In this two-day FEST FILM LAB workshop, colorist Marc Boucrot invites participants to explore how color becomes a storytelling language of its own, shaping atmosphere, rhythm, and emotion from the first creative discussions to the final grade. Drawing on his extensive experience on films such as Climax, Enter the Void, Love, Blue Is the Warmest Color, and Dallas Buyers Club, Marc will take participants behind the scenes of his collaborations with visionary filmmakers like Gaspar Noé and Jean-Marc Vallée, revealing how visual style is defined and refined through an ongoing creative dialogue between director, cinematographer, and colorist. Over the course of the weekend, participants will learn to understand color not just as a technical process but as a vital narrative tool. Marc will examine how choices in tone, saturation, contrast, and texture affect how audiences perceive a story’s emotion and truth. He will also discuss how color decisions are shaped by performance, lighting, and editing, how grading can subtly guide the viewer’s focus, intensify emotional beats, and create coherence across scenes and sequences. In addition to color, Marc will also explore the creative and aesthetic decisions behind working in Black & White in contemporary cinema, and how the choice between Film and Digital affects texture, contrast, and grain — and ultimately, the emotional tone of a film. The sessions will include case studies, scene breakdowns, and open discussions, offering a close look at Marc’s creative process and practical workflow. Participants will gain insight into how to translate abstract creative intentions into precise visual outcomes, and how to build a consistent visual identity that enhances a film’s storytelling power. Topics explored will include: - How to define and build a film’s color palette from pre-production to final delivery - Using color to shape emotion, mood, and rhythm - The dynamics of the collaboration between director, cinematographer, and colorist - The influence of grading on lighting continuity, editing, and visual flow - Balancing artistic ambition with technical feasibility - Managing communication, expectations, and creative choices in the grading suite - Black & White choices in contemporary film - Film vs Digital: contrast, grain, and texture - Case studies from Climax, Blue Is the Warmest Color, and Dallas Buyers Club Rather than being a purely technical workshop, this will be focusing on the creative side, and reflection among professionals. The goal is to equip participants with a deeper understanding of how color contributes to storytelling, and how collaboration and intuition turn grading into a true art form. ABOUT MARC BOUCROT Marc Boucrot is a highly established senior colorist and film editor, known for his exceptional eye for visual storytelling and his collaborations with some of contemporary cinema’s most daring filmmakers. Over the past two decades, his work has defined the look and feel of a wide range of international films, from stylized arthouse projects to major award-winning features. A long-time collaborator of Gaspar Noé, Boucrot has been behind the color of the director’s most visually groundbreaking films, including Irreversible, Enter the Void, Love, Climax, Lux Æterna, and Vortex. His distinctive color sensibility has been integral to Noé’s bold cinematic language, where image, emotion, and perception fuse into one immersive experience. As a colorist, Boucrot’s artistry extends far beyond technical precision, he has become a creative partner to filmmakers such as Jean-Marc Vallée, Abdellatif Kechiche, and Jean-Stéphane Sauvaire. His contribution to Blue Is the Warmest Color (Palme d’Or, Cannes 2013) and Dallas Buyers Club (Academy Award Winner, 2014) cemented his reputation as one of the most respected colorists working today. Boucrot’s filmography spans an impressive range of acclaimed projects, including Climax, Vortex, Dallas Buyers Club, Blue Is the Warmest Color, A Prayer Before Dawn, The Owners, Hands That Bind, Wild, Love in the Time of Civil War, and Demolition. More recently, he has contributed to Yunan (2025), Who Loves the Sun (2024), and Witchboard (2024), as well as numerous short films, music videos, and collaborations with visual artists. Known for his deep understanding of texture, tone, and emotional color, Boucrot’s approach bridges the artistic and technical sides of filmmaking. His mastery of both film and digital workflows, his nuanced exploration of grain and contrast, and his recent interest in modern Black & White cinematography make his work continually relevant and inspiring to a new generation of filmmakers. Whether in the grading suite or the editing timeline, Marc Boucrot’s process remains deeply collaborative, a dialogue between director, cinematographer, and story. His ability to translate emotion into image has made him one of the most sought-after colorists and editors in international cinema today. PROFILE OF PARTICIPANT
The workshop is designed for colorists, editors, cinematographers, DOPs, directors, post-production supervisors, and filmmakers who wish to deepen their understanding of color as a storytelling tool. It is also ideal for filmmakers seeking to refine their creative and technical approach to color grading, visual style, and the collaborative process between director, cinematographer, and colorist. WORKSHOP LOCATION London, UK Duration: 2 days 10:00 - 18:00 Dates: 10th - 11th of January 2026 Location: London, UK Price: 599GBP (379GBP Until 8th of December) 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

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 where a filmmaker just needs to sit at their computer and get access to AI. We're not there yet - but this course will help you get there, and 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 AI-generated short film - or a substantial chunk of it - whether a trailer, TV commercial, or short drama, and gained hands-on experience with the most powerful AI 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 trivially easily in AI. You're not making a film in 5 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's 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 to not only learn these cutting-edge techniques but also interact in a very direct way, as the group will have up to 25 participants, making it extremely 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 all the tools you need to continue independently.

