WORKSHOP: AUDITIONING FOR FILM AND TV WITH NANCY BISHOP CSA JO MONTEIRO CSA AND CAPRICE CRAWFORD Participants of the workshop will also receive one FEST - PRO badge for FEST ND|NF 2026 to take place in Espinho, Portugal with the value of 100 euros ABOUT NANCY BISHOP CSA

Nancy Bishop is an award winning American casting director, based in London. In her over twenty-year career, she has cast over one hundred projects, working for most of the major studios, networks and streamers. Credits include MissionImpossible IV, Snowpiercer and Borat Subsequent Moviefilm (for which she won a CSA Artios award.) She was the founder and first president of the CSA/European Branch. She has written three books on auditioning, the most recent published by Bloomsbury: “Auditioning for Film and TV, in the post metoo era.” ABOUT CAPRICE CRAWFORD Caprice Crawford is an American international talent agent, producer and actress and the founder of Crawford Talents in Berlin. Her acting credits include Girl You Know It’s True, Maxton Hall and Nash Bridges. As a producer, she was behind Bitten Soon, which screened at the Cannes Film Festival, and Limbo, which received a Cannes nomination. ABOUT JO MONTEIRO CSA Based in Portugal, Jo Monteiro collaborates on international film and television productions across the United States, Germany, Spain, France, Turkey, and Italy, moving between major studio projects such as Gloria for Netflix—broadcast in 190 countries and awarded a Portuguese Golden Globe for Best Actor—and independent films. Her time living in Belgium, Dubai, and Sweden has enriched her cinematic vision with diverse cultural influences. Before focusing exclusively on fiction, she cast over 300 commercials. Her casting expertise is grounded in more than twelve years of hands-on filmmaking experience as an Assistant Director. She studied Film Studies at Université Libre de Bruxelles (Belgium) and recently directed the TV film O Aplaudido Dramaturgo Curado Pelas Pílulas Pink for the Portuguese public broadcaster RTP, as well as two short films, Animals and Borealis. WORKSHOP DESCRIPTION: AUDITIONING FOR FILM AND TV This two-day intensive workshop offers a fun, dynamic and highly informative environment for actors looking to refine their craft and develop an international career. Participants will have the opportunity to practise essential on-camera audition skills, with a special focus on self-taping, a crucial step in today’s global casting landscape. Before the workshop, actors will choose and self-tape one of several provided scenes. During the sessions, Nancy Bishop, Caprice Crawford and Jo Monteiro will offer personalised feedback on scene work, self-tapes, demo reels and headshots. The class integrates a range of audition-focused exercises, including cold reading techniques, an approach developed and refined by Nancy Bishop. Actors will also work on strategies for identifying strong choices and clear objectives when approaching a new text. Each instructor contributes complementary expertise: Nancy Bishop reviews self-tapes and introduces cold-reading tools. Caprice Crawford provides feedback on promotional materials and offers guidance on how to get an agent. Jo Monteiro leads practical on-camera exercises. An open Q&A will help participants navigate the professional landscape with clarity and confidence. By the end of the workshop, actors will leave with actionable techniques, increased confidence, and the tools to approach international casting opportunities with professionalism and ease. PROFILE OF PARTICIPANT The workshop designed for Actors, acting students, directors, casting directors, Film Students, or professionals interested in the Film Business on the area of Acting. PRACTICAL DETAILS Location: Valencia, Spain Dates: 6-7 June 2026 Duration: 2 days Price: 499EUR (349EUR with 35% discount until the 21st of May) Maximum number of participants: 48 By registering to the workshop you agree with FFL terms and Conditions. Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

