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 an 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 May 2025 Location: Paris, France Price: 599EUR (399EUR Until the 5th of March) 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 STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he created the distinctive look in films such as "The Piano" , "Ben is Back", "The Painted Veil", "The Secret Life of Walter Mitty" "The Great Wall" and many other. Dryburgh started on the job as a gaffer. As a result he found himself working and learning alongside many major cinematographers, in the process gaining a reputation as a skilled lighting specialist. After six years as a gaffer Dryburgh moved into the cinematographer's role shooting his first feature "The Leading Edge". Dryburgh was given the chance to shoot "An Angel at my Table" by Jane Campion, the film won accolades, and standing ovations. In 1992 Dryburgh reunited with Jane Campion in "The Piano", his work on the film won him the Oscar, ASC and BAFTA nominations, but was beaten by Schindler's List. Dryburgh followed "The Piano" with impressive work on "Once Were Warriors". After working on John Sayles' acclaimed border drama "Lone Star", Dryburgh reunited with Jane Campion, to shoot Henry James adaptation "The Portrait of a Lady". A long series of projects has followed, including hits "Analyze This", "Bridget Jones's Diary" "Kate and Leopold" and the pilot episode of "Sex and the City". Dryburgh went back to New Zealand to shoot "In My Father's Den", shot wildly out of sequence in an effort to capture different seasons on film. In 2007 he shot "The Painted Veil" Dryburgh's projects also include the pilot for acclaimed Prohibition-era drama "Boardwalk Empire". Martin Scorsese directed, with Dryburgh describing it as in many ways "a dream job". Variety later argued that Dryburgh's cinematography on Ben Stiller's remake of "The Secret Life of Walter Mitty" was "reason enough to see the film on the bigscreen". He followed it with Michael Mann cyber-crime tale "Blackhat". In 2012 he returned to New Zealand as director of photography on Japanese-set drama "Emperor", directed by Peter Webber. In recent years Stuart has shot films such as "Ben is Back" (directed by Peter Hedges), the Upside (directed by Neil Burger), The Only Living Boy in New York (Directed by Marc Webb), The Great Wall (directed by Yimou Zhang), Alice Through the Looking Glass (directed by James Bobin) Stuart has also just finished shooting the Men in Black 4 full list of credits on https://www.imdb.com/name/nm0238698/ WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Stuart Dryburgh, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Day 1: Unearthing Creativity & Distinctiveness in Cinematography Introduction: Evolution of a Cinematographer Brief on how Stuart's experiences in film over the last 30 years apply to today's digital age. Advantages cinematographers can harness by "thinking film, shooting digital". ESSENCE OF THE CRAFT Auteur vs. Industry: Real-world intricacies of the film business. DIY approaches and the value of understanding one's unique capabilities. A deeper dive: clips from Stuart's oeuvre, shedding light on his approach and interpretation. Inspirations & Influences Stuart presents clips from films that have shaped his perception of light and composition. Interactive session: Participants share short clips of movies that have impacted their cinematic vision, discussing their takeaways on light, composition, and style. GETTING THERE: Navigating the Industry Contrasting the worlds of Hollywood and Europe. The crucial role of agents, managers, and lawyers in a cinematographer's journey. PREPPING: The Backbone of Cinematography The nuances of script breakdown and its role in defining the visual narrative. Crew selection, location scouting, and the pivotal pre-shoot rehearsals. The importance of storyboards and collaborating effectively with departments: Art, Costume, Camera, and VFX. The dynamic between the DP and the director: Finding common ground. An overview of camera systems, lens choices, grip equipment, and the selection of originating materials. Day 2: From Conception to Execution: The Cinematographer's Canvas SHOOTING: Bringing the Vision to Life Day planning, scene blocking, and the strategic use of shotlists. The role of storyboards on set and the art of designing master shots and coverage. Navigating the balance between traditional and digital techniques. A comprehensive guide to tech scouting a location. LIGHT: The Cinematographer's Paintbrush The science and art of exposure. The indispensability of light meters, setting the mood through lighting, and techniques for various settings: natural, location, studio, and transitions between night and day. Crafting lighting to enhance