Among his many credits we find feature films such as Giuliano Montaldo’s “Les Lunettes d’Or”. From 1990 to 1991, he worked as a producer for “Constellation Productions” in Paris. During this period he contributes to the production of feature films such as: “Arizona Dream” by Emir Kusturica, “When the Stars Were Red” by Dusan Trandick, “Virgina” by Srdjan Karanovic or “Pargue” by Ian Sellar. Since 1991, he has been acting as producer for “Noé Productions” in Paris. His credits include “Before the Rain” by Milcho Manchevski, “Africa my Africa” and “Kini and Adams” by Idrissa Ouedraogo, “As you like me” by Carmine Amoroso, “Train of Life” by Radu Mihaileanu, “The Adopted Son” and “The Chimp” by Aktan Abdykalykov, “No Man’s Land” by Danis Tanovic and Danis Tanovic’s short film in the collection of films “11’09″01-September 11”, produced by Galatée films and StudioCanal.
In 2003 he started the new Paris based production entity, “A.S.A.P. Films”, together with the director Danis Tanovic and his fellow producer Marc Baschet. In 2005 he produced for A.S.A.P. Films Danis Tanovic’s feature film “Hell” (“L’Enfer”) written by Krzysztof Piesiewicz in collaboration with the late Krzysztof Kieslowski. He also co-produced, with “Studio Maj” from Slovenia, Benjamin Filipovic’s film “Well tempered Corpses” as well as, in 2006, Marion Hänsel’s “Si Le Vent Souleve Les Sables” in co-production with Man’s Films Productions from Belgium. Cedomir is the Academy Award nominee (“Before the Rain” by Milcho Manchevski) and the Academy Award winning producer (“No Man’s Land” by Danis Tanovic).
Where have you heard about Scripteast?
From the polish producer and director Mr. Dariusz Jablonski during one of the film festivals
What made you interested in this program?
I do like to meet new screenwriters. Sometimes on such workshops I found projects I produced later. It’s always passionate to be involved, in one way or another, in the development of a screenplay.
What do you expect from this year edition of scripteast?
A new experience in the place and in the country I never worked before. And maybe some interesting input and feedback from the authors.
Do you have previous experience as tutor and advisor at similar workshops?
Quite some in many different parts of the world.
What is your personal defintion of a good scrtipt and what – the most- makes it succesful?
I have no definition or a formula regarding a “good” script. Even less I could say what makes it successful. There are no rules. It’s just the question of individual feeling, and we can help ourselves with our own experience, our own taste and our own vision of the cinema (and sometimes of the world). I know what I like and I am looking for it in others works.