ARTIFICIAL INTELLIGENCE IN FILM & TV INDUSTRIES: CREATIVE MODULE WORKSHOP WITH MARTIN PERCY WORKSHOP DESCRIPTION

You’ve no doubt heard the claim that "A poet needs a pen, a painter a brush, and a filmmaker an army." Well, with the advent of AI-generated film, we’re approaching the time when a filmmaker just needs to sit at their computer and get access to AI to make their film. You may be able to “write” your entire film the way you can write a script - creating “performers”, action and location, alone with your computer. We’re not there yet - but this course will help you see where we are now. This intensive weekend workshop will take you through the complete pipeline of AI-assisted filmmaking, from initial concept to finished production. By the end of this course, you will have created your first pieces of AI-generated video and gained hands-on experience with the latest cutting-edge AI image and video tools currently available. Are AI tools perfect? No. Things which are easy to film - two people speaking in a room - can be very hard or impossible to do well in AI. By contrast, things that are very hard to film for real - a 19th century dock scene with working steam trains and tall sailing ships - can be done very easily in AI. You’re not making a film in five years’ time - you’re making a film now. So we will show you what you need to know now, warts and all. Do you need technical skills to participate? No. But it is helpful if you have some basic familiarity with using AI. We will focus on accessible tools that are easy to use for non-technical people, not complex systems requiring coding experience. You will have the chance not only to learn these cutting-edge techniques but also to interact in a very direct way, as the group will have up to 25 participants, making it highly practical and interactive. The workshop will be hands-on, with participants working on their own material throughout the weekend. Depending on the scale and complexity of your vision, you may not complete your short film by the end of the workshop, but you will have the knowledge you need to continue independently. WORKSHOP CURRICULUM PRE-WORKSHOP: SCRIPT DEVELOPMENT Two weeks before the in-person course, we conduct a 1-hour Zoom call exploring how to use an AI system for scriptwriting and development, including ways to shape the writing style and improve creative output. We’ll also look at successful AI films and current limitations to help you prepare your script in advance. FOUNDATIONS: PROMPTING AND IMAGE GENERATION Using an LLM to help generate advanced prompts for image creation. Fundamentals of creating compelling images from text. Understanding the strengths, limitations and quality-control issues of AI image generation. Considering your "shooting ratio" - how many images you may need to create to get the one you really want. CHARACTER CONSISTENCY AND VIDEO GENERATION Building character consistency across multiple angles and shots. Creating character libraries. Generating video from still images and text. Managing challenges with voice, continuity and performance control. Understanding video "shooting ratio" and costs. ENHANCEMENT AND POST-PRODUCTION Refining and improving AI-generated images and video. Making footage feel more realistic and production-ready. Preparing material for further video generation and editing. Understanding the critical importance of human oversight in the edit, and why AI systems still give imperfect results that need human judgement. FINISHING AND MUSIC Adding music and sound. Final editing and delivery considerations. ETHICS AND POLITICS: AI AS A HISTORICAL MILESTONE AI represents a major milestone in human history which will have a major impact on all our lives. AI films are very unpopular with some people - so if you describe yourself as an AI filmmaker, you will likely be challenged about AI ethics. We won’t push a particular viewpoint, but we will explore the key questions so you can articulate your own position on these issues. SUBSCRIPTIONS To get the most from this workshop, participants should be prepared to subscribe to suitable AI image and video services. We may also provide shared access to certain tools during the workshop where appropriate. ABOUT MARTIN PERCY Martin Percy is a British director celebrated for his pioneering work in interactive cinema, virtual reality, and the creative use of artificial intelligence in film. A graduate of King’s College, Cambridge, Percy has built a career defined by experimentation with new forms of storytelling that actively involve the audience, merging narrative, technology, and participation.

His breakthrough came with Lifesaver (2012), an interactive crisis simulator that won a Grand Clio Award, a Webby Award, and received a BAFTA nomination. The project, which featured Daisy Ridley in her first professional role, established Percy as a leading figure in interactive film. He later expanded this format with Heart Class (2019), which won an Emmy in the United States, and CardiacCrash (2023), a Canadian project that won three Webby Awards and was nominated for the Canadian Screen Awards.

Percy has collaborated with some of the most respected institutions in the world, including the Tate Modern, the British Film Institute, the National Theatre, and the Asian Art Museum of San Francisco. His projects have often brought together acclaimed actors such as Sir Ian McKellen, Sir Derek Jacobi, and Daisy Ridley, combining high-profile talent with cutting-edge interactive design. His VR project Virry VR (2017), filmed at Lewa Wildlife Conservancy in Kenya, received both BAFTA and Webby recognition and reinforced his reputation as a leading innovator in immersive media.

In recent years, Percy has increasingly integrated artificial intelligence into his practice, creating works that adapt to the user’s emotions, decisions, and interactions. Projects such as AI Basics: Thrills or Chills (2023) and the Adaptive-Media Interview Coach exemplify his commitment to exploring how AI can reshape creative expression and audience engagement. His TEDx talk, How to Save Lives with Interactive Film, highlighted his dedication to using new technologies not just for storytelling, but also for education and social impact. Throughout his career, Martin Percy has been recognised with a BAFTA, an Emmy, a Grand Clio, and more than a dozen Webby Awards. His work stands at the intersection of creativity and innovation, continually pushing the boundaries of how stories can be told and experienced.