CHARACTER CONSISTENCY AND VIDEO GENERATION Processing characters with Runway Elements for consistency across multiple angles; building character libraries; generating videos in Veo 3 using image-to-video with audio; managing challenges with voice and performance control; understanding video "shooting ratio" and costs.

ENHANCEMENT AND POST-PRODUCTION Processing Midjourney and Runway images with enhancer software; "Reverse Photoshop" techniques with Enhancor to make AI images more realistic; refining images in Photoshop for video generation readiness; the critical importance of human oversight in editing - why AI systems give imperfect results requiring human intervention at the edit stage.

FINISHING AND MUSIC Video-to-music generation for adding musical scores; upscaling with Topaz (comparing 720p, 1080p, and 4K); final delivery considerations.

ETHICS AND POLITICS: AI AS HISTORICAL MILESTONE AI represents a milestone in human history with vast effects on all our lives. If you describe yourself as an AI Film Maker, you'll likely be challenged about AI ethics. We don't push a particular viewpoint, but explore key questions so you can articulate your own position on these issues.

SUBSCRIPTIONS To take the best of this workshop, you should sign up for: Midjourney (online image generator) www.sonovid.ai/ (the most cost-effective way to access Veo 3) We will provide group subscriptions to: Enhancor (image enhancement software) Runway ML (video generation and character processing) 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.

WORKSHOP DESCRIPTION Techniques for directing non-actors: Singular Drama Throughout the two-day practical workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors and non actors as well as during the shooting. Participants will get hands-on insight into the process of creating drama in a film using the human capacity to respond emotionally to fictional situations. The Singular Drama method is applicable on professional actors as well as non-actors. Filmmakers often use the element of surprise to direct actors for certain scenes to get authentic emotional responses. The directors of AJAMI based their film entirely on this principle. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded specific emotional responses from its actors. The actors ended up acting out a story, without being aware that they were being directed according to a pre-written script. The film is a work of fiction which shows “real” people acting in situations that are orchestrated by the directors, but very “real” to the performers, resulting in the actors projecting emotions on camera that they actually experienced at the time. This was achieved over specialized workshops, in which the actors were brought to each character’s emotional and psychological state as written in the script. Workshop learning objectives: 1. Participants will learn techniques to liberate their non-actors from the fear of the camera. 2. Participants will learn how to prepare their actors/non-actors for filming. 3. Participants will learn and experiment with improvisation techniques. 4. Participants will experience the method as actors in order to get a better understanding of the involved processes. 5. Participants will get insights on pre-production, production and shooting techniques when applying the method. 6. Participants will learn how to direct actors and non-actors using the Singular Drama method. Participants are encouraged to bring scenes they would like to direct. ABOUT SCANDAR COPTI Scandar Copti is a Palestinian Oscar-nominated filmmaker and an acclaimed visual artist. His first full-length feature film 'Ajami' won the Camera d'Or Special Mention at the Cannes Film Festival and was nominated for the 82nd Academy Awards in the Best Foreign Film category. Copti is the only Arab filmmaker ever to receive the prestigious Sutherland Trophy. He is also the recipient of the Human Rights Film Award of the Council of Europe in 2010. Copti's video art projects were exhibited worldwide at venues such as the Herzliya Museum, Nachum Gutman Museum, NYU gallery at Abu Dhabi, The Israeli Center for Digital Art, b_tour Foothold Festival, Beit Ha'Gefen, and the Oslo Kunstforening Art Gallery, among others. Copti was on the jury of dozens of film festivals, including the Tribeca film festival, Thessaloniki film festival, FEST, AFAC, ON, and many more. He also served as the President of the Human Rights Award at the Istanbul International film festival 2011. Copti was part of the team that launched the Doha-Tribeca Film Festival and the Doha Film Institute (DFI), where he headed the DFI's Education department until 2011. Scandar has been teaching at NYU Abu Dhabi since 2013, where he headed the Film and New Media program from 2014 to 2017. He is currently in production for his next feature film, 'Happy Holidays,' with the support of funds such as Eurimages (the European Council Cultural fund), Doha Film Institute, Aran Fund for Arts, and Culture (AFAC), Filmförderung Hamburg Schleswig-Holstein as well as worldwide presales and distribution deals. PROFILE OF PARTICIPANT The workshop is designed to Directors, 1st AD, Producers, Film Students, and filmmakers interested in developing the skill of directing non actors. 16 hours Duration: 2 days Dates: 24-25 January 2026 Location: Lisbon, Portugal Price: 599EUR (399EUR Until the 2nd of December) 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:

