the other
has rigidified into a self inflicted routine.
This film questions love as it relates to time and change.
What does one need to sollicitate from the past to continue
engaging into an optimistic future with his or her partner?
How can one learn to ignore the initial projections that can
so often pollute the fragile act of loving in the present?
02 A word FROM
the co-director & choreographer
One of my central artistic intentions for this project was
to bring together daily life gestures and choreographed
movements. The initial idea was to ask the dancers to
reproduce these mundane gestures through their unique
capacity to absorb the emotional and the psychological. This
brought me to the development of a choreographic language
based on gestures that seem at first, pedestrian. One can
recognize these movement intentions in the scenes of ‘the
Dining Room’ and ‘the Bedroom’, movements here become
choreographic comments on a couple’s daily routine.
My second intention that emanates more precisely in ‘the
SUV scene’ was to create a series of gestures that were
heavier and harsher to accentuate the dramatic dimension
of the narrative. The effect created is a heightened sense of
gravity, as if the earth is pulling the dancers down with all
its force. I wanted to create a contrast between the weight
of their legs and the airiness of their upper bodies. These
counterpoints create an ambiguity as to whether we are
traveling through dream or reality.
The final scene takes place on a theatre stage and is filled
with optimism and lightness. This final duet brings forth the
splendor of movement and the extraordinary technique of
the dancers. In this space of neutrality, an encounter can
finally take place. The communication between the two
characters becomes more fluid and intimate. This exchange
exists at the opposite of the verbal spectrum, the means of
communication are more primitive and come from a place of
profound honesty.
DOMINIC WALSH
My objective as a choreographer has always been to broaden
the field lying in between theatre and dance. In MALTA
KANO,TX, the dancing style is far from being classical, it has
been developed in a unique and particular way. I believe this
film is a splendid demonstration of the esthetic vastness I
have worked so passionately to forge and maintain over the
past years. It is also the culmination of a unique collaboration
with a suprising artist who has managed, with her team, to
bring forth the precision of my choreographic language.
Sometimes, by trying so hard to
please to our partner, one
transforms and forgets oneself
in this metamorphosis.
03 A word from
the co-director & writer
The writing and directing of MALTA KANO,TX was a timely
challenge in my life. Indeed, it had been four years since I
had been back in Belgium, four years after next to a decade
spent in the United States. I had also been developing a
growing passion for movement and dance which had started
to become the focal point of my work both as a film maker
and as a designer. And Dominic and I had been fantasizing
the idea of shooting a dance film together for over two years.
MALTA KANO, TX is above all an autobiographic film where
dance and the aesthetic world created around it weave
together a metaphor for my personal story. Six years ago,
I left Los Angeles, where I had studied in the Arts, to follow
a Texan man with whom I got engaged. As a young and
idealistic European artist sent into a world of appearances, I
tried my best to perform the role I was given and to become
a woman I wasn’t.
Frédérique de Montblanc
With this film, I tell the story of my inadaptation to a certain
social sphere in Texas; to its culture and its codes while
celebrating what it has brought to me: a particular esthetic,
a freedom in form, and the conviction that any dream is
possible, even the one of directing a film.
But more importantly, with MALTA KANO, TX, Dominic and I
write an ode to dance and celebrate the art form that brings
us, again and again, to collaborate together.
While my directing style often starts with constraint and formalism, Dominic’s choreographic language brings together
technique and sensuality, discipline and fluidity. I believe this
film is a beautiful blend of our two worlds.
Soft then progressively surrealistic,
the light becomes more and more
expressionistic as the story unravels.
It was important for us that light
intervene as a character in the film.
04 TEAM
1
Dominic Walsh
Frédérique de montblanc
Dominic Walsh has danced the greatest classics all over the
world (Swan Lake, Romeo & Juliet, Manon, Giselle, etc.) He
has had the pleasure to dance with Virtuoses such as Nina
Ananiashvili and Alessandra Ferri. He inspired Natalie Weir
to write Steppenwolf and In a Whisper in which he interpreted the principal characters. He received the Choo-San Goh
Award in 1998 for his choreographic debut for Houston Ballet, Flames of Eros.
Born and raised in Brussels, Frédérique went on a long
artistic journey that brought her first to Montreal where she
completed her BFA in Theatre at Concordia University in
2004. She then flew to Los Angeles to further her interest in
video art, performance and set design. She obtained her MFA
from CalArts in 2007 then moved to Texas where she worked
on several projects with the Dominic Walsh Dance Theater,
Pascal Rambert and the Mercury Baroque Music Ensemble.
In 2002, he founds his own dance company: Dominic Walsh
Dance Theater. His artistic direction becomes more contemporary, his repertory includes works by Jirí Kylián, Mats Ek,
Matthew Bourne and Mauro Bigonzetti. He receives his second Choo-San Goh Award in 2007 for his piece Amadeus
for Anita and is the recipient of the Princess Grace Award
in 2008 for his piece: Mozart. He is also the winner of the
Hubbard Street Dance Chicago’s National Choreographic
Competition in 2010.
Since she’s been back in Europe, Frédérique has created
the sets and costumes of I Would Prefer Not To by Selma
Alaoui (Theatre les Tanneurs, Brussels) for which she was
nominated at ‘le Prix de la Critique 2010-11’. Her set design
work also includes Les Buveuses de Cafe by Compagnie
Mossoux-Bonte (Theatre Romain Rolland, Paris), and more
recently The Two Character Play by Tennessee Williams
directed by Sarah Sire (Théâtre Océan Nord, Brussels)
as well as Mas-Sacre choreographed by Maria-Clara Villa
Lobos (Theatre les Tanneurs, Brussels).
Dominic Walsh has been commissioned to create several
works for numerous dance companies such as, Teatro di
San Carlo in Naples, Florida Ballet, the American Ballet
Theatre Studio Company, Ballet Austin, Nashville Ballet,
the London Studio Centre, the Asami Maki Ballet Tokyo,
and the New National Theatre in Tokyo. Walsh served as
resident choreographer of the Sarasota Ballet of Florida for
which he created Wolfgang for Webb (2008), The Trilogy
(2009) and Time out of Line (2011).
Her video work includes short films and video installations
which she has shown in several galleries and art centers
in Los Angeles, Brussels, Houston and Paris: Ainsi Fonfonfon (2007), Unfortunate Drinkypoo (2008), Auf Deutsch
please! (2010), La Salle à Manger (2011), Suite 560 (2012),
Héroïnes (2013).
Her short film La Cave (2010) was presented on the TV
channel of Arte Creative in 2012.
04 TEAM
2
Hana Sakai — DANCER
Regarded as one of the most prominent and popular ballet
dancers in Japan, Hana Sakai was born in Seattle and
started her ballet career training under Toshiaki Hatasa,
Asami Maki and Kyozo Mitani.
She joined the Asami Maki Ballet Company in 1993. In 1997,
Hana joined the New National Theater in Tokyo and danced
the leading role of Princess Aurora in its memorable opening performance of The Sleeping Beauty among the world
famous ballet dancers, Yoko Morishita and Miyako Yoshida. She has taken leading parts ever since in the Theater’s
performances, including Giselle, Cinderella, Don Quichote,
La Bayadere, La Fille Mal Gardée, La Sylphide, Firebird,
Carmen, Paquita, Dying Swan, Romeo & Juliet and Swan
Lake. In 2003 she became the first Japanese ballet dancer
ever to perform the title role of Sir. Kenneth Macmillan’s
Manon, (with Dominic Walsh), when staged for the first time
in Japan with at New National Theater, Tokyo. Ms. Sakai has
also danced works by choreographers such as George Balanchine, Nacho Duato, Christian Spuck and Antony Tudor.
In 2007, Dominic Walsh created the full evening work
Orfeo and Euridice with her in the title role receiving praise
from critics. In 2010 Ms. Sakai danced the lead in Walsh’s
Wolfgang for Webb at NNTT with Domenico Luciano. She
has appeared at the Charity Gala-Award Ceremony Benois
de la Danse Prize at Bolshoi Theater, Moscow, Russia and has
received numerous awards including; Tachibana Akiko Prize
[1st Prize in Saitama Ballet Competition] (1988), Muramatsu
Prize (1996), Dance Critics Society of Japan Prize (1996),
Nakagawa Einosuke Prize (1997), Education Minister’s Art
Encouragement Prize (1998), Hattori Chieko Prize (2000),
Kanagawa Culture & Sports Awards (2003), Tachibana
Akiko Prize-Superior Prize (2005), Dance Critics Society of
Japan Prize (2008), and Education and Science Minister’s
Art Encouragement Prize (2009)
Sakai’s present Status is Honorable Dancer, New National
Theater, Tokyo.