actors, and ensuring it aligns with the story's mood and tone. Interactive Lighting Exercise Participants engage in a hands-on small lighting experimenting scene under Stuart's guidance. A practical exploration of the themes discussed, utilizing simple lighting equipment. Wrap-Up: The Path Forward Reflection on the challenges and intricacies of making a movie from a cinematographer's lens. An open discussion where participants can address issues they've faced in their projects, gaining insights to navigate future challenges. Encouraging participants to continue developing their unique voice and style in cinematography. PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of cinematography. WORKSHOP LOCATION Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 31st May - 1st of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 10th of March) 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 SAMI ARPA Sami Arpa is the Founder and CEO of Largo.ai, that integrates artificial intelligence into the filmmaking process. Sami holds a Ph.D. in Computational Aesthetics and Computer Vision from the École Polytechnique Fédérale de Lausanne (EPFL) in Switzerland, where his research focused on the intersection of AI and artistic expression. His academic pursuits laid the groundwork for his later innovations in AI applications within the film industry. Before founding Largo.ai, Sami gained experience as a filmmaker and producer, directing short films, including "Les bruits des pas" (2014) and "L'évasion" (2015). His firsthand understanding of the challenges faced by filmmakers fueled his desire to develop tools that would streamline and enhance the filmmaking process. He also founded the Ouchy Film Awards, a film festival in Lausanne, further cementing his commitment to nurturing creative talent and promoting independent cinema. Largo.ai, established in 2018 as a spin-off from EPFL, quickly gained recognition for its innovative approach to using AI in film production. Headquartered at the EPFL Innovation Park in Lausanne, with additional offices in Los Angeles, London, and Istanbul, Largo.ai has grown into a global enterprise. The company's SaaS platform, launched in 2020, offers data-assisted intelligence to filmmakers, providing comprehensive analysis of content, characters, casting, and financials. This platform has been instrumental in reducing risks and optimizing decision-making for producers and directors, leading to the successful release of numerous films in theaters and on major streaming platforms. Some of these films have even garnered Oscar nominations, highlighting the effectiveness of Largo.ai's technology. Under Sami's leadership, Largo.ai has earned multiple accolades, including the Best Start-up Award at the San Sebastian Film Festival, recognition at EFM Horizon Start-ups at the Berlinale, and placement in the Top 100 Swiss Start-up Awards. These honors reflect the company's impact on the industry and its potential for future growth. Sami Arpa continues to drive Largo.ai’s mission to revolutionize filmmaking through AI, helping filmmakers make more informed decisions, reduce risks, and enhance storytelling. His work represents a significant leap forward in how technology can be harnessed to serve the creative arts, making him a pioneer in the fusion of AI and cinema. Sami Arpa experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This two-day workshop, led by AI and film industry expert, is designed for film professionals seeking a comprehensive understanding of the transformative role of artificial intelligence in the film and television industries. With a focus on practical applications and real-world case studies, this workshop offers an in-depth exploration of how AI is revolutionizing everything from script analysis and casting to production and post-production processes. Participants will gain valuable insights into the possibilities AI presents, and how to effectively integrate these technologies into their projects to enhance creativity, efficiency, and overall production quality. Day 1: Introduction to AI and Its Applications in Film and TV Morning Session: Understanding how AI works? This session will begin with an overview of AI, covering its fundamental concepts, history, and significance in the film and TV industry. Participants will learn about the various AI ecosystems, including machine learning, natural language processing, and computer vision, with a specific focus on how large language models (LLMs) and decision models (DMs) function. The session will also address the challenges faced and the benefits realized when incorporating AI into the script development process, providing a comprehensive understanding of the foundational aspects of AI and its potential applications. Afternoon Session: Practical