Mr Minister, dear Bernd Neumann,Madam President, dear Margaret Menegoz,Mr President, dear Antoine de Clermont-Tonnerre,Mr Director-General, dear Peter Dinges,Ladies and gentlemen,Dear friends,

The Franco-German Academy of Cinema began its work at
spring of the year 2000. It was intended by two leaders
visionaries: Jacques Chirac and Gerhard Schröder. To the mannettes of this
grand project, one of my illustrious predecessors, Catherine Tasca, and
his German counterpart, Michael Naumann.

At the time, the project may have seemed extremely ambitious. In fact, it
has been largely achieved.

We must give thanks in this respect to the professional meetings
co-organized every year, since September 2003, by
«the association of the Franco-German Film Rendez-vous», with the
Unifrance and German Films irreplaceable competition and support
The CNC and its German counterpart, the FFA1.

A large part of this merit also goes to the “Atelier-Masterclass”
jointly designed and run by the Ludwigsburg Film School and
Femis, for ten years now.

But what makes today the strength, the specificity of our relationship
bilateral, as well as an object of envy for almost all of our partners
Foreign and European, it is of course the «Mini-Treaty», like us
We all like to call it.

Created almost ten years ago to the day by Catherine Tasca and Julian
Nida-Rumelin, this selective aid for bilateral co-production
was immediately endowed with very substantial means: 3 million euros
have been made available annually to French creators and
to co-produce together. It is a totally unique tool that
has thus been born and has allowed us to accompany together, in ten years,
more than 150 feature films.

The success of this fund is undeniable.

In 2001, it was Daniel Toscan du Plantier, then producer and President
Unifrance, which was supported by the Mini-Treaty for «Tosca», the film
by Benoît Jacquot co-produced by Integral in Germany. I benefit from this
occasion to greet the memory of the great man of cinema that he was,
disappeared in February 2003 during the Berlin Festival. He was one of the
sponsors of this Franco-German Academy.

Since then, many French and German authors have seen their talent
encouraged by this exceptional device. There have been some great names,
as Wim Wenders, Claude Chabrol, Werner Schroeter, Claire Denis,
but also many young talents, like Mia Hansen-Love, Ulrich
Köhler, Emily Atef, Pia Marais. The Mini-Treaty thus played the role of all
the major funds supporting creation in the world: that of
contribute to the renewal of talent, as well as that of
confirmed authors.

He has been able to accompany projects as ambitious as «Le Parfum» of
Tom Tykwer or «The Princess of Montpensier» by Bertrand Tavernier,
but also more daring works like «Orly» by Angela
Schanelec, or Enter the Void by Gaspar Noé. Their successes have sometimes
were popular; often they were critical successes. This diversity of
I think the choice of the commission is a fair reflection of the diversity
French and German cinematography, which are today the most
dynamics in Europe.

I am delighted that films like «Tournée» by Mathieu Amalric, «La
sleeping sickness» by Ulrich Köhler, or of course «The white ribbon» of
Michael Haneke, have, through their selections in major festivals
like Cannes or Berlin, to testify to the accuracy of the choices made by
the Mini-Treaty Commission. Its six members, three French and three
I think have done an excellent job of identifying among the
many Franco-German co-production projects, those that deserved
special support. I would therefore like to greet their discernment today
and, for those who have served since the creation of the fund, their dedication and
their exemplary attendance.

This tenth anniversary, which we are celebrating, not only allows us to
to take stock, but also to chart a path to the future.
The temptation would be great, because the device works so well, to
conclude that he simply must continue.

I believe we can do even better together. And
I know, dear Bernd, that you share this conviction. This is what has
guided in our choice to expand the range of future
Mini-Treaty.

We have in fact wished, by common accord, that the Mini-Treaty
can now accompany producers and directors to the
when, together, they take the most risks: I’m talking about the phase
development, and especially the writing phase.

We therefore plan to organize, by exchange of letters, the reservation
a certain amount that will be used to specifically help this
development phase. I hope that this measure will make it possible to
to establish more upstream cooperation between French producers and
projects which are more organically
French-German co-productions.

We also agreed, dear Bernd, to clarify the modalities
members of the Mini-Treaty Committee, which
agreement signed in 2001. It appeared to us in
good practice effect of setting a term of office for these members; and
allow their renewal in these positions for a second
mandate, as is the case for example for almost all
selective aid commissions managed by the CNC. I know I can count
on the active participation of each of you in this renewal, in order to
that we continue to look at new projects.

Dear Bernd,
Dear friends,

All the foregoing considerations support my view that the
France and Germany are today among the few countries
to share yet another great cinematic ambition.

In both our countries, audiences still love to discover films in
the cinemas.

In both our countries, our producers continue to open their
doors to their foreign counterparts. Just see how much the Festival
Cannes celebrates this year, through its selection, the successful bets of the
French co-production, with films like «Melancholia» by Lars
Von Trier, co-produced notably with Germany, but also with This
must be the place” by Paolo Sorrentino, “Habemus Papam” from Nanni
Moretti, «Le Gamin au vélo» by the Dardenne brothers, or «La
source of women” by Radu Mihaileanu.

Finally, in both our countries, audiences have retained a taste for
films from elsewhere. Thus, in France, many
have enjoyed immense popular success, with the complicity of
and the frequent support of selective aids
of the NCC – be it “The Lives of Others” of course, but also “The
wave”, “perfume”, “fall”, “good bye lenin”.

Allow me to form the hope that, tomorrow, the new talents
supported by the mini-treaty will meet the same success, for the most
great happiness of our audiences, our dark rooms and creators who
support them.

Thank you.