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 9th 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

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 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: