12/05/2006

After specialising in the recording of events, producing commercials and corporate films, Tomas Leyers of Minds Meet is now turning his hand to filmmaking. He has already produced two shorts by Hans Herbot (The Difference, All About Cheese) and has begun working on a project with Caroline Strubbe. A young innovative and dynamic producer who is burning with enthusiasm when it comes to European co-productions.

Cineuropa : What professional path did you follow before setting up your own production company in 2003?
Tomas Leyers: To become a film producer, was my ultimate aspiration when I changed my job ten years ago – in a previous life, I had been a bio-engineer. But foremost I started up a video production company called DJEENI, because I wanted to attain a certain financial independence and some business maturity. Over the years, we became specialised in video productions for events, B-2-B and the multicamera recording of concerts. At the same time, I developed a personal track record in the artistic direction of large public events, such as Belgium Dances, 10 years King Albert II and Flanders Festivity.

Is music one of your passions? What exactly is required to film live concerts?
Indeed, music was, and still is, one of my great passions. Music is a very direct form of expression and a live concert is the best way to experience these emotions. A good recording of a live concert requires, of course, good material, lots of cameras and great cranes and dollies. But the most important thing is to have a crew (director and cameramen) that share that same love for music. I worked with some amazing directors whose finger play on the buttons was just a joy to watch. We’ve been literally dancing in the OB car while recording the concert. It’s a great thrill to film, edit and broadcast live on national television, all at the same time.

Why did you create Minds Meet?
I had achieved a certain degree of professionalism in my work. Satisfying though this was, it left me hungry for a new challenge. I wanted to do something more artistic, something with more substance. So I decided it was time to return to my first love, producing feature films. At the same time the Vlaams Audiovisueel Fonds had set up an application for producers coaching sessions. So I applied and got a great coach, Pierre Drouot (the producer of films like Toto le héros). And that is how it all began.

What made you decide to make the leap to producing cinema?
A question I ask myself often in the middle of the night, when all goes wrong. But an answer I find every time I see somebody giving the best of themselves to create something unique. I guess because film is people business and I like people.

Can you tell us about the collaboration with Caroline Strubbe and this first feature film, Lost Persons Area ?
Lost Persons Area is not an obvious choice as a first feature film. It tells a rather complex, dramatic story that covers two periods of time and has quite a lot of characters and settings. The screenplay we have before us nowadays was originally written as a three-hour film project. Nevertheless, I was convinced that its content and poetic punch more than justified its filming. Moreover, I found the visual originality of Caroline's previous work extremely intriguing. And the enthusiasm and dedication with which she works on all of her projects was very inspiring. For those reasons, I very much wanted to develop this film. With the support of development funding by the VAF (and great coaching) the present version has been whittled down to a more manageable length of 90 minutes, but the underlying philosophy of the story is still the same. As a fledgling producer of a feature film debut, I am working with the director to form a feasible production structure, which does not detract in any way from the authenticity of the story. Today we have production funding from the VAF in place and we are developing further financing of the project with Artémis Productions and De Productie.

You have also been selected for the EAVE programme in 2006. What do you expect from this programme? Have you already started participating to the workshops and are you satisfied?
I think because of our willingness to co-produce. Although Lost Persons Area is a first feature film, I wanted to explore all the possibilities of international funding and co-production, for this film and further projects. And since my experience in European co-production was very limited, I wanted to check out my notes against the background of other young European producers. I am always very open to meet people with more experience and listen to their stories. This was something I already experienced when I was selected last year to participate in the 'The Rotterdam Lab'. International interactions and work contacts were very inspiring. By meeting and sharing the visions of other European producers, I somehow hope to drift away a little from the sometimes obvious homegrown solutions. This was (and still is) the main reason I wanted to participate in the EAVE workshop; to gather more know-how and expand my international network (and to boldly go where no man has gone before). We had our first workshop in the beginning of this year and it was great. Exhausting yet very fulfilling. The fast access to a lot of interesting information, the exercise of reflection and the creation of your first cornerstones of a European network are almost inestimable. And although I know I will raise a lot of profound discussions, I want to state here, "Yes group D is the best" (thanks Patrick).

What are your next projects?
Lisa in the city (a comedy about divorce in the city) and Hoboken Hoboken (a personal documentary about two small towns near a big city) to name a couple. Nevertheless, I am always open to a nice co-production project.

What do you expect from your selection in Producers on the Move in Cannes?
For the moment we have started working on Lost Persons Area, we intended it to be European. The script was very well received in Flanders and the VAF gave us a production grant. But that still left us wondering how the project as such would cope in the international film market. I think this is a great opportunity to confront the ideas about production with a slice of the real world. And again, to meet new people. Because in the end, it is a people business and that’s what makes it great.