AI Applications in Film and TV Development Pre-production Stages In the afternoon, the workshop will focus on practical applications of AI in the pre-production stages of film and TV projects. Participants will explore how AI can assist in script analysis, casting, and audience predictions using specific AI tools like Largo.ai. The session will include two detailed case studies: one for a TV project and another for a film project. Each case study will cover story analysis, character and casting analysis, and audience predictions, illustrating the tangible benefits of AI in real-world scenarios. Day 2: Practical Applications of AI in Film and TV Morning Session: Audience design through Simulated Focus Groups and Financial Planning This session will focus on the use of AI for audience design and financial planning in film and TV projects. Participants will examine case studies demonstrating how AI simulates focus groups to test potential audiences and predict awards outcomes. Additionally, the session will cover the creation of financial plans using AI-generated forecasts, providing insights into how AI can help in making data-driven financial decisions and optimizing project outcomes. Afternoon Session: Practical applications on Production & Post production The afternoon session will showcase the use of AI in production and post-production stages. Participants will learn about various AI applications in production, such as scheduling, special effects, and efficiency enhancement. The session will also cover post-production processes, including automated editing, color grading, VFX, and sound design, with real-world examples highlighting the impact of AI. The workshop will conclude with a discussion on future trends in AI technology and its ethical implications, addressing issues such as bias, data privacy, and the responsible use of AI in filmmaking. This final session aims to equip participants with a forward-looking perspective on AI's role in the entertainment industry. Conclusion: Future Trends and Ethical Considerations By the end of this workshop, participants will have a thorough understanding of how AI can be leveraged to enhance various stages of film and TV production. They will be equipped with practical knowledge and strategies to effectively incorporate AI into their workflows, ensuring their projects are more efficient, innovative, and competitive in the evolving landscape of the entertainment industry. This workshop is made possible with the support of the Portuguese Film Institute – Instituto do Cinema e do Audiovisual (ICA). As part of this collaboration, a limited number of scholarships are available for Portuguese filmmakers or those based in Portugal. You can find the form to access these on this link: https://forms.gle/EbEdm9p9Je6sAsAC6 PROFILE OF PARTICIPANT This workshop is designed for Directors, Producers, or filmmakers serious about a career in the Film Business on the area of Film Production or Directing using AI tools Whether you're looking to enhance your understanding of AI's capabilities or seeking to incorporate cutting-edge technology into your filmmaking process, this workshop will provide valuable insights and practical knowledge for professionals. WORKSHOP LOCATION Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 31st May - 1st of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 25th of March) 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

Dörte Schneider Garcia has 20 years of experience as an assistant director in films and TV commercials. Dörte discovered that she could combine her passion for film with her environmental concerns, which led her to become a Green Consultant. In 2020, she obtained the Green Consultant certificate at the German “Hochschule der Medien” (HdM Stuttgart) and has since been committed to making film productions more sustainable. To achieve this goal, Dörte believes that educating and raising awareness of this issue is fundamental, which led to her engagement in several initiatives with that focus. Dörte is a member of the German green consultant association (BVGCD), and a founding member of the Portuguese one (Repensar), as well as an ambassador for Creative Industries Pact for Sustainable Action, and Green The Bid. In October 2021, she trained as a Climate Reality Leader. WORKSHOP DESCRIPTION

The workshop will look at the climate reality on planet Earth and how that should influence our every action. It will also give an understanding of sustainability as a concept. It will focus on the importance of applying more sustainable measures during all stages of film production. The workshop will provide tools to identify issues of environmental impact on film production, offer knowledge to better interact with the sustainability department, and deliver insights to address the environmental sustainability challenges of a film production, without neglecting social and economic aspects. The workshop will be informative and interactive, with room for exchange and dialogue. The topics covered in the workshop: - Understanding what the sustainability department does - Knowing what is happening internationally - Assessing the critical points of a project - Understanding what steps to take at each stage of the project PART 1 | Climate literacy. Introduction to the concept of sustainability. What is a Green Consultant, and how does the sustainability department work? What’s happening on (and to) Planet Earth? What is “sustainability”? Theoretical and legal bases. Applicability in the audiovisual industries. Introduction to existing initiatives and platforms. What does the sustainability department do? PART 2 | Departments I Departments and their impact: Production. Screenwriting. Directing. Catering. Scenography. Wardrobe. Make-up/Hair. What measures can we apply? PART 3 | Departments II Departments and their impact: Lighting. Sound. Post-production. Energy, Materials, Transport, Waste. How can we work in a more "green" and efficient way? PART 4 | The footprint of distribution and streaming. Introduction to carbon footprint calculations. Green storytelling. Recap. PROFILE OF PARTICIPANT Anybody working in the film industry is welcome. This workshop is addressing the industry as a whole and is committed to giving an understanding of the importance and scale of our impact and footprint. 16 hours Duration: 4 days Dates: 2nd to the 5th of June 2025 1PM - 5PM (London) 2AM - 6PM (Brussels) 4PM - 8PM (Dubai) 8AM - 12PM (New York) 8PM - 12AM (Beijing) 5:30PM - 9:30PM (New Delhi) 9AM - 1PM (Rio de Janeiro) 10PM - 2AM (Sydney) Location: Online Price: 599EUR (299EUR with 50% Discount Until 19th of March) 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 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), 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. This workshop is made possible with the support of the Portuguese Film Institute – Instituto do Cinema e do Audiovisual (ICA). As part of this collaboration, a limited number of scholarships are available for Portuguese filmmakers or those based in Portugal. You can find the form to access these on this link: https://forms.gle/EbEdm9p9Je6sAsAC6 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 Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 7th - 8th of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 17th of March) 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 MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, collaborating with directors such as Stephen Frears, Terry Gilliam, Mike Newell, Robert Zemeckis, Armando Iannucci, Kenneth Branagh, and Neil Jordan, and working on films such as "Interview with the Vampire," "12 Monkeys," "High Fidelity," "Harry Potter and the Goblet of Fire," or more recently "The Personal History of David Copperfield." After completing his postgraduate studies at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer-director Bill Douglas, cutting the final film of Douglas' autobiographical trilogy, "My Way Home." What became an extensive collaboration with Stephen Frears started with "Walter" (1982, a TV movie starring Ian McKellen). His work with Frears continued and earned Audsley a nomination for the BAFTA Award for Best Editing for "Dangerous Liaisons" (1988), as well as a BAFTA TV Award (Best Film or Video Editor – Fiction/Entertainment) for "The Snapper" (1993). Audsley has had a similarly long-running collaboration with director Mike Newell, including "Harry Potter and the Goblet of Fire" (2005). His collaboration with Terry Gilliam includes editing "Twelve Monkeys" (starring Bruce Willis and based on Chris Marker’s "La Jetée") and, more recently, the critically acclaimed "The Zero Theorem" (2013). Mick Audsley also edited "Interview with the Vampire: The Vampire Chronicles" (directed by Neil Jordan, 1994), "High Fidelity" (directed by Stephen Frears, 2000), "Everest" (directed by Baltasar Kormákur), "Murder on the Orient Express" (directed by Kenneth Branagh), "Allied" (directed by Robert Zemeckis), and most recently, "The Personal History of David Copperfield," working with Armando Iannucci. Mick’s work also includes supervising editing and editing consulting for features, as well as shorts and TV series. He is currently one of the most accomplished and sought-after editors in activity and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION June 14th The workshop will begin with an introduction of the participants to Mick Audsley, followed by a presentation of selected clips from his work. Key topics covered: How to edit characters, actors, and performances (practical examples). Employing