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Mette Hoffmann Meyer, TV2 (Denmark)

Scan the table at any major pitching forum and you'll likely spot Mette Hoffmann Meyer, a formidable ally for moderators in need of an unabashed opinion. If anyone is entitled to boldly critique a pitch, it's Hoffmann Meyer. An institution in the doc world due to her passionate championing of lesser-known filmmakers, Hoffmann Meyer sold docs for 15 years until, at the beginning of 2005, she switched gears to become chief executive for coproductions, documentaries and factual programming.
June 1, 2006

Scan the table at any major pitching forum and you’ll likely spot Mette Hoffmann Meyer, a formidable ally for moderators in need of an unabashed opinion. If anyone is entitled to boldly critique a pitch, it’s Hoffmann Meyer. An institution in the doc world due to her passionate championing of lesser-known filmmakers, Hoffmann Meyer sold docs for 15 years until, at the beginning of 2005, she switched gears to become chief executive for coproductions, documentaries and factual programming.

She looks back fondly on her selling days, and hopes to stay in touch with a lot of the same contacts in her current role. She’s now buying and commissioning international docs and factual content for TV2 – a small pubcaster in comparison to some of its European counterparts, but one that holds hefty clout in the non-fiction world thanks to Hoffmann Meyer.

Shortly after her title switch, Hoffmann Meyer discussed her screening habits with realscreen. ‘I screen over 1,000 films a year because I like to find good ones, as I did with To Live is Better than to Die,’ she said. ‘I enjoy it; I spend most of my weekend screening.’ Considering the raft of award-winning films she’s found, it seems to be paying off.

About The Author
Andrew Tracy joined Realscreen as associate editor in 2021, following 17 years as managing editor of the award-winning international film magazine Cinema Scope. From 2010 to 2020 he also held the position of senior editor at the Toronto International Film Festival, where he oversaw the flagship publication for the organization’s year-round Cinematheque programming and edited its first original monograph in a decade, Steve Gravestock’s A History of Icelandic Film. He was a scriptwriter and consultant on the first season of the Vice TV series The Vice Guide to Film, and his writing and reporting have been featured in such outlets as Cinema Scope, Reverse Shot, Sight & Sound, Cineaste, Film Comment, MUBI Notebook, POV, and Montage.

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