04 TEAM
3
Domenico Luciano — DANCER
Domenico Luciano was born in Naples, Italy and graduated
from Royal Teatro di San Carlo Ballet School in Naples
in 1999. In the same year, Mr. Luciano was invited to join
the Deutsche Oper am Rhein in Dusseldorf, Germany.
After dancing with several companies in Europe including
Europadance in France, Maggio Danza in Florence, Teatro
Dell’Opera in Rome and Teatro di San Carlo in Naples, in
2004 Mr. Luciano joined Tulsa Ballet as a Demi-Soloist.
In 2005, he joined Dominic Walsh Dance Theater in Houston as Principal Dancer. His repertoire includes many of the
classical principal leads in both Sir Kenneth MacMillan and
John Cranko’s Romeo & Juliet. He dances Romeo and Paris
in Amedeo Amodio’s Romeo & Juliet with Eleonora Abbagnato, Etoile with Paris Opera Ballet.
Over the years, he has lead La Bayadere, The Nutcracker,
Giselle, all by Derek Dean; In the Night by Jerome Robbins;
John Cranko’s Onegin; Roland Petit’s Ma Pavlova with
international ballerina Lucia Lacarra; and Carmen with the
National Ballet of China.
Domenico also excels in his contemporary repertoire, which
includes the works of George Balanchine; Nacho Duato,
Carole Armitage, Matz Ek, Jirí Kylián’s and Matthew Bourne.
In 2009, he dances in Dominic Walsh’s version of The Firebird
with Paris Opera Ballet Étoile Marie-Agnès Gillot.
As an international Principal Guest Artist, Domenico has
danced with Tulsa Ballet, Ballet Quad Cities, The Sarasota
Ballet of Florida, Atlanta Ballet, Grand Rapids Ballet,
National Ballet of China and The New National Theater in
Tokyo. In 2003, he received the Leonide Massine award in
Positano, Italy as Best Male Dancer of the Year. In October
2008, the Houston Press named Luciano as «Best Dancer.»
He was also named in Pointe Magazine «Standouts: Our 12
favorite performances of 2009» and in 2010 he received the
«Young Talent Award» in Florence, Italy at DANZAINFIERA.
Luciano joined Colorado Ballet as a soloist in 2013 and was
promoted to principal in 2014.
04 TEAM
4
Romain Ferrand — Cinematographer
Loup Mormont — Sound Composer
Born in Lyon in 1981, Romain Ferrand migrated to Nantes
during his teenage years. After a brief stop in the United
Kingdom, he moves to Brussels to study cinematography
at IAD (Institut des Arts de Diffusion) where he obtains his
Masters degree.
Loup Mormont has studied electroacoustic composition at
the Conservatoire Royal de Mons under the direction of
Annette Vande Gorne. Since then, his music has been heard
in several festivals in Belgium and all across Europe. He has
composed for several films, video installation, theatre and
dance pieces. He has been teaching for the past couple of
years at the Conservatoire Royal de Mons.
Romain’s career as a cinematographer includes films, music
videos, documentaries and advertisments. His approach
of lighting is instinctive and related to the senses, the
atmospheres he creates aim to reflect the emotions brought
by the script. Light becomes the medium that sublimates
narrative.
He has worked with several directors and received the First
Cinemtography Prize at the Molodist Festival in Kiev for his
work on Antoine Cuypers’ film Autonomie de la Volonte.
He was also the cinematographer of Etrangère by Christophe
Hermans which toured over 50 festivals around the world
and for Ed and Shoulder by Maxime Pasque, which was
qualified by critics as a ‘cinematic ufo’.
Romain Ferrand had worked with Frédérique de Montblanc
since she came back to Belgium. He framed and lit La Cave,
La Salle à Manger, Suite 560. He also designs lights for her
installations and performances: Tarentula loves you Sweetheart (2011), Héroïnes (2013), Roudelle et Feului (2013).
Loup Mormont favors studio work that gives him the most
precision in regards to musical matter and the reconstitution
of hybrid spaces. Loup sculpts sound by manipulating it
digitally. He records raw and living noise then reinjects music
into it. Since the end of his studies, he has been researching
the idea of creating ‘cinema for the ear’.
He stays an adept of narrative structures and tries to bring
to his musical soundscapes a visual dimension.
Sound will oscillate between
abstraction and figuration.
Music will at times support the
narrative, at others act as a
counterpoint to the emotional
arc. Loup Mormont will be
sculpting sound throughout.
05 A word from
the Production Company
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As producers for the past decade, we have worked on short
films, documentaries, corporate films and feature films. We
support films from their script version to their promotion
and distribution.
When our team saw the pre-edit of MALTA KANO,TX, it
was love at first sight. This atypical film is an experience
that is both visual and sensorial. We strongly believe that
this project has a great potential in terms of visibility and
promotion. Our desire is to help Frédérique de Montblanc
and Dominic Walsh to finalize this beautiful project with their
team and offer them the means to meet their ambitions.
Thanks to our network in Belgium and abroad, we can bring
MALTA KANO,TX to its audience, on the small screen and in
film festivals.
Frédérique and Dominic are both driven and imaginative
personas. While Frédérique has self-produced her films
in the past, this time, she has expressed the need to be
supported and we are thrilled she chose Eklektik to help her
and Dominic pursue their dream.
This ambitious project is both an ode to dance and the proof
of a fortunate collaboration between two artists and two
mediums. With MALTA KANO,TX, the viewer will dive into
a world that is both visual and mysterious, where language
is replaced by visual composition and movement, where the
body tells more than words. The magnetic force of the film
transposes the viewer into a series of captivating images
that seem to linger long after the projection.
Marie Besson AND Alix de Montblanc
eklektiK Productions
MALTA KANO,TX imprints images in one’s mind and stays
with us with its questions and inherent beauty. Through dance
and a strong aesthetic, a new form of narrative structure
emerges. MALTA KANO, TX was a successfully completed
production and now needs the means of its post-production.
We strongly believe that this film is accessible to a larger
audience than the dance enthusiast niche. MALTA KANO,TX
invites everyone in.
We consider that the post-production of this film must equal
its production quality. That is why we will focus on sound
and the musical composition of Loup Mormont who needs to
adapt his preliminary tracks to the edited version of the film.
There will be a need for additional sound recordings and of
course, sound mixing.
The editing will be taken in charge by Julie Naas under the
direction of Dominic and Frédérique and the color correction
will be monitored by their cinematographer Romain Ferrand
with his team in Brussels. All these steps are necessary to
bring to the film a strong visual imprint and a sustained
musical rhythm.
Because we also hope for a great visibility of the film, we will
work towards its distribution in festivals but also on TVs in
Europe and in the US. That entails: printing DVDs, developing
a website for the film, working on a trailer, creating a DCP
copy of the piece, designing a poster, a DVD cover, etc.
05 A word from
the Production Company
2
We are happy to announce that we have obtained funding from
the Brussels Short Film Festival which has selected MALTA
KANO,TX and attributed us 2000€ (2370 $) and a premiere
in Brussels, Belgium during their festival in April 2015.
Today, we are asking you to help us finalize this film and give
it the scope it needs. Our financial gap as of today is: 19.600€
(23215 $). This sum will permit us to provide a salary to the
members of the Post-Production team: from film editing to
music composition, from sound mixing to color correction,
from graphic design to the animation of the final credits, from
the promotion to the distribution of MALTA KANO,TX.
Marie Besson AND Alix de Montblanc
eklektiK Productions
We would be thrilled to count you as one of our collaborators, no matter what your contribution may be!
We invite you to notify the director(s) of your donation
so that they can let you know about the evolution of the
project and invite you to the premiere:
Dominic Walsh: [email protected]
Frédérique de Montblanc: [email protected]
We hope you’ll be as seduced by Dominic and Frédérique’s
world as we have been.
Eklektik productions
bank account
information:
Banque ING Belgique SA
N. CLIENT: 375-1007798-47
IBAN: BE22 3751 0077 9847
BIC: BBRUBEBB
Communication:
MALTA KANO, TX
Eklektik Productions
Avenue du Roi 108
Belgique — 1190 Bruxelles
+32 2 534 7595
www.eklektik.be
TVA: BE 875933754
Contact
Eklektik Productions
Marie Besson
[email protected]
+32 2 534 75 95
Contact the directors
Dominic Walsh
[email protected]
Frédérique de Montblanc
[email protected]
Malta Kano, TX is the great winner
of the Brussels Short Film Festival’s
post-production funding grant.
The film will premiere during the next
edition of the BSFF at the Royal Fine
Arts Museum in Brussels this Spring!
06 Post Production
Planning
1
Thanks to the fundraising efforts of the Dominic Walsh Dance Theater Company and the involvement of The Asia Society
Texas Center, MALTA KANO,TX has received the means of a beautiful production. Its post-production must reflect its making.
image
SOUND
Since her return to Belgium, Frédérique has started a collaboration with film editor Julie Naas. This encounter was
particularly pertinent since Julie has been dancing since she
was a child and has a very particular relationship to movement and thus to the film material.
There is a major sound re-composition that needs to happen.
While the duets were composed in reference to pieces Loup
wrote for the film, the editing process has challenged the existing material. New directions need to be explored and some
more concrete sound recordings will have to be immersed
into the soundscape. If the narrative is structured within an
ambivalence between reality and dream state, sound must
follow that path at times in sync, at others in counterpoint.
The focus of the editing will be put on the emotional. The
editing work will involve a reframing of narrative to find the
right equilibrium between dramaturgy and emotion, between
fiction and dance. The cuts need to be more precise, Julie
will introduce some more narrative fragmentation and the
image will need to be polished as much as possible through
color correction. Cinematographer Romain Ferrand will be
monitoring this aspect of the work with Xavier Dockx with
whom he works very often and has expressed enthusiasm
for the project.
Loup Mormont will revisit his compositiosn and work with
a sound editor to bring in concrete textures such as breath,
the sound of Kumiko’s zipper, Toru’s hand sweeping through
the sheets…
Recomposing, Sound Recording involves sound mixing which
will be monitored by Sound Engineer Daniel Bleikolm who
has followed the pre-production of the film and is particularly
sensitive to Loup’s work.
— Sound editing studio: € 1000.- / $ 1180.-
— Post-Production Directors: € 2000.-* / $ 2370.-
— Composer: € 1000.-** / $ 1180.-
— Editing Suite: € 1400.- / $ 1660.-
— Sound Editor: € 1200.-* / $ 1420.-
— Editor: € 2500.-* / $ 2960.-
— Sound recorder: € 700.-* / $ 830.-
— Color Corrector: € 1500.-* / $ 1780.-
— Sound Engineer Post-Synchro: € 250.-* / $ 300.-
— Color Mixing and Synchronizing: € 300.- / $ 360.-
— Sound Mixer: € 950.-* / $ 1120.-
06 Post Production
Planning
2
CREDIT
DISTRIBUTION
The last layer of varnish of the film will be the animation
of the crediting which will be taken over by Squarefish, an
association of animation artists in Brussels. Credits will appear and disappear with a lighting effect similar to the one
in the long corridor where Toru dances in between stripes
of shadows and light. The graphic design will be created by
designer Meriem Bouhara.
Our National Premiere will take place a the Brussels Short
Film Festival. We will then look into festivals in Europe
and abroad and of course look into the right place for the
American Premiere.
— Graphic Designer: € 800.-* / $ 950.— Animation of credits and titling: € 650.-* / $ 770.-
This film has already peaked the interest of various spheres
and audiences. In Brussels, the Théâtre des Brigittines,
directed by Patrick Bonté, with whom Frédérique has
already collaborated on several projects, has expressed
interest in the film and would like to project it during one of
their festivals. La Briqueterie, the European Dance Center
in Paris, is waiting for a final product.
PROMOTION & DISTRIBUTION
We strongly believe that this film will reach out to a large
audience. It is an emotional travel that even the dance novices will appreciate. A promotion work is necessary. We will
work with Meriem Bouhara who will help us create the visual
identity of MALTA KANO,TX as it pertains to a website, a
DVD cover, a poster,...
— Producers: € 1000.-* / $ 1180.— Website creation: € 1200.-* / $ 1420.— Advertisement: € 550.- / $ 650.— Production costs: € 300.- / $ 360.— Transportation: € 450.- / $ 530.— Production Insurance: € 200.- / $ 240.-
Dominic Walsh has spoken with the Houston Film Festival
and the Austin Film festival. They are both expecting our
final edit soon.
— DVD conception: € 400.-* / $ 475.— DVD duplicates: € 600.- / $ 710.— DCP copies: € 650.- / $ 770.-
* These amounts are artist fees and are tax included (between
40-55% in Belgium).
** The amounts are royalties (tax free).
06 Post Production
Planning
3
CALENDAR
From February 1st to February 7th
— Prep Work with Squarefish for the crediting
— Website construction and visual identity creation
with Meriem Bouhara
From February 9th til February 21st
— Film editing with Julie Naas
From February 23rd til Febryary 28th
— Sound composing and editing with Loup Mormont
From March 2nd til March 7th
— Sound Mixing
— Color Correcting
— Finalize crediting
March 10th
— Launching of the website
— End of the Post-Production of MALTA KANO,TX
April 2015
Premiere OF
MALTA KANO, TX
At the Brussels Short Film Festival
06 Post Production
Planning
4
A Short Film Post-Production Grant issued by the City of Brussels
«Malta Kano, Texas» is the great winner of the City of Brussels post-production grant.
Karine Lalieux, the Cultural Deputy burgomaster of the City of Brussels and the non-profit organization Un soir… Un Grain are proud to
announce the great winner of the 2000 euros grant for post-production.
For this edition, the choice of the jury goes to Frédérique de Montblanc & Dominc Walsh’s film, Malta Kano, Texas, produced by Eklektik
Productions.
The film will be premiered during the Brussels Short Film Festival between April 23rd and May 3rd 2015 !
Malta Kano,TX, seduced the jury, composed this year of Laura Wandel (director of the film «Les Corps Etrangers» selected in the official
competition of the Cannes Festival in 2014), Nicolas Guiot (who received the Magritte prize in 2013 for ‘best short film’ and the Cesar prize
during the 38th edition of the Cesar festival for his film «Le Cri du Homard») and Pascal Hologne (founder of the non-profit organization
Un Soir… Un Grain and the director of the Brussels Short Film Festival and the Be Film Festival).
This grant is an initiative of the Culture deputy burgomaster of the City of Brussels started in April 2014 in collaboration with the Brussels
Short Film Festival. Its objective is to help Brussels film creation by supporting emerging authors. The grant consists of 2000 euros given
to a first film produced by a Brussels based Film Director.
Malta Kano, TX is an atypical film
that presents us with an experience
that is both visual and sensorial.
We hope you’ll be as seduced
by Dominic and Frédérique’s world
as we have been.
07 BUDGET
image
Post-Production Directors
Editing Suite
SOUND
Color Corrector
Color Mixing
and Synchronizing
PROMOTION & DISTRIBUTION
1000.- Graphic Designer
*800.- Producers
*1000.- DVD conception
*400.-
(2370$)
(1180$)
(950$)
(1180$)
(475$)
*650.- Website creation
*1200.- DVD duplicates
600.-
(770$)
(1420$)
(710$)
1400.- Composer
**1000.- Animation of credits
(1180$) and titling
*2500.- Sound Editor
*1200.-
(2960$)
(1420$)
*1500.- Sound recorder
*700.-
(1780$)
(830$)
300.- Sound Engineer
Advertisement
Production costs
(300$)
Sound Mixer
*950.-
7700.- Total Sound
(9130$)
5100.(6030$)
Transportation
300.-
450.(530$)
Production Insurance
200.(240$)
Total Credit
1450.(1720$)
TOTAL BUDGET : 19600 € (23 215 $)
* These amounts are artist fees and are tax included (between 40-55% in Belgium)
** The amounts are royalties (tax free).
650.(770$)
(360$)
*250.-
(360$) Post-Synchro
550.- DCP copies
(650$)
(1120$)
Total Image
DISTRIBUTION
*2000.- Sound editing studio
(1660$)
Editor
CREDIT
Total Promotion & Distribution 3700.- Total Distribution
(4380$)
1650.(1955$)
08 CONTACT
Production Company
Watch the trailer of MALTA KANO, TX
Follow us on Facebook
http://vimeo.com/96704107
www.facebook.com/maltakanotx
Eklektik Productions
Avenue du Roi 108
B — 1190 Bruxelles
www.eklektik.be
Producer
Marie Besson
[email protected]
+32 25347595
Production Assistant
Alix de Montblanc
[email protected]
Directors
Dominic Walsh
[email protected]
dwdt.org
Frédérique de Montblanc
[email protected]
frederiquedemontblanc.com
With the support of the City of Brussels, Brussels Short Film Festival, Eklektik Productions and Asia
Society, Texas Center
++ PRESS
MALTA KANO, TX online press (Click to read the article)
MALTA KANO, TX cultural agendas
© Dominic Walsh & Frédérique de Montblanc, 2015