narrative techniques to create tension. Serving the narrative through effective editing. Best practices for helping the story flow through editing. Participants will also explore: Analyzing choices and options made in Mick’s past works, sharing experiences of editing in the industry (problem-solving and decision-making). How to apply editing techniques across different genres and the impact of genre on editing styles. The influence of great films and film history on the craft of editing (musicals, horror, thriller, Shakespeare, and beyond). June 15th The day will begin with: "Understanding Actors' Performances from the Film Editor’s Point of View in Order to Facilitate the Multiple Choices Presented" Other key topics include: Technical aspects of the job, with insights into recent projects and workflows. Working within different budget levels—low budget vs. high budget. How to work with sound, music, and special effects. The editor’s relationship with the director, cinematographer, producer, and other members of the film crew. How to be actively involved in the filmmaking process beyond the final editing stage—becoming a true collaborator, not just an efficient technician. The market reality for editors, including working with agents, setting rates, and finding work. Participant Work Analysis: Each participant is encouraged to bring or submit a short piece of their own work (finished or unfinished, no longer than five minutes) for discussion and analysis with Mick and the group. Submissions should be sent before the workshop so that Mick can select which ones will be presented and discussed in class. Only drama pieces will be considered—commercials and documentaries will not be included. This session will provide valuable feedback on individual editing approaches and help participants refine their storytelling techniques. Note: This workshop does not focus on specific editing software. Instead, it aims to strengthen the ability to edit in your mind before using tools. It is about making informed creative decisions, understanding your choices, and refining your instincts as an editor. This workshop is made possible with the support of the Portuguese Film Institute – Instituto do Cinema e do Audiovisual (ICA). As part of this collaboration, a limited number of scholarships are available for Portuguese filmmakers or those based in Portugal. You can find the form to access these on this link: https://forms.gle/EbEdm9p9Je6sAsAC6 PROFILE OF PARTICIPANT The workshop designed for Editors, Directors, Sound Editors, Film Students, or filmmakers serious about a career in the Film Industry on the area of Editing WORKSHOP LOCATION Lisbon, Portugal Duration: 2 days 10:00 - 18:00 Dates: 14th - 15th of June 2025 Location: Lisbon, Portugal Price: 599EUR (429EUR Until 13th of March) 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 PETE TRAVIS

Established director and BAFTA winner Pete Travis actually had a late start in his filmmaking career: before becoming a director, Pete Travis was a social worker. However, inspired by Alan Clarke and Costa-Cravas, he decided to take a post-graduate course in filmmaking. Soon after graduation he acquired the rights of “Faith” (short story written by Nick Hornby) and presented his first short film at the London TV Festival (1997). Later, he directed episodes of “Cold Feet” (1999) and the TV series “Other People's Children” (2000), as well as “The Jury” (2002) mini-series and the TV movie “Henry VIII” (2003), featuring Helena Bonham-Carter and Mark Strong. Impressed with his work, Paul Greengrass, “Captain Phillips´” director, sent Travis a script that he co-wrote with Guy Hibbert – “Omagh”. The film premiered in 2004 at the Toronto International Film Festival, where it won the Discovery Award. The film also won the 2005 BAFTA Award for “Best Single Drama”. “Vantage Point”, was his first major motion film, starring Dennis Quaid and Matthew Fox. It was released in the USA, in 2008. Just one year later, in January of 2009, Pete Travis took to Sundance to premiere “Endgame”, which dramatizes the last days of Apartheid in South Africa and stars Chiwetel Ejiofor, William Hurt, Jonny Lee Miller and Mark Strong. Later, Travis directed a film adaptation of the popular UK comic book series, “Dredd” (2012). In Travis' feature film, Karl Urban takes on the role of judge Dredd with Olivia Thirlby playing his young accomplice. The film quickly gathered a cult following. Pete Travis recent work stars Riz Ahmed and Billie Piper: “City of Tiny Lights” (2016) - a crime thriller film, written by Patrick Neate and based on his own novel of the same name and "Project Blue Book" with Aidan Gillen and Michael Malarkey WORKSHOP DESCRIPTION

The Directing Actors for Film workshop will focus on a diversity of topics of the art of directing actors, you will have the chance of not only receive this knowledge from Pete Travis, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. The workshop will also cover the following structure: PRE-PRODUCTION Introduction to “acting” / How to actors work? The Actor/Director relationship Letting the actors to build their own characters The Actor’s tools and methodologies The director in a casting What is a character? The importance of the story through the eyes of the character Planning Rehearsal - What to Rehearse and Why. Rehearsal Tools Directing The Character ON SET How to communicate with actors Staging the Scene and Blocking the Action How the camera affects performance. Business and endowment Keeping performances dynamic and the actors engaged. Keeping the set as a creative environment. What to ask for in a new take. Maintaining Continuity - Emotional and Physical WORKSHOP LOCATION Berlin, Germany PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of Directing Actors Duration: 2 days 10:00 - 18:00 Dates: 27th - 28th of September 2025 Location: Berlin, Germany Price: 599GBP (349GBP Until 3rd of April) 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 FRANCESCA JAYNES Francesca Jaynes has been a Choreographer and Movement Director in the film industry for over 25 years. Her work is incredibly diverse, ranging from movement in “A.I. Artificial Intelligence” and “Gravity” to musical films such as “De-Lovely” and “Muppets Most Wanted”. She has worked with top directors on both sides of the Atlantic, including Mike Leigh, Steven Spielberg, Tim Burton, Joss Whedon, Ron Howard, Michael Winterbottom, and Mike Newell, and with a host of stars such as Judi Dench, Dustin Hoffman, Sandra Bullock, Andy Serkis, Christoph Waltz, Tina Fey, Jude Law, Keira Knightley, and Kevin Kline. Francesca has recently contributed to the Disney's adaptation of "Pinocchio," directed by Robert Zemeckis and starring Tom Hanks. She also lent her talents to Marvel Studios' "Black Widow," directed by Cate Shortland, working with Scarlett Johansson and Rachel Weisz. Additionally, she worked on Ridley Scott's "Napoleon," featuring Joaquin Phoenix and Vanessa Kirby, . In "Firebrand," directed by Karim Aïnouz and starring Jude Law and Alicia Vikander, She also recently contributed as a choreographer to the series "House of Dragon". In addition to a wide-ranging CV in film, she works regularly in the theatre in musicals, opera, and plays, and also in television drama. For a complete look at her career to date, please visit www.francescajaynes.com

WORKSHOP DESCRIPTION CHOREOGRAPHY AND MOVEMENT IN FILM Work in dance and movement in film can be an ever-changing and diverse experience. This is what makes it exciting! But it’s also what makes it extremely challenging. The top people in the industry have a vast range of skills (ballet, tap, historical dance, contemporary social dance, etc) and must always be ready to adapt and change to best serve their director and the film. Within this two-day exploration of the discipline, we’ll look at the complete process of working in dance/movement on a film production, from initial meetings with producers and directors, to casting, rehearsals, and ultimately filming. There are a host of details and elements that need to be considered at each stage of the process, in addition to the actual creation of the work. With discussions, Q and A’s, and practical ‘on your feet’ workshops, we’ll explore the myriad of fun and challenging scenarios that can present themselves on a variety of job assignments. Topics will include: Different approaches for different films, Genres, and directors; How does the dance/movement fit into the narrative of the film and/or scene; Relationships with other departments (Directors, Assistant Directors, Costume Departments, Sound Departments, Art and Props Departments); Practical sessions in creating and filming the work (historical dance, etc); Actors, dancers, and Muppets - working with differing levels of skills, abilities, and comfort zones. PROFILE OF PARTICIPANT The workshop designed for, choreographers, dancers, Actors, and Directors, who can directly benefit from the knowledge and know how presented on this workshop. The workshop is also suited to different profiles, such as cinematographers, Art Directors, who will directly work with Choreographers and Movement Directors, and can improve their work by knowing how to interact with this department in a more effective way. The workshop is also suitable for filmmakers interested in establishing in Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP Berlin Germany 16 hours Duration: 2 days Dates: 27-28 September 2025 Location: Berlin, Germany Price: 599EUR (399EUR until 27th of March) 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: