Seyfi Teoman

When did you decide to adapt the novel into a film ? I read the book when it was published in 2004. We had contact with the author Barış Bıçakçı before, since I adopted a small story about bubble gums from a previous book of his in my first feature Summer Book. He allowed me to adapt the book into script, but didn’t want to be involved in the writing. He decided to be the co-writer after the second draft, in July 2008. Now, we’ve finished the eighth draft.

Did you have difficulties in co-writing ? The difficulty is multi-layered : Writing the script with someone else, adapting a novel into a film, and doing it with its author. Fortunately we have similar views with Barış. He knows the worlds of the characters well. Our collaboration made the script very rich.

What is the main idea of the film ? It is about the close friendship - almost lovers - of two men in their 40s. But then they fall in love with a 20-year-old woman. It tells about how borders of friendship and love could be described, the impossibility of turning back time, and growing old.

Which support have you gotten for the project ? In April 2008, I got support for my next project at the Istanbul Film Festival, attached to the best film prize for Summer Book. In May 2008, the project got Hubert Bals funding support. Also, we attended the co-production platforms Pusan Promotion Plan, Netherlands Production Platform in Utrecht, Produire au Sud in Nantes, and Korea.

What do you expect from L’Atelier ? We met Georges Goldenstern, general manager of the Cinéfondation, in Pusan. As the shooting period and finances of the film were suitable for L’Atelier, we applied and got selected. We have co-producers from the Netherlands and Germany. I expect to meet co-producers and sales agents who would be interested in it.

What are the benefits of co-production workshops ? The first reason why the project got attention was that people liked Summer Book. Also, they liked Our Grand Despair and selected it. These platforms are useful for promotion and the visibility of the project, having feedbacks from people from different countries and finding partners.

Esra Demirkıran