PROFILE OF PARTICIPANT
This workshop is designed for Directors, Producers, Content Creators, Digital Artists, and filmmakers interested in exploring the cutting-edge intersection of artificial intelligence and filmmaking. The workshop is also suitable for traditional filmmakers curious about integrating AI tools into their existing workflows, as well as technologists interested in creative applications of AI. WORKSHOP LOCATION Berlin, Germany Duration: 2 days 10:00 - 18:00 Dates: 13th - 14th of June 2026 Location: Berlin, Germany Price: 599EUR (399EUR Until 26th of May) Maximum number of participants: 25 Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW By registering to the workshop you agree with FFL terms and Conditions

INTIMACY COORDINATION FOR FILM TV WORKSHOP WITH DAVID THACKERAY

ABOUT DAVID THACKERAY David Thackeray is an experienced Intimacy Coordinator. After training as an actor for five years and graduating from The Royal Central School of Speech and Drama, David transitioned into directing for stage, with one of his productions receiving critical acclaim and a transfer to London’s West End. His passion for storytelling soon led him into film and television, where he directed and produced an episode of Amazon Prime's Silent Eye. In 2017, David became one of the pioneering Intimacy Coordinators, a field that was still emerging at the time. He quickly established himself in the industry, working on a diverse range of high-profile productions across major platforms including Netflix, Disney, HBO, BBC, and Sky. His expertise has been integral to ensuring safe and respectful environments during the filming of intimate scenes, making him a sought-after professional in this area. David’s notable projects include the acclaimed TV series Sex Education (2020–2023), where he worked as an Intimacy Coordinator across 24 episodes, helping to navigate the show’s complex and sensitive themes. He also contributed to the global phenomenon Heartstopper (2022–2023), ensuring the portrayal of intimacy was both authentic and considerate across 16 episodes. His work on The Crown (2022) further cemented his reputation, bringing his expertise to one of the most watched and critically acclaimed series of the decade. David's recent projects include high-profile productions like The White Lotus (2022), Adolescence (2025), The Continental (2023), and Kaos (2024). He has also worked on upcoming titles like The Radleys (2024) and 3 Body Problem (2024), demonstrating his ongoing commitment to elevating the standards of intimacy coordination in the industry. His work is a testament to the importance of safety, respect, and collaboration in film and television, making him an invaluable asset to any production. David Thackeray experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This intensive 2-day workshop on Intimacy Coordination for Film and TV offers a thorough exploration of the essential practices and techniques required to effectively manage intimate scenes on set. The workshop aims to equip participants with the knowledge and skills to ensure the safety, comfort, and creative freedom of all involved, while maintaining the highest standards of professionalism. Throughout the workshop there will be practical exercises for us to explore best practice of intimacy coordinating. Day 1: Understanding Intimacy Coordination Morning Session: Fundamentals of Intimacy Coordination Introduction to Intimacy Coordination: Learn about the role and responsibilities of an intimacy coordinator and why this position is crucial in today’s film and television industry. Creating a Safe Environment: Techniques and best practices for establishing a secure and respectful environment for actors during intimate scenes. Pre-Production Planning: How to integrate intimacy coordination into your pre production processes, including script analysis, casting, and rehearsals. Risk Management: Identifying and mitigating risks associated with intimate scenes, including legal and ethical considerations. Working with Actors: Techniques for building trust and ensuring actors feel safe and respected. Afternoon Session: Analysis of case studies Communication Strategies: Exploring effective communication strategies to ensure clear consent and comfort levels among actors and crew. Tools and Methodologies: Introduction to the various tools and methodologies used to ensure realistic yet safe portrayals of intimacy. Case Study : "Sex Education" Analysis of Intimate Scenes: An in-depth look at how intimacy coordination was crucial in the production of "Sex Education," examining the processes and challenges faced in choreographing intimate scenes. Lessons Learned: Discuss the outcomes and feedback from both the cast and crew on the implemented intimacy protocols. Case Study 2: "Industry HBO" Behind-the-Scenes: A breakdown of the intimacy coordination for "Industry," focusing on specific scenes and the strategies employed to address challenges. Impact Assessment: Evaluating the positive impact of intimacy coordination on the actors' performances and the overall production quality. Case Study 3: "3 Body Problem" Scene Analysis: Analyzing the intimate scene in "3 body problem" and the meticulous planning and coordination that ensured their success. Coordinator’s Perspective: Insights from the intimacy coordinator on the set about the complexities and solutions implemented. Day 2: Implementing Intimacy Coordination Morning Session: Practical Implementation Choreographing Intimate Scenes Detailed insights into choreographing intimate scenes, including the physical, emotional, and psychological aspects to consider. Live Demonstrations: Practical demonstrations of choreographing intimate scenes, allowing participants to observe and understand the coordinator's role in real-time. Interactive Exercises: Hands-on exercises where participants will develop and present their intimacy coordination plans for hypothetical scenes. Afternoon Session: Review Feedback and Discussion: Group discussions and feedback sessions to refine participants’ plans and address any questions or concerns. Conclusion: Moving Forward with Confidence Integrating Practices: Strategies for integrating intimacy coordination into your future projects to enhance actor safety and production quality. This workshop is an invaluable opportunity for producers and directors to deepen their understanding of intimacy coordination, ensuring that their projects are conducted with the highest levels of professionalism and respect for all involved. Participating in this workshop does not automatically qualify you to begin working as an intimacy coordinator. PROFILE OF PARTICIPANT The workshop designed for, Directors, Producers, Actors, Movement coordinators or filmmakers serious about a career in the Film Industry on the area WORKSHOP LOCATION Amsterdam, Netherlands Duration: 2 days 10:00 - 18:00 Dates: 26th - 27th of September 2026 Location: Amsterdam, Netherlands Price: 599EUR (429EUR Until 28th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