WORKSHOP DESCRIPTION

This two-day workshop, led by AI and film industry expert Sami Arpa, is designed for producers and film professionals who want to focus on the business applications of artificial intelligence in the film and television industries. While the Creative Module (with Martin Percy) explores how AI can expand artistic possibilities, this Business Module concentrates on the strategic and producer-oriented uses of AI, providing participants with the tools to make smarter, data-driven decisions across development, financing, packaging, and distribution.

With a focus on practical applications and real-world case studies, the workshop explores how AI can reduce risk, strengthen financial models, predict audience behaviour, and support more informed decision-making at every stage of the production pipeline. By the end of the program, participants will understand how to integrate AI into their workflows to enhance efficiency, competitiveness, and market positioning, while also engaging with the ethical questions that come with these technologies.

ABOUT MARK ULANO, CAS, AMPS Mark Ulano has been recording sound for film professionally since 1976 and has mixed over 150 film and television projects. He is a four times Oscar nominee, most recently for ONCE UPON A TIME IN HOLLYWOOD, AD ASTRA and INGLORIOUS BASTERDS. His work on TITANIC won him an Academy Award for Sound Mixing as well as the Cinema Audio Society Award for Best Sound mixing for a Feature Film. Most recently, his work can be heard on WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY and in 2023 on the new Martin Scorsese spring release: KILLERS OF THE FLOWER MOON, staring Robert DeNiro and Leonardo DiCaprio. He has had a 28 year collaboration with Quentin Tarantino. With many articles published, Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally; including Academy of Motion Picture Arts and Sciences Gold Program, American Film Institute, Digital Video Expo, AES and Cinema Audio Society and many others. Mr. Ulano has long been involved in leadership within the creative film sound community. He sat 30 years as a board member for the Cinema Audio Society and served the full two terms both as President and Vice President of the CAS. He also has served five terms as president of IATSE Local 695 (the film sound union in Los Angeles) and also served nine terms on the Sound Branch Executive Committee of the Academy of Motion Pictures Arts and Sciences as well as various AMPAS subcommittees.

WORKSHOP DESCRIPTION OVERVIEW AND OBJECTIVES-Sound for storytelling: The tools are not the artist, they are passive instruments until played by the creative practitioner. We do not come to the project with a preconceived ideology; We come to the project to discover, to learn, to interpret. We hope to create something new. This workshop is conducted primarily as a conversation and is fully interactive. We use case studies to teach a solution-based creative use of sound. Topics covered in the workshop will include: Using the sound palette for directorial intent. What is being transmitted to the audience at this specific moment? Connecting the characters to the audience Sound as a tool for emotional connection/truth/communication Character perspective, 1st person vs 3rd person, Like lenses and frame composition but not visible. Every shot is hand made by a team of artists Absence of understanding of the sound process on the set and beyond can limit the reach of the director Brief historical survey Not the Jazz Singer, but 40 years of evolving before the late 1920’s, when dialogue and sound-scape emerge. The creation of a film’s sound-scape begins in pre-production. The production sound team lays the bed of performance and most often are the primary liaison or decision maker of approach from pre-production through production. Including sound artists in the circle of trust. The production sound team performs the essential foundation in the creation of your film’s soundtrack. Capturing performance in collaboration with the artists in front of the camera in tandem with those behind the camera What is “good sound”? What does “technical” mean on a film set? Linking with the other departments PROFILE OF PARTICIPANT The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Boom operators, ADR Editors, Directors, Film Students, or filmmakers serious about a career in the Film Industry in the area of Sound.

LOCATION OF THE WORKSHOP London, UK Duration: 2 days 10:00 - 18:00 Dates: 7th - 8th of February 2026 Location: London, UK Price: 599GBP (379GBP Until the 18th of November) 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.

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, Intimacy coordinators, Movement coordinators or filmmakers serious about a career in the Film Industry on the area of Intimacy coordination WORKSHOP LOCATION Berlin, Germany Duration: 2 days 10:00 - 18:00 Dates: 21st - 22nd of February 2026 Location: Berlin, Germany Price: 599EUR (399EUR Until 11th of November) 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

ABOUT BARRY ALEXANDER BROWN

Academy Award–Nominated Film Editor Barry Alexander Brown is one of the most celebrated film editors of his generation and a key creative force behind some of the most defining works in contemporary cinema. Brown has forged a remarkable career spanning over four decades, marked by a distinctive sense of rhythm, social awareness, and storytelling precision. Best known for his long-standing collaboration with Spike Lee, Barry’s editing has shaped the visual and emotional language of many of Lee’s most iconic films — including Do the Right Thing (1989), Malcolm X (1992), He Got Game (1998), 25th Hour (2002), Inside Man (2006), and BlacKkKlansman (2018), the latter earning him a nomination for the Academy Award for Best Film Editing at the 91st Oscars. His editing on BlacKkKlansman was praised for its masterful pacing and political clarity, helping the film win the Grand Prix at the Cannes Film Festival. Barry continued this celebrated partnership through Da 5 Bloods (2020), American Utopia (2020). Beyond narrative cinema, Brown’s influence extends to the world of music and documentary. He has edited landmark music videos for Michael Jackson, Prince, Stevie Wonder, Public Enemy, and Arrested Development, helping define the political and stylistic edge of 1980s and 1990s pop culture. As a director, his debut The War at Home (1979) — co-directed at just 18 years old — earned an Academy Award nomination for Best Documentary Feature, making him one of the youngest nominees in the category’s history. More recently, he directed Son of the South (2020), produced by Spike Lee, a film praised for its historical depth and humanist vision. With his work honoured by the Academy of Motion Picture Arts and Sciences, the Cannes Film Festival, the BAFTAs, and numerous critics’ associations worldwide, Barry Alexander Brown stands as one of cinema’s most accomplished and respected editors. His FEST FILM LAB workshop offers a rare opportunity to learn directly from a master craftsman whose career combines artistic innovation, technical brilliance, and deep political engagement, a filmmaker who continues to shape the art of editing for a new generation. Barry is one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Academy Award–nominated editor Barry Alexander Brown (BlacKkKlansman, Malcolm X, Do the Right Thing) returns to FEST FILM LAB to lead a two-day workshop designed for filmmakers seeking to deepen their understanding of the editor’s craft, its creative influence, and its collaborative power within the filmmaking process. This intensive workshop offers a great opportunity to explore how editing shapes the emotional and narrative architecture of a film, how rhythm, pacing, structure, and tone are discovered rather than imposed. Barry will focus on the instincts, judgment, and storytelling intelligence that define great editing. Drawing on more than four decades of collaboration with directors such as Spike Lee, Barry will share insight into the creative and practical challenges faced in the cutting room, from shaping performance to navigating studio pressures, from reimagining structure during post-production to managing the balance between artistic intuition and external demands. Throughout the workshop, participants will engage in open discussion and critical viewing. Each participant is invited to bring short excerpts (up to three minutes each) from their own work, which will be used as material for group analysis and dialogue. The sessions will emphasize process over perfection, exploring how choices are made, how meaning evolves, and how to recognize the moment when a scene finally “breathes.” Topics to be covered include: The editor’s narrative intelligence — rhythm, pacing, and structure as storytelling tools. Collaboration: building a creative dialogue with directors, cinematographers, and producers. Shaping performance — emotional continuity and the invisible craft of character. Editing across genres — drama, comedy, documentary, and hybrid forms. The relationship between image and sound — rhythm, silence, and the role of music. Finding solutions under production and time constraints. The editor’s role as a co-author of the film. Industry realities: agents, contracts, credits, and career sustainability. PROFILE OF PARTICIPANT The workshop designed for Editors, Directors, Sound Editors, Film Students, or filmmakers serious about a career in the Film Business on the area of Editing WORKSHOP LOCATION Berlin, Germany Duration: 2 days 10:00 - 18:00 Dates: 21-22 February 2026 Location: Berlin, Germany Price: 599EUR (399EUR with 35% discount until the 6th of November) 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:

ABOUT GARY YERSHON Academy Award–nominated composer Gary Yershon has spent more than four decades creating music for drama across film, theatre, radio, television, and dance. His work spans leading UK theatre companies, West End and Broadway productions, national broadcasters, and major feature films. Born in London in 1954, Gary studied Music and Drama at Hull University. He began his professional life as an actor-musician before devoting himself fully to composition in 1991. His extensive theatre work includes scores for the Royal Shakespeare Company—where he is an Associate Artist—the National Theatre, and the Old Vic (also as an Associate Artist since 2016). His West End credits include the English-language premieres of Yasmina Reza’s plays Art, The Unexpected Man, Life x 3, and God of Carnage, and his Broadway work earned him a Drama Desk nomination for The Norman Conquests (2009). Gary is best known for his long-standing collaboration with director Mike Leigh, beginning with Topsy-Turvy (1999), for which he served as Musical Director. He went on to compose the scores for Happy-Go-Lucky (2008), Another Year (2010) — which brought him a European Film Award nomination for Best Composer — A Running Jump (2012), Mr. Turner (2014), which earned him nominations for an Academy Award, an Ivor Novello Award, and an ASCAP Composer’s Choice Award, and Peterloo (2018). Most recently, he composed the score for Leigh’s latest film, Hard Truths (2025). For BBC Radio, Gary has written and composed since 1979, beginning as a singer-songwriter before moving into drama. His credits include The Odyssey, Gawain and the Green Knight, The Theban Plays, The Winter’s Tale, The Eve of St Agnes, Three Men in a Boat, and the Sony Award–winning Autumn Journal (2002). For BBC Radio 3, he translated and dramatised Pushkin’s Ruslan and Lyudmila, and created Orwell on Kipling for The Verb. His television work ranges from detective drama (Trial and Retribution IX & X) to theme music (The Heritage Game, The Good Neighbour Show) and children’s animation (James the Cat, Painted Tails, Ebb and Flo). For dance, his compositions include Get A Move On (1994), choreographed by Jonathan Lunn at the New Performance Gallery, San Francisco; Ma Vie En Rose (2007), choreographed by Ayse Tashkiran at the Young Vic, London; and The Boy in the Striped Pyjamas (2017) for Northern Ballet, choreographed by Daniel de Andrade. In addition to his composing career, Gary curates and presents Oscar® Scores at London’s Barbican Arts Centre and continues to work as a writer, translator, musical director, and teacher.

WORKSHOP DESCRIPTION Academy Award–nominated composer Gary Yershon (Mr. Turner, Topsy-Turvy, Another Year, Happy-Go-Lucky) will lead this two-day intensive workshop on the art and craft of composing for film. This is not a class about software or “workflow,” nor a lecture about rigid storytelling rules in screen music. Instead, it’s an opportunity to explore how music functions within film, how it shapes perception, guides rhythm, and creates emotional and psychological layers that go beyond what is visible on screen. The workshop offers a practical, reflective space for composers and filmmakers to examine what film music really does — and what happens when it doesn’t. Participants are encouraged to bring their own work as a tool for the workshop. Each participant will be invited to share two short excerpts of their work (up to three minutes each). These will serve as a starting point for an open group analysis, guided by Gary, focusing on creative decision-making, artistic identity, and collaboration with directors and editors. Key Areas of Focus The Composer’s Dual Role – balancing the artistic and service-provider sides of the profession, and navigating the demands of collaboration while maintaining a personal voice. Creative Decision-Making – exploring how musical choices shape a scene’s tone, rhythm, and emotional distance. Spotting and Collaboration – building a shared language with directors and editors during spotting sessions and cue reviews. Deadlines and Pressure – staying inventive and expressive under tight time constraints. Adapting to Change – the ongoing evolution of technology and the rise of AI, and their impact on the composer’s role. Breaking Free from “Storytelling” Rules – questioning formulaic approaches to film scoring, and finding new, more dynamic ways to serve the film. Silence and Restraint – understanding when not to score, and how absence can be as powerful as presence. Who Should Attend This workshop is designed for film composers, directors, editors, and sound designers who already have professional or semi-professional experience and want to deepen their understanding of the creative and collaborative aspects of film scoring. Participants are encouraged to bring their own examples to discuss, compare, and experiment with throughout the two days. Learning Outcomes By the end of the workshop, participants will have: A clearer sense of their own creative identity as composers. Practical strategies for collaboration and communication with filmmakers. Tools to navigate feedback, deadlines, and creative tension in professional environments. Renewed confidence in shaping music that genuinely enhances, rather than merely accompanies, the image. PROFILE OF PARTICIPANT The workshop designed for Music composers, Musical Directors, Arrangers, Directors, Producers, or filmmkaers and musicians interested in entering the Film Business in the music department.

LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 21-22 February 2026 Location: Berlin, Germany Price: 599EUR (399EUR with 35% discount until the 4th of December) 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.