CINEMATOGRAPHY WORKSHOP WITH PHILIPPE ROUSSELOT Visual Language, Light & the Art of Cinematic Presence ABOUT PHILIPPE ROUSSELOT Philippe Rousselot, ASC, AFC is an Academy Award winning cinematographer, BAFTA winner, three-time César Award winner, and one of the most significant cinematographers in contemporary cinema. Across a career spanning more than five decades, he has helped shape the visual identity of landmark films, Early in his career, he worked as an assistant to the legendary cinematographer Néstor Almendros on films directed by Éric Rohmer, including My Night at Maud’s, Claire’s Knee, and Chloe in the Afternoon. Rousselot’s work quickly expanded into major international cinema. He photographed John Boorman’s Hope and Glory, earning an Academy Award nomination for Best Cinematography and winning the British Society of Cinematographers Award. The film itself became one of the most acclaimed British films of the period, receiving multiple Academy Award nominations including Best Picture, Best Director, Best Original Screenplay, and Best Cinematography. His collaboration with Stephen Frears on Dangerous Liaisons further consolidated his standing as one of the leading cinematographers of his generation. The film was nominated for seven Academy Awards. Rousselot’s cinematography was nominated by the American Society of Cinematographers, and he also received a BAFTA nomination for Best Cinematography for the film. In 1990, Rousselot received another Oscar nomination for Best Cinematography for Philip Kaufman’s Henry & June, before winning the Oscar for Best Cinematography for Robert Redford’s A River Runs Through It. His work with Neil Jordan on Interview with the Vampire remains one of the most visually memorable achievements in modern gothic cinema. Rousselot won the BAFTA Award for Best Cinematography for the film, as well as a British Society of Cinematographers Award, demonstrating his extraordinary ability to combine atmosphere, spectacle, darkness, and emotional presence. Throughout the 1990s and 2000s, Rousselot continued to move between European auteur cinema and major international productions. He photographed Patrice Chéreau’s La Reine Margot, for which he won his third César Award for Best Cinematography; Miloš Forman’s The People vs. Larry Flynt; Neil Jordan’s The Miracle and The Brave One; and Stephen Frears’ Mary Reilly; Sydney Pollack’s Random Hearts. His filmography shows a remarkable breadth of collaboration across directors, genres, countries, and production scales. With Tim Burton, he photographed Planet of the Apes, Big Fish, and Charlie and the Chocolate Factory, contributing to some of Burton’s visually imaginative productions. He later worked with Guy Ritchie on Sherlock Holmes and Sherlock Holmes: A Game of Shadows, and with David Yates on Fantastic Beasts and Where to Find Them and Fantastic Beasts: The Crimes of Grindelwald. Over the course of his career, Rousselot has worked with filmmakers including Robert Redford, Tim Burton, Guy Ritchie, Stephen Frears, Patrice Chéreau, Neil Jordan, Shane Black, Miloš Forman, David Yates, Denzel Washington, John Boorman, Jean-Jacques Annaud, Jean-Jacques Beineix, Philip Kaufman, and Sydney Pollack. He is known for developing and refining expressive soft-light techniques, including the use of Chinese lanterns mounted on booms to create a moving, naturalistic source that follows actors. His work has influenced how filmmakers think about colour, atmosphere, period light, actor-centred lighting, fantasy worlds, and visual storytelling across radically different cinematic contexts. WORKSHOP DESCRIPTION CINEMATOGRAPHY WORKSHOP WITH PHILIPPE ROUSSELOT Visual Language, Light & the Art of Cinematic Presence OVERVIEW This two-day intensive workshop with Academy Award–winning cinematographer Philippe Rousselot explores cinematography as a language. Rather than a technical masterclass, the workshop focuses on decision-making: why we light the way we do, why we move the camera, why we choose restraint or boldness and how visual choices serve story, performance and atmosphere. Philippe will examine the evolution of his visual thinking across different genres, directors and production scales. DAY 1 – SEEING, CHOOSING, COMPOSING SESSION 1 – The Cinematographer’s Eye Topics that may be explored: How does a cinematographer “see” a script? Translating emotion into visual strategy When to intervene, when to step back Trusting instinct vs. overplanning The relationship between light and narrative tone Discussion of early career evolution and visual identity formation. SESSION 2 – Case Study Block I Visual Tone & Atmosphere Exploration themes: Creating atmosphere without excess Naturalism vs stylisation Working with candlelight and period lighting Balancing romanticism with realism Texture, shadow, restraint Visual breakdown of selected scenes. SESSION 3 – Collaboration with Directors Topics: The first conversation with a director Establishing a shared visual language Navigating disagreement Working with strong visual auteurs Adapting to different directing personalities Discussion of how visual strategy shifts depending on directorial temperament. SESSION 4 – Light as Emotional Architecture Deep dive into: Shaping faces Controlling contrast Sculpting space Light and psychological depth Simplicity vs complexity in lighting setups Discussion of working with natural light vs fully controlled sets. DAY 2 – MOVEMENT, RISK & EVOLUTION SESSION 5 – Camera Movement & Rhythm Topics: When should the camera move? Movement as emotional punctuation Invisible camera vs expressive camera Long takes vs fragmentation Working with actors in motion SESSION 6 – Scale & Adaptability How cinematography changes across: Intimate drama Large studio productions Action-driven narratives Fantasy and heightened realities Discussion of working within: Budget constraints Studio expectations Evolving digital technologies SESSION 7 – The Evolution of Cinematography Topics: From film to digital What has changed — and what has not Modern tools vs timeless principles The danger of over-technical thinking Maintaining artistic integrity in contemporary cinema Open reflection on the industry’s visual evolution. PROFILE OF PARTICIPANT The workshop is designed for cinematographers, directors, camera operators, film students, visual artists, photographers, and filmmakers who want to deepen their understanding of cinematography as a creative and narrative language. It is particularly suited for professionals interested in visual storytelling, lighting, composition, camera movement, collaboration with directors, and the relationship between image, atmosphere, performance and emotion. WORKSHOP LOCATION Madrid, Spain Duration: 2 days 10:00 - 18:00 Dates: 3rd - 4th of October 2026 Location: Madrid, Spain Price: 599EUR (429EUR Until 12th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

Film Financing in an Entrepreneurial Age ABOUT PAUL MILLER

Paul Miller is a producer, executive, and consultant working in the United States, Europe, and the Middle East. He is currently Head of Film at Madrid-based ISB Films. Miller frequently produces in the Middle East; his most recent film, Norah, premiered at Un Certain Regard at Cannes 2024. Previous regional films include Scales, which won the Verona Award for Innovation at the 2019 Venice Film Festival and was the Saudi submission for the 2021 Academy Awards. From May 2012 until October 2013, Miller was Director of Film Financing at the Doha Film Institute in Qatar. He oversaw a regional education training programme, a global grants fund, and managed an international film financing fund. Prior to this, Miller produced "The Birder’s Guide to Everything" (2013), directed by Rob Meyer, and "Babygirl" (2013), written and directed by Macdara Vallely, produced with Samson Films and the Irish Film Board. During this period, he also produced the feature-length documentary "Poor Consuelo Conquers the World" (2011) with Les Films d’Ici for ARTE, and executive-produced "The Man Who Drew the Future" with Una Films and ARTE. From 2002 to 2009, Miller was Head of Film Production at Crossroads Films, where he produced "Snow Angels", released by Warner Independent Pictures in 2008. The film was written and directed by David Gordon Green and starred Sam Rockwell and Kate Beckinsale. He also produced the Golden Globe-nominated "A Love Song For Bobby Long" (2004), starring John Travolta and Scarlett Johansson, released by Lionsgate Films. Earlier in his career, Miller worked on John Sayles’ features "The Secret of Roan Inish" (1994), the Academy Award-nominated "Lone Star" (1996), and the Golden Globe-nominated "Men with Guns" (1997). He also produced "Prozac Nation" (2001), directed by Erik Skjoldbaerg and starring Christina Ricci, Jessica Lange, and Anne Heche, released by Miramax. Educated in England, Miller is a graduate of the National Film and Television School in the U.K. He is a member and consultant with Paris-based Ateliers du Cinéma Européen (A.C.E.), Europe’s premier producers' association, and a member of the Directors Guild of America and the Producers Guild of America. You can find his full list of credits on https://www.imdb.com/name/nm0589158/ WORKSHOP DESCRIPTION

The Film Financing workshop will focus on the art of producing a film in our entrepreneurial age, where the means of manufacture and distribution are in flux and where finding your audience is key. The workshop will look at the how to develop, finance and complete a movie from the viewpoint of a creative producer. The workshop won’t be looking so much at the making of a movie more about setting off on the right track and finishing ahead of the game. The workshop will be practical and interactive, with participants also having the opportunity to assess the issues they encountered on their own films, and receiving the feedback to help similar situations in the future. Participants should be prepared to discuss an unproduced project that has been previously developed by them to the point of a first draft screenplay. The project doesn't have to be an active project, just an idea that the participant can use in the workshop. The scripts will not be read or shared during the workshop. If the participant doesn't have one, then an idea that has been developed to treatment stage is also sufficient. For each film idea, the participants should also think of a director, lead cast, location, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. The topics covered in the workshop: A. THE BEGININGS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors, Budget/Audience Developing your Pitch: the Elevator Pitch/Longer Pitch Pitching to a writer and director, pitching to investors Partnering with another producer Logline Synopsis B. FIRST STEPS Assembling a Creative Team and making a few Key Decsions: Commissioning a Writer Choosing a Director The Filmmaking Triad: Director/Writer/Producer Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming Screenplay Rights and Collaboration Agreements: Property Rights: Copyright/Chain of Title Screenplay Rights: Option/Purchase Agreements Underlying rights: articles, books, life rights, etc. Creative Team Agreements: Short Form/Long-form Contract: Director Agreement Producer Agreement Writer Agreement Producing Partnerships Development Budget Casting: Cast Lists, Casting Directors Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net The Glory of Schedule ‘F’. C. MARKETING AND DISTRIBUTION RESEARCH AND BOX OFFICE COMPARABLES Box Office Comparables: including budget, domestic, overseas and worldwide revenue and any known ancillary revenue, year of release, distributor and maximum # of screens Marketing and Distribution Plan, Film Festivals, Distributors and Sales Agent D. FINANCING Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections ‘The Waterfall’ Estimating revenue based on Box Office: low, medium and high Budget/Financing - Financing Sources: Equity, Pre-sales, gap financing, loans and soft money E. BUSINESS PLAN How to Create a Business Plan for Your Film: Executive Summary Overview of Industry Investor Return/Deal Comparables Projections Revenue Stream ROI F. MAKING YOUR FILM BETTER AFTER THE SHOOT Post-Production Decisions: Improving the picture edit Composer, Music and Music Rights: Sync and Master Use Licenses, Rights Clearance for Publicity and Festivals, Royalty-free Music, Composer/Score, Cutting Edge) Test Screenings (friends, film professionals and NRG screenings) Deliverables G. INTO THE WORLD: MARKETING AND DISTRIBUTION Who is your audience? Precedents/Box Office Comparables Demographics: age, race, location, gender, socio-economic class, religion, education, consumer tastes, musical tastes, sports identification, hobbies, politics, occupation, exercise habits, food habits, etc. Influencers How will you reach the potential audience for your movie? Promotion: P & A Fund, Producer of Marketing and Distribution, Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals Film Markets Theatrical: Distributor or DIY Non-theatrical VOD Community Screenings Direct Selling PROFILE OF PARTICIPANT

The workshop is designed for: Film Producers, Investors, Film Financiers, Directors, and filmmakers serious about a career in the Film Business on the area of film production or film financing. WORKSHOP LOCATION Madrid, Spain 16 hours Duration: 2 days Dates: 3-4 October 2026 Location: Madrid, Spain Price: 599EUR (429EUR until 18th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

DOCUMENTARY EDITING WORKSHOP WITH CHRIS KING ABOUT CHRIS KING, A.C.E. Chris King, A.C.E. is one of the most respected documentary editors working today. A BAFTA-winning editor and two-time American Cinema Editors Award winner, King has been a key creative collaborator on some of the most acclaimed documentaries of the last two decades Chris has edited documentaries such as Senna, Amy, Exit Through the Gift Shop, Diego Maradona, All This Mayhem, Young@Heart, and Welcome to Lagos. A major milestone in King’s career came with Senna. The film became a landmark in archive-led documentary cinema, building the life and career of Ayrton Senna into a dramatic, emotional and cinematic experience. Chris won the BAFTA Award for Best Editing for Senna, the only time in the history of the BAFTA a documentary won the Best editing award. Senna also won the BAFTA Award for Best Documentary, and became one of the defining documentary releases of its period. King continued his collaboration with Asif Kapadia on Amy, the documentary portrait of Amy Winehouse. Edited by King, the film became one of the most awarded documentaries of the 2010s. It won the Academy Award for Best Documentary Feature, the BAFTA Award for Best Documentary, and the Grammy Award for Best Music Film. King also won the ACE Eddie Award for Best Edited Documentary. The film’s power lies on the strength of its archive, and the sensitivity of its structure, allowing the audience to gradually understand Winehouse as artist, daughter, performer, friend and public figure, while revealing the pressures surrounding her. King’s work on Exit Through the Gift Shop, directed by Banksy, further demonstrates his ability to handle documentaries where truth, performance, authorship and ambiguity collide. The film was nominated for the Academy Award for Best Documentary Feature, became a major critical success, and won the ACE Eddie Award for Best Edited Documentary. Chris edited Diego Maradona, a large-scale archive-driven portrait constructed from over 500 hours of never-before-seen footage from Maradona’s personal archive. The film premiered at the Cannes Film Festival. King has contributed to a broad and distinguished range of documentary work. He edited All This Mayhem, directed by Eddie Martin, for which he won the AACTA Award for Best Editing in a Documentary. He also edited Young@Heart, directed by Stephen Walker, and Welcome to Lagos, the acclaimed BBC factual series directed by Gavin Searle, which won the BAFTA Television Award for Best Factual Series. What makes King’s work particularly important is his command of structure. In documentary filmmaking, the film is often written in the edit, and King’s career is a masterclass in discovering narrative inside reality. His editing demonstrates how to find a story spine in overwhelming amounts of material, how to create character arcs from fragments, how to balance authenticity with dramatic momentum, and how to build emotional escalation without losing truth. WORKSHOP DESCRIPTION SHAPING REALITY: DOCUMENTARY EDITING WORKSHOP WITH CHRIS KING This two-day FEST FILM LAB workshop with award–winning editor Chris King is designed for editors and filmmakers who want to refine their skills in building powerful, nuanced, and emotionally resonant documentary narratives. The sessions focus on the decision-making processes, structural strategies, and creative problem-solving techniques used at the highest level. Participants will explore how to find clarity and focus within vast amounts of material, shape narrative flow, and collaborate effectively under the demands of real-world production schedules and creative pressures. DAY 1 – STRUCTURING AND SHAPING THE NARRATIVE Morning: Narrative Strategy and Story Architecture Defining the editorial approach: thematic, linear, or hybrid structures. Balancing authenticity with dramatic drive to maintain audience engagement. Identifying the essential story spine and supporting it through every sequence. Managing multi-character or multi-timeline stories without losing clarity. Afternoon: Rhythm, Pacing, and Perspective Building emotional arcs over the course of acts and entire films. Controlling tempo shifts to heighten tension or deepen intimacy. Using point of view as a storytelling tool to guide audience perception. Maintaining tonal and visual consistency when combining varied sources. DAY 2 – PROBLEM-SOLVING AND ELEVATING THE EDIT Morning: Creative and Logistical Challenges Reconstructing narratives when key footage is missing or unusable. Recognising when the original structure no longer serves the material. Working with incomplete or contradictory information while preserving credibility. Navigating high-stakes collaboration with directors, producers, and broadcasters. Afternoon: Fine-Tuning for Maximum Impact Refining micro-rhythms, transitions, and scene endings for emotional precision. Using music, sound design, and silence to reinforce structure and emotion. Preparing multiple versions of the same film for different platforms and audiences. Building a final cut that balances creative vision with delivery requirements. By the end of the workshop, participants will have a understanding for handling the creative, technical, and collaborative demands of high-level documentary editing. They will gain strategies for structuring complex stories, refining narrative flow, and making editorial decisions that elevate the emotional and cinematic power of their work. PROFILE OF PARTICIPANT This workshop is designed for editors, documentary filmmakers, directors, producers, assistant editors, and professionals working in factual, documentary, television, or independent cinema who want to deepen their understanding of documentary editing at a high professional level. It is particularly suited for participants interested in story structure, archive-led storytelling, character development, rhythm, pacing, collaboration with directors, and the process of shaping complex real-life material into powerful cinematic narratives. WORKSHOP LOCATION London, UK Duration: 2 days 10:00 - 18:00 Dates: 10th - 11th of October 2026 Location: London, UK Price: 599GBP (399GBP Until 14th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

SCREENWRITING FOR FILM: ADAPTATION, STRUCTURE & COLLABORATION WORKSHOP WITH PETER STRAUGHAND

WORKSHOP DESCRIPTION SCREENWRITING FOR FILM: ADAPTATION, STRUCTURE & COLLABORATION This intensive FEST FILM LAB workshop with screenwriter Peter Straughan is designed for writers and writer-directors who want to deepen their understanding of screenwriting as a craft shaped by adaptation, structure, and collaboration. Drawing on his extensive experience across film and television, Peter Straughan will explore how screenplays are developed in real professional contexts—from the first encounter with source material to the final shooting draft. The workshop places particular emphasis on adaptation: how to translate novels, historical material, and real events into cinematic form while preserving emotional truth, narrative clarity, and a strong authorial voice. Rather than focusing on formula or prescriptive rules, the workshop examines how scripts actually evolve. Through discussion, examples, and close analysis, Peter will address how story structure emerges through rewriting, how character is refined through dialogue and action, and how tone is maintained across complex narratives. He will also reflect on the realities of working with directors, producers, and studios, and how collaboration reshapes a screenplay without losing its core intention. Across the two days, topics explored may include: Approaching adaptation: from source material to screenplay Finding cinematic structure in complex or non-linear stories Writing character through behaviour, subtext, and restraint Dialogue as rhythm, intention, and conflict Rewriting as a creative and structural tool Balancing personal voice with collaborative demands Working with directors and producers in development Navigating notes, expectations, and creative compromise Participants will be encouraged to reflect on their own projects and creative processes. Where appropriate, Peter Straughan may draw on examples from his own work to illustrate how specific writing challenges were approached and resolved in practice. ABOUT MELISSA LEO Peter Straughan is an Academy Award-winning, BAFTA-winning and Golden Globe-winning screenwriter. Straughan’s recent international acclaim reached a new level with Conclave, his adaptation of Robert Harris’s novel, directed by Edward Berger and starring Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini. For Conclave, Straughan won the Academy Award for Best Adapted Screenplay at the 97th Oscars. The film became one of the major awards-season successes of 2025, with Conclave also winning Best Film, Outstanding British Film, Adapted Screenplay and Editing at the BAFTA Film Awards. His screenplay was also recognised with the Golden Globe Award for Best Screenplay, confirming the breadth of international recognition for his work on the film. Before Conclave, Straughan was already internationally celebrated for Tinker Tailor Soldier Spy, co-written with Bridget O’Connor and based on the novel by John le Carré. Directed by Tomas Alfredson, the film starred Gary Oldman, Colin Firth, Tom Hardy, Mark Strong, Benedict Cumberbatch, Ciarán Hinds and Toby Jones. Straughan and O’Connor won the BAFTA Award for Best Adapted Screenplay, and the film also won BAFTA Best British Film. Their screenplay was nominated for the Academy Award for Best Adapted Screenplay, placing Straughan firmly among the leading screenwriters of contemporary cinema. Straughan has also made a major contribution to television drama through his adaptation of Hilary Mantel’s Wolf Hall novels. He later returned to Mantel’s world with Wolf Hall: The Mirror and the Light, further consolidating his reputation as a writer capable of handling historical material with dramatic intelligence, restraint and emotional precision. Across film, Straughan’s credits show an unusually broad range. He co-wrote Frank with Jon Ronson, directed by Lenny Abrahamson and starring Michael Fassbender, Maggie Gyllenhaal and Domhnall Gleeson; adapted The Men Who Stare at Goats, directed by Grant Heslov and starring George Clooney, Jeff Bridges, Ewan McGregor and Kevin Spacey; co-wrote The Debt, directed by John Madden; adapted How to Lose Friends & Alienate People; wrote Our Brand Is Crisis, directed by David Gordon Green and starring Sandra Bullock; and adapted The Goldfinch, directed by John Crowley. This range is one of the most important aspects of Straughan’s career. He has written political thrillers, historical dramas, literary adaptations, black comedy, satire, psychological drama and character-led work. His writing is not defined by one genre, but by a command of structure, point of view, rhythm and subtext. Whether dealing with espionage, religion, power, grief, performance or institutional life, his screenplays reveal an acute understanding of how characters behave under pressure. Before becoming internationally known in film and television, Straughan developed his craft in theatre, radio and prose. For FEST FILM LAB, Peter Straughan represents an exceptional opportunity for participants to engage with a writer whose career sits at the highest level of contemporary screenwriting. PROFILE OF PARTICIPANT This workshop is designed for screenwriters, writer-directors, directors, producers, script editors, development executives, and film professionals working in fiction, television, or independent cinema who want to deepen their understanding of screenwriting at a high professional level. It is particularly suited for participants interested in adaptation, story structure, character development, dialogue, rewriting, collaboration with directors and producers, and the process of transforming complex source material, ideas, and dramatic situations into powerful cinematic narratives. WORKSHOP LOCATION London, UK Duration: 2 days 10:00 - 18:00 Dates: 10th - 11th of October 2026 Location: London, UK Price: 599GBP (399GBP Until 2nd of June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW