ga 2012 booklet(1)

COPENHAGEN 8 - 10 JUNE 2012

GENERAL ASSEMBLY

FERA would like to thank Danish Film Directors

for their generous hospitality

TABLE OF CONTENTS 1. Programme and Agenda a) Agenda for adoption by the General Assembly p. 02

2. Panel Debate a) Programme p. 07 b) Background & Concept note p. 10 c) Panelists’ and Moderators’ biographies p. 13

3. Administrative and financial issues a) CEO Activity Report 2011/2012 p. 19 b) 2011 Accounts p. 40 c) Accountant Report p. 46 d) Budget for 2012 p. 48

4. FERA Work Programme 2012/2013 p. 55

5. General Assembly Participants a) FERA delegates’ contact details p. 59 b) FERA organisations and delegates p. 69 c) Observers p. 113

6. Flight ticket reimbursement information p. 117

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GENERAL ASSEMBLY COPENHAGEN 8th – 10th June 2012

Draft Programme and Agenda

Friday 8th June Morning; Delegates arrive and check in at Imperial Hotel.

Friday’s panel debate venue: Danish Film Institute

Gothersgade 55, 1123 Copenhagen K

13:30 - 13:45 Opening of FERA General Assembly meeting (Cinema Asta)

Welcome by the Danish Film Directors Welcome by FERA President István Szabó Welcome Chairman and Vice President of FERA, Piers Haggard

13:45 - 17:30 Panel debate with invited guests: The New Auteur: Artisan & Audience Builder

(separate programme & background note) 17:30 - 18:30

Directors in Dialogue with Nicolas Winding Refn (TBC)

20:00 Dinner at Karriere Bar, Kødbyen Saturday 10th June 09:30 - 13:15 FERA General Assembly meeting continues (Imperial Hotel)

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1) Adoption of the agenda 2) Adoption of the draft minutes of the 2011 Opatija General Assembly 3) Discussion of CEO activity report 4) Financial report and adoption of the 2011 accounts

11:15 - 11:30 Coffee break

5) 2012 Programme activity and budget 6) Elections 7) Possible change to Statutes (for 2013)

13:15 - 14:30 Lunch 14:30 - 18:00 General Assembly continues

8) Presentation of FERA members’ activities and current concerns

18:00 - 18:45 Break 18:45 Bus departs for Jægersborg Deer Park 19:15 Horse and carriage to the restaurant 20:00 Dinner

Sunday 11th June 9:30 - 11:00 FERA General Assembly meeting continues

9) Presentation of FERA members’ activities and current concerns (continues from

Saturday) 11:00 - 11:15 Coffee Break

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10) Contracts, creative rights and working conditions – recent experiences 11) Brussels agenda: State Aid Consultation, AV Green Paper/Cavada Report 12) Adoption of a final declaration 13) Any Other Business

13:30 End of General Assembly

13:30 Lunch (this could be a sandwich bag since delegates will be leaving) Afternoon Departure delegates 13:30 - 16:30 Executive Committee meeting (working lunch)

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2. Panel Debate Documents

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a) Programme

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GENERAL ASSEMBLY

PANEL DEBATE

The New Auteur: Artisan & Audience Builder

Friday 8th June

Danish Film Institute, Cinema Asta Gothersgade 55

13.30 - 18.30

I. Blow Up As a filmmaker, it is all about the story and the connection to the audience. Everything in the middle will be redone.

Gerd Leonhard Questions to debate:

Building audiences for what, or for whom? What/who is the brand? New role of director, producer and of old and new middlemen (sales agents,

distributors, aggregators, platform operators) Do we really need all of them? If not, which ones?

Can rethinking release windows help the film reaching a bigger audience? Is it still relevant that most feature film funding is reserved for films that will first be released in the cinema?

Keynote speaker: Sheri Candler, Marketing & Publicity Strategist Moderator: Trish McAdam, Director and former FERA Vice President

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Panel: Hengameh Panahi (Sales Agent, Celluloid Dreams & MUBI online platform), Wendy Bernfeld (Lawyer/CEO Rights Stuff), Christina Rosendahl (Director and Vice Chair of Danish Film Directors)

15:15 – 15:30 Coffee Break

II. Band of Outsiders The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last cent into it and not let themselves be taken in by the material routines of the trade.

Robert Bresson

Questions to debate:

Relationship between funding and distribution – time for a break up? How then to raise adequate budgets?

Can you get sufficient production value in low- or no-budget films? And will audiences settle for ”kitchen table” productions in the long run?

Role of funding programmes, state aid rules, do they hold back the evolution of roles or help us transition into the future?

Moderator: Elisabeth O. Sjaastad, Director and Chief Executive, FERA

Panel: Thomas Robsahm (Director, Producer, now Commissioning Editor, Norwegian Film Institute) Hrvoje Hribar (Director, CEO, Croatian Audiovisual Center) Vinca Wiedemann (Producer and Story Supervisor) Wendy Bernfeld (Lawyer/CEO Rights Stuff) Peter Aalbæk Jensen (Producer & Co-founder Zentropa) (TBC)

17:15 – 17:30 Coffee Break

III. Directors in Dialogue

Nicolas Winding Refn Director of Pusher, Drive

Winner of Best Director award Cannes 2011

in conversation with

Birgitte Stærmose Director of Room 304, Out of Love

Board member of Danish Film Directors

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b) Background & Concept Note

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The New Auteur:

Artisan & Audience Builder

Background & Concept Note

An artisan is a person engaged in the practice of a craft who may through experience and talent reach the expressive levels of an art in their work and what they create. Artisans were divided into two distinct groups: those who operated their own business, and those who did not. Those who owned their businesses were called masters, while the latter were the journeymen and apprentices. (Wikipedia)

Timing and rationale As a filmmaker, it is all about the story and the connection to the audience. Everything in the middle will be redone.

Gerd Leonhard For filmmakers, one of the most promising features of the internet is direct contact between us and our audience. Technology optimists have nurtured the idea that putting our films online will make them reach millions of people across the globe in no time at all. In the last 3 years, the independent and documentary film communities, in particular, have embraced the DIY (do it yourself) approach, which has spurred the invention of many useful tools to empower filmmakers to take matters into their own hands, and not defer their film’s destiny to the old gatekeepers and middlemen. According to the new model of filmmaking, roles will be redefined and responsibilities will be greater on creators (authors, musicians, filmmakers, artists in general). And it will be your audience – and your relationship with your audience – that determines whether or not your movie gets made. Sheri Candler, film marketing and publicity strategist, says: ”Our problem is no longer distribution, our problem is attention. How to get and keep and convert that attention in order to live as artists? With this open access, there is a glut of content and, as consumers, how to know what to watch and

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where to find it? It will be through friends or through the tribe and more and more we are finding this work online. There will be a mass of niches, not a mass audience.”

Candler talks about filmmakers as tribe leaders: ”They must create and cultivate an identity around themselves as artists. This identity will serve as leadership in forming a tribe of passionate supporters who will sustain their artist in order for this person to live and keep making the art the tribe enjoys.

This route will only serve the entrepreneurial filmmaker. A person who is good at sharing, making connections, mobilizing, contributing and engaging with audience on a regular basis will be the ideal tribe leader. Those who prefer to create without need or concern of anyone’s enjoyment will not prosper here… The tribe will expect to be able to produce and contribute as this is what is becoming the norm for storytelling now, the opportunity to interact directly with the story and the story creator.”

Ted Hope, award-winning US producer, says that the industry needs to reorder its priorities; aggregating and building an audience should be a key consideration from the very start of the filmmaking process. The audience needs to be discovered from the very idea of a film and one has to think of filmmaking as a question of infrastructure rather than a question of product. To change things we need to think of audiences not as consumers, but as communities based on bonds between individuals. The only sacred thing in the digital age is engagement with audiences.

Bob Moczydlowsky of Topspin Media, a new software used by musicians, and now filmmakers, to build awareness of their art, engaging in conversations online, acquiring relationships with fans and using all of it to make money from their work, says:

“Filmmakers should be asking themselves: 1) What am I doing to make my audience aware of my work? 2) What have I provided to that audience that engages them, or inspires them to pay attention and then take action? 3) How am I acquiring direct connections with my audience? 4) What are my plans for monetizing this audience that is connected to me directly? What amazing, non-commodity product can I offer these fans who have gone on this journey with me?”

The crowdfunding platform Kickstarter's co-founder Yancey Strickler says:

"I think we are at a point where we are asking whether you really need a film industry for a film to be made or a music industry to make music. People can now speak directly to their audiences. And the demands of an audience are very different to the demands of an industry. An industry wants to know about merchandising tie-ins with McDonalds – that's not necessarily what the audience is looking for, or what the artist is concerned with."

This new reality suggests that thinking about production and distribution in a traditional linear way will not move us forward. The time is ripe for a more profound debate about the film director’s role and a critical assessment of which types of films need what sort of ”middlemen” – old and new. In 2012 the new EU Programme ”Creative Europe” will be finalised, and new rules for state aid for audiovisual works will be passed. It is therefore imperative to ask to what extent the new funding programme and state aid rules address and accommodate these recent developments. Will they be able to support alternative training, development and distribution schemes? Or will they simply sement old practices and power structures?

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c) Panelists’ and Moderators’ biographies

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Panelists SHERI CANDLER (Marketing and Publicity Strategist) Sheri Candler is an inbound marketing strategist who helps independent filmmakers build identities for themselves and their films. Sheri is dedicated to encouraging filmmakers to take control of their own work and bring it to audiences in the most direct way possible. She especially feels this way when it comes to online digital distribution. Why give the rights (and fees and percentages) away to a distributor when you can easily use tools to distribute your work directly and in the most expedient manner? Audiences are now delighted by communicating not with a “brand,” but with a “face” or a person. HENGAMEH PANAHI (Sales Agent and Distributor) Hengameh Panahi has built a reputation as one of the shrewdest women in independent international film sales with her company, Celluloid Dreams. Panahi's guiding principle has been to follow the careers of directors whom she believes possess great potential. She has also produced and distributed the films by such known Iranian directors as Abbas Kiarostami and Hassan Yektapanah. " We only distribute films we like and believe in, otherwise its very difficult to convince anyone to buy them ". Panahi founded the VOD platform, MUBI in conjunction with The Criterion Collection, the world’s first global online social community and film distribution network.

WENDY BERNFELD (Lawyer and Rights Consultant)

Wendy Bernfeld is the founder of Rights Stuff BV, international content licensing consultancy specializing since 1999 in pragmatic operational approaches to new media (internet, mobile, VOD, etc). She is a passionate film buff specialised in hard core content licensing negotiations and related rights advice for traditional media (film, TV, PayTV/pay per view, formats), and digital new media (Internet, mobile, interactive TV, VOD, portable devices). Wendy helps filmmakers find new revenue sources (new platforms/buyers/program commissioners) and devise a tailored licensing strategy for new media in balance with traditional media (business, legal, politics).

Originally from Montreal, Wendy has over 24 years’ (17 in Europe) experience in film/payTV channel startup and programme buying, beginning originally as an entertainment lawyer and then spending the bulk of her career as a senior movie buyer/TV executive in various international tv networks. Positions in this area have included CEO of Canal+ International Acquisitions – and just prior as VP Program Acquisition/Special Projects, and in the centralised joint programme-‐buying conglomerates FilmNet/Nethold/Canal+ from 1993-‐98, with a particular specialty in major MPAA studio movie “output’’ deals.

Wendy has a Bachelor of Laws Degree (LLB) from Queens University, after a year of BA/MBA courses in McGill and the University of Toronto. She is a member of both the Law Society (Upper Canada) and the Roll of Solicitors in the UK. She previously practised law in Canada with Blake Cassels & Graydon; Silverstein’s; and still earlier, was one of ten appointed as Law Clerk to the Chief Justice of the Supreme Court.

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ANNETTE K. OLESEN (Director and Board Member, Danish Film Directors)

Annette K. Olesen graduated from the National Film School of Denmark in 1991. Her international breakthrough came with MINOR MISHAPS (2002) which won Der Blaue Engel at the International Film Festival in Berlin. In 2004 she directed IN YOUR HANDS which was selected for the main competition at the Berlin International Film Festival. For her work on this film she received an honorary award at the São Paulo International Film Festival. LITTLE SOLDIER (2008) was selected for the main competition at the 2009 Berlin International Film Festival where it won the prize of the Ecumenical Jury. In a 2011 op-‐ed piece in Danish newspaper Politiken called “Danish film is locked up in the cinema” November) film director Anette questioned the length of the holdback period for cinemas, which was renegotiated by Danish distributors and cinema owners last summer to match Hollywood’s 4 months. She noted that films which only play in theatres 2-‐3 weeks before being taken off, must also suffer the fate of being completely off the market for the remainder of the holdback period – losing any synergies with the promotion and advertising campaigns mounted for its initial release. And on top of this, statistics show that piracy is particularily rampant during this time. Olesen’s own films are all available on MUBI.com – in theory, but current contractual obligations means that they have to be geo blocked. “We make films for the audience – not for the screen”, says Olesen, “We want to communicate, we want to meet our audience” and warns that directors may take matters into their own hands, hold on to their rights and start their own companies to seize the new opportunities offered by digital distribution.

The intense public debate that followed Olesen’s op-‐ed produced concrete results. After initial accusations that her attitude was ”damaging the film industry”, regional giant Nordisk Film (with full vertical integration in producing, distributing and exhibiting films) spoke out in her defense and acknowledged that the situation was unfortunate for smaller artistic films.

Danish distributors and cinema owners announced that they would strike a new deal to exempt such films from the holdback period and allow quicker distribution on other platforms.

THOMAS ROBSAHM (Director, Producer and Commissioning Editor, Norwegian Film Institute)

Thomas Robsahm is the son of the late Italian actor Ugo Tognazzi and Norwegian director/actor Margrete Robsahm. He began acting at the age of eight and appeared in a handful of films until 1981, when he began working behind the camera. Robsahm directed his first film in 1992, entitled Black Panthers. In 1995 he started Speranza Films with acclaimed documentary filmmaker Margreth Olin and has since produced numerous award winning films. Thomas is currently Commissioning Editor for feature films at the Norwegian Film Institute, and has lately been engaged in a lively industry debate about the relevance of the formal requirement of having an experienced producer attatched to a film project in order to qualify for public support.

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HRVOJE HRIBAR (Director, Writer, Producer and CEO of Croatian Audiovisual Center (HAVC)

Born in Zagreb, Croatia, Hrvoje Hribar graduated from ADU (Academy of Dramatic Arts) with a diploma in Film directing. He has produced, directed and written two Adriatic documentaries (‘The World is Great ‘ and ‘Once there was a Man’) and his first feature ‘The Tranquilizer Gun’. He was awarded the Oktavian (best Croatian film of the year) several times (for ‘Tranquiliser Gun’, ‘Once there was the man’, ‘Between Z&Z’). The comedy feature ‘What is a Man without a Moustache’ was the most attended film in Croatian cinemas in 2006 and was shown in more than 30 film festivals worldwide.

When Hribar took over as Chief Executive of HAVC in 2010 things began to move. Among the things he enacted was the National Plan to promote audiovisual creativity, and enforcing the law from 2008 that requires all companies involved in the audiovisual industry, such as cinemas, television and telecoms, to contribute a tiny percentage of their earnings to promote the film industry. In 2011 Hrvoje Hribar received the annual Zagreb Film Festival award "Alber Kapovic" for his contribution to the promotion of Croatian film.

VINCA WIEDEMANN (Producer and Story Supervisor)

Vinca works as producer and sparring partner to Zentropa’s writers, directors and producers in developing and producing features, novella films and TV projects. Originally a film editor, Wiedemann was a feature film consultant at the Danish Film Institute between 1999-‐2003, then became the founding artistic director of the support scheme, New Danish Screen (until 2007).

As a freelancer she has been artistic producer on Susanne Bier’s In a Better World (Hævnen), and Pernille Fischer Christensen’s A Family (En familie). She was script consultant on Lars von Trier’s Melancholia, and is currently co-‐writing Nymphomaniac with him. Vinca is also senior advisor to the Think Tank on European Film and Film Policy, and lectures internationally on script development and creative collaboration.

PETER AALBÆK JENSEN (Producer and Co-‐Founder of Zentropa) Peter Aalbæk Jensen set up Zentropa with Lars Von Trier. He has produced more than a hundred films for the company, including films by Von Trier, Thomas Vinterberg, Susanne Bier, Mads Brügger, and most of the Dogme-‐films. Jensen has also founded a long list of subsidiary companies and is widely regarded as the most important Danish film producer since the 1990s.

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Moderators TRISH MCADAM (Director and former FERA Vice President) Trish McAdam Writer and director of feature and documentary films; work includes the feature Snakes and Ladders, the television documentary series Hoodwinked, and the DV documentary Flirting with the Light; board member of The Irish Film Institute; a founding board member of The Screen Director's Guild of Ireland.

ELISABETH O. SJAASTAD (Director and Chief Executive of FERA)

Elisabeth O. Sjaastad (born in Oslo, Norway 1977) studied directing at the Beijing Film Academy and the Central Academy of Drama in Beijing, China (1998-‐2000). While studying, she directed and co-‐produced a theatre production of Bertolt Brecht’s “The Good Woman of Setzuan” in Beijing.

In 2002 she directed and produced the Amanda-‐nominated (Norway’s national film award) feature documentary Shiny Stars, Rusty Red (China) which was invited to film festivals worldwide, including Full Frame Documentary Festival, USA, and Pusan International Film Festival, Korea. Through her production company Screen Stories she has also produced films from South Africa (also as director), Peru and the United Arab Emirates.

Elisabeth was Vice President of the Norwegian Film Makers’ Association and a FERA delegate 2005 -‐ 2010. She has served on several juries and boards. In 2006 she was appointed by the Norwegian Ministry of Culture as member of the Einarsson-‐committee, which produced a report on Norway’s audiovisual policy and made recommendations to restructure the Norwegian Film Institute and redefining the goals and ambitions of Norwegian film.

In her spare time Elisabeth is developing a docudrama TV-‐serial on James Joyce and Henrik Ibsen, writing a feature film script, and producing a documentary film on Iraq as co-‐owner of the Oslo based production company Directors at Work. Elisabeth has been Chief Executive of FERA since 2009.

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3. Administrative and financial issues

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a) CEO Activity Report 2011/2012

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ACTIVITY REPORT October 2011 – May 2012

Since the news of FERA being selected to receive 3 year funding from the European Commission’s Culture Programme in early 2011, FERA has really started to fulfill its potential to play a key role in promoting European film, and facilitate cross-border cooperation between directors throughout Europe and beyond.

I. Administrative and Financial Issues

FERA Office Our contract in the Authors’ House in Brussels, a building rented by SACD-SCAM Belgium which has hosted European and International organisations, has come to an end and the FERA office has now been moved to Avenue de la Toison d’Or 60C (nearby). We are sharing our pleasant new offices with ECSA (European Composer and Songwriter Alliance), which has already proven to be an added value - beyond the obvious benefit of shared costs. Having many common interests in our work in Brussels, FERA and ECSA are now cooperating closely on relevant issues and enjoy a collegial atmosphere. Staff Mar Bordanova works as Office Manager (part time 50%), to help fulfill the ambitious work programme and serve the members’ needs. Executive Committee Meetings Due to the still limited financial resources of FERA, most of the associations that have representatives on the Executive Committee, have paid for the travel and accommodation expenses of their representatives to the FERA EC meetings. We are very grateful for this contribution, and for the work done by the EC members – without any compensation. The Executive Committee met in Opatija on September 25 2011, immediately following the FERA General Assembly, in Brussels on January 19-20 and again in Brussels on March 27. There have also been continuous e-mail updates and discussions.

Membership

The Executive Committee has not considered any new members since last year, but we have renewed contact with Greek filmmakers and expanded our contacts in Spain. These will be invited to the General Assembly as observers.

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FERA Funding Membership Fees All members remain very committed to contribute the maximum amount possible to FERA. In 2011 FERA members contributed 57.090,92€ in membership fees: 50.890,92€ from full members, and 6.200€ from associate members. In addition we received some voluntary extra contributions from TROMB (Sweden), NFF (Norway), SFP (Poland) and DUK (United Kingdom). So far 2012 FERA members have contributed a total of 46.965,32€, 40.315,32 from full members and 6.650€ from associate members. This year’s General Assembly in Copenhagen is financed by Danish Film Directors. We are extremely grateful for their generous contribution. 3-year grant from the European Commission Culture Programme FERA is the first and only organisation from the audiovisual sector to receive multi-annual grants for European organisations under Strand 2 of the Culture Programme. In 2010 FERA submitted a comprehensive and ambitious 3-year work programme that details our plans to further develop our network of members, an advocacy strategy that maximizes the impact of our actions and educates new generations of filmmakers about their rights as authors, as well as a range of offline and online activities that promote European cinema. The activities FERA carries out on a daily, monthly and annual basis in 2011 and 2012 are (and must be) according to that work programme. Old litigation The unfounded litigation case brought on by the former Secretary General Joao Correa was supposed to be concluded in the beginning of 2012 when the case was scheduled for a court hearing in Brussels. A few days prior to the hearing Correa’s lawyer called our lawyer in tears and said that she needed urgent surgery and therefore could not appear in court. Our lawyer then had to appear in court to ask for a postponement and the new date for the hearing was set for November 19, 2012. Funding from Collective Management Societies FERA Directors’ Contract Guidelines has been very well received, including several collecting societies (CMS). During another meeting with SACD in Paris in November 2011 Janine Lorente confirmed that they remain committed to supporting FERA financially. DUK (UK) and TROMB (Sweden) contributed extra funding for this project in the last two years, and some of them may continue to support the ongoing work to promote and make practical use of it. Some Collective Management Societies maintain that they cannot support FERA financially due to the presence of other categories of audiovisual authors in their membership or due to national rules. Yet the same societies have apparently no problem being a paying member of Society of Audiovisual Authors (SAA), even if logically the same argument should apply in both cases. Nevertheless FERA continues to pursue constructive collaboration with SAA and some individual CMS’. The second SAA-FERA-FSE workshop was held on March 26 and proved very constructive, and has subsequently resulted in much closer collaboration.

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II. Internal and External Communication Communication with Members The FERA office has been quite active in communicating with the members and several members have actively sought FERA’s advice and assistance. In addition, several e-mail updates with information on major issues of concern have been sent out to the members. Members also receive the bi-monthly FERA Newsletter (see below). Meetings with Members Personal contact between the CEO, Chairman, EC members and the members’ representatives is of paramount importance to good communication. The yearly General Assembly meeting is not enough to achieve this goal and carrying out visits to the national Directors’ organisations is essential. Such visits are a valuable tool in the mission to generate a common understanding of Directors’ issues within FERA and across Europe and can also help enhance visibility and credibility for member organisations at a national and European level. The FERA CEO meets with local directors’ organisations whenever possible, for instance on the occasion of European conferences or other events. Since the last General Assembly in Croatia (September 2011) the following meetings took place:

In connection with 100 autori hosting a debate on films online, Piers Haggard spoke on the panel and Elisabeth O. Sjaastad also attended the event in Rome on October 17. Italian members of the European Parliament Luigi Berlinguer (Legal Affairs Committee and Silvia Costa (Culture Committee) were also present.

Elisabeth Sjaastad attended l’ARP’s Rencontres Cinematographiques in Dijon on October 20

– 22.

The Norwegian Film Directors’ Guild (NFR) organized a two-day conference on November 4 & 5, attended by FERA CEO Elisabeth O. Sjaastad. The first day was a workshop for directors on new digital tools with Thomas May. The second day was a political debate assessing the achievements of Norwegian cinema when it comes to artistically ambitious films.

In connection with the Council of Europe Think Tank in Slovenia, Elisabeth Sjaastad met with Igor Korsic and visited the new DSR office in Ljublijana.

In spite of the cancellation of the Europa Cinemas conference, Elisabeth went to Athens to look up the Greek FERA members. She met with former FERA delegate Alexander Kakavas who introduced her to Sifis Stamou and Kostas Stamatopoulos who are members of the Greek Directors Guild, but who are also on the board of MIKRO, the Greek association for short films.

Elisabeth Sjaastad met with the board of LARS in Luxembourg on November 25 to discuss

their negotiations with producers. She also met Karin Schockweiler from the MEDIA Desk.

On the occasion of the Summit on Freedom of Artistic Expression in Copenhagen on December 9 -11, Elisabeth met with Danish Film Directors to discuss the FERA General Assembly in Copenhagen.

In connection with the Hungarian Film Week, Elisabeth Sjaastad met with both FERA

members MRC and HSD, FERA President István Szabó and Béla Tarr in Budapest on February 4 & 5.

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• Elisabeth Sjaastad attended the annual meeting of the Portugese Directors’ Guild (APR) on February 11 & 12.

• Elisabeth Sjaastad attended the BVR debate on Remuneration of Authors Online in

Berlin on February 14.

• On February 20 Elisabeth Sjaastad met Michel Andrieu and Pauline Durand Viaille from SRF in Paris, and spoke at a screening of the Norwegian film Oslo August 31th in ARP’s Cinema des Cinéastes.

• Members of the FERA Executive Committee met with Directors UK CEO Andrew

Chowns on the occasion of our FIAPF – FERA meeting in London on March 28, which DUK kindly hosted.

• Piers Haggard and Elisabeth Sjaastad met with BVR’s board in Munich on April 24 &

25. Piers spoke about the UK “Rights’ Strike” of 200 and Elisabeth laid out the current Brussels agenda and the major issues of concern.

• On May 12 Elisabeth Sjaastad attended the annual meeting of the Norwegian

Filmmakers’ Association (NFF) and spoke in particular about the new draft Cinema Communication on State Aid rules.

FERA Creative Council

In 2011 FERA has successfully enlisted the support of 5 very distinguished European directors who make up the newly formed Creative Council. This new addition further enhanced FERA public profile and position.

Together with the FERA President we believe they will make important contributions and welcome their support for the work FERA does on behalf of all European film directors.

Creative Council members: Marco Bellocchio Claire Denis Agnieszka Holland Neil Jordan Sir Alan Parker FERA Legal Advisory Board The role of the legal advisory board (LAB) is to assist the FERA office in contract related matters and help answer relevant legal questions in connection with policy papers. Legal Advisory Board members: Sandra Piras (Lawyer and Secretary General, Danish Directors’ Guild) Florian Prugger (BVR Lawyer, Germany) Geraldine East (SDGI Lawyer, Ireland) Bernt Hugenholtz (Professor Intellectual Property Law, University of Amsterdam) Borut Bernik Bogataj (Lawyer, Slovenia) Ulf Mårtens (CEO TROMB, Sweden)

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There have not been any meetings of the complete LAB in the last year, but Elisabeth Sjaastad has seen Bernt Hugenholtz twice at conferences in 2012, Florian Prugger in Berlin and Munic, and Sandra Piras in Copenhagen. The LAB continues to receive news and updates on FERA’s activities. FERA Newsletter The FERA Newsletter continues to be an effective tool for promoting the views and concerns of film directors. It significantly raises the visibility and profile of FERA as an organisation, and it improves the effectiveness of our advocacy work and dissemination of activities and results. The Newsletter is sent to FERA members, to relevant members of the European Parliament, to the European Commission, all national MEDIA desks, European press, film industry press and to individuals, primarily in the audiovisual sector at European and national levels, who have requested to receive it. This year we will also translate the Newsletters into French and German. Press releases on major events or news are issued when appropriate. FERA website Our website offers a good tool for external visibility and access to many of FERA’s position papers both for members and non-members. The website has now received a much needed upgrade: A redesign with up-to-date functionalities (such as video and social media) and with a brand new section called “Storyboard” (for editorials and blog posts). The remaining work to refine and update the content of each section will continue throughout 2012, however the continual pressure on the office means that the website sometimes has to wait for more urgent matters. Other publications The creation of practical tools and publications aimed at both organisations and individuals allow our activities to have a long-term effect. Once created these tools can continuously be updated to reflect new developments. During the past year we have continued working on the following publications: FERA Directors’ Contract Guidelines In 2011 FERA produced an adaptable set of Directors’ Contract Guidelines, to be promoted across Europe as the basis for all European directors’ contracts. Following last year’s General Assembly they are now in the process of being translated into several European languages to increase their impact. Some versions have been printed and/or formatted into a PDF document similar to the published English version. Completed translations: Bulgarian, Croatian, Czech, Hungarian, Italian, Dutch, Polish, Chinese and French.

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Translations in progress: Swedish and Norwegian. The German text will be completed and formatted in time for presentation at the Munich Film Festival in July. FERA Audiovisual Advocacy Manual The 50-page long filmmaker’s guide to lobbying the EU explains what is decided at the EU level, EU institutions and key individuals, the EU budget, the legislative process and the corresponding lobbying steps both at the EU and national level. It also provides an overview of existing audiovisual and copyright legislation in the EU. The Manual is in the process of being updated and a second edition will be published as a PDF in the autumn of 2012. The FERA office is currently developing two new publications: A FERA pocket size Brochure introducing FERA and its members and our work and a Guidebook on the basics of Authors’ Rights for directors.

I. II. III. Projects and events

Directors in Dialogue to expand into a broader promotional scheme

Audiences often chose to see a film because they enjoyed the previous films made by the same director. Successful directors attract a dedicated following, and develop their own “name brand” which in turn can serve as a vehicle to promote European cinema and other talented colleagues. Despite the fact that the director, especially in Europe, is the individual most closely identified with a film, there is currently no promotional scheme for cultivating a new generation of directors to become household names. In the context of the consultation on the MEDIA Programme in 2011, FERA called for the creation of a scheme for European film directors equivalent to “Shooting Stars”. Elisabeth has since had meetings with Vladimir Sucha (Director for MEDIA and Culture at DG Education and Culture) and Emmanuel Coq from the MEDIA unit, and Arnaud Pasquali from the Edcuation, Audiovisual and Culture Executive Agency (EACEA) to discuss this proposal. They were very open to the idea of means of promoting directors and said that funding could be found for this even within the current MEDIA Programme. Exploratory meetings with potential partners such as Europa Cinemas, MUBI and Venice Days have also been very positive. The FERA office is in the early stages of developing such a promotional concept for European directors. This will be presented to the members at a more advanced stage.

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IV. Cooperation with other organisations FERA is in contact with almost all the European and international organisations active in the copyright, audiovisual policy and cultural fields at European level. FERA is also a member of two “structured dialogue” platforms supported by the European Commission:

- The Cultural and Creative Industries Platform - The Access to Culture Platform

2nd SAA – FERA – FSE Workshop The second day-long workshop with all 3 organisations, hosted and financed by SAA, was held in Brussels on March 26. Last year’s workshop was difficult and ill-tempered, but this year’s discussion was much more constructive. The three main topics on the agenda were the AV Green Paper, the SAA-FERA-FSE Remuneration Study and the upcoming Directive on Collective Management. All three organisations presented their positions on the Green Paper on Online Distribution of Audiovisual Works. James Taylor from SAA summarized other submission, notably from producers who voiced strong opposition to collective management of online rights. Cécile Despringre also noted the different solutions proposed by authors and performers’ representatives (AEPO ARTIS, the European level collective management organisation on the performer side, continues to insist on mandatory collective management, even if important performer representatives such as FIA oppose it). This disagreement also affects authors, even if we have a common position on our side, because the politicians will only consider one solution for both. The producers are exploiting the lack of a unified position to the full. FERA suggested reaching out to both FIA and AEPO ARTIS to see if a common position could be established in view of the opposition. On the topic of the joint study on Remuneration or rather “Sources of Payment”, it was agreed that the initial plan involving a comprehensive survey to be completed by 200 authors was too costly, and that we will rather seek to get hold of contracts, analyse them and then send out a shorter survey to get the additional information on how the contract was followed up in practice. SAA informed FERA and FSE about their internal work on a Code of Conduct for Collecting Societies which they were considering to publish ahead of the draft Directive, which has already been postponed several times, but is now supposed to be published in June. FERA and FSE welcomed this pro-active initiative, (which FERA had in fact suggested at last year’s workshop). The three organisations also discussed how to cooperate even more closely. FERA and FSE expressed their irritation at SAA meeting EU Commissioners with individual authors by themselves. SAA agreed to discuss internally whether to invite FERA and FSE representatives. The SAA Board of Directors has since confirmed this new attitude, and we will indeed be invited to join future meetings with Commissioners.

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Following the workshop, and as proposed by Piers Haggard, the three organisations released a joint press release on April 10th, entitled “An end to buyouts in Europe”. To our great satisfaction the statement was picked up in the EU Press, and even adopted in a couple of amendments to the Cavada Report. FERA – FIAFP Meeting Piers Haggard and Elisabeth Sjaastad had a meeting with Benoit Ginisty and Charlotte Lund Thomsen from the International Film Producers’ Federation (FIAPF) in Paris last year to discuss the Contract Guidelines. During this meeting they explained that FIAPF does not have any mandate to commit producers when it comes to contracts, but welcomed our initiative nevertheless. Since then the Brussels debate over how to manage remuneration of authors for online use of our works (included in the Green Paper consultation), and the position taken by FERA has created an incentive for producers to engage with us on this subject. As most producers object to collective management, fearing this would complicate the licensing to online operators, they realize that they have to make an effort to make collective bargaining a more realistic alternative – at least for some countries. The first formal FERA - FIAPF meeting took place in London on March 28. It lasted 4 hours and was very positive and friendly. On the FERA side were Piers Haggard, Gabriel Baur, Hrvoje Hribar, André Nebe and Elisabeth Sjaastad. The FIAPF delegation included: Anders Bredmose (Denmark), Sveinung Golimo (Norway), Börje Hansson (Sweden, FIAPF Vice President Europe), Benoit Ginisty (FIAFP Secretary General) Charlotte Lund Thomsen (International Video Federation IVF + often represents FIAPF in Brussels). The discussions focused on common interests and current constructive cooperation in Brussels, but also on the need to improve the director – producer relationship and carry out a mapping of current contractual practices and then consider developing joint resources for improving them. The producers proposed to meet again in Cannes, but since FERA EC members are not necessarily present in Cannes, and Elisabeth Sjaastad did not plan on going this year, such a meeting was not possible. A second meeting will, however, be scheduled in the very near future. Fair Trade for Creators Petition Together with other creators’ organisations, FERA has started a public campaign against unfair contractual practices facing creators. The other signatory organisations are: EFJ (International/European Federation of journalists), FSE (Federation of Screenwriters in Europe) SAA (Socitety of Audiovisual Authors) EVA (European Visual Artists Collecting Societies) EIF (European Illustrators Forum) Pyramide Europe (representing photographers, graphic designers, illustrators and other visual artists) ECSA (European Composers and Songwriters Alliance) with whom we share premises.

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The reason the petition was launched this spring is in order to support the complaint brought by the European Composers and Songwriters Alliance (ECSA) on January 17th against a group of European broadcasters and their alleged anti-competitive practices through coercive commissioning and unfair contractual agreements signed under duress. ECSA now awaits a decision by DG Competition on whether they want to open a formal investigation based on the complaint. The ECSA case illustrates a wider problem facing not only Europe’s composers and songwriters, but also journalists, musicians, directors, screenwriters, illustrators and photographers all of whom have been facing coercive contractual practices for too long. These practices seriously affect the livelihood of creators. The petition lists 8 Unwaivable Principles in Contractual Agreements: 1. All creators shall receive fair pay (i.e. equitable remuneration) for each use of their work, throughout the duration of their authors’ rights; 2. Additional use of their work must be subject to fair payment and negotiation between the creator and contracting party; 3. The offer of a commission must not depend on any publishing rights being assigned to the contracting party. It is recognised that the granting of publishing is the prerogative of authors and that authors are free to choose to whom to assign or license their rights; 4. All creators, whether freelance or employed, shall have the right to negotiate collectively with publishers, producers, broadcasters or other contracting parties; 5. All statutory transfer of authors’ rights (i.e. work-for-hire clauses) shall be deemed unenforceable; 6. Any right not specifically transferred by name shall be retained by the creator; 7. Any right that is not used, such as the failure of the publisher, producer, broadcaster or other commissioning party to release or exploit a work within a reasonable period of time, shall revert to the creator; 8. Full respect of moral rights as set out in Article 6bis of the Berne Convention. FERA members have been asked to circulate the petition as widely as possible to help raise at least 10.000 signatures. At the time of writing there are 1500 signatures, so additional efforts are needed from everybody. Culture Action Europe CAE is the biggest umbrella organisation representing the cultural sector at European level. Culture Action Europe currently has over 100 members that together represent over 80.000 arts and culture players across Europe and beyond in more than 14 artistic disciplines. Since the beginning of 2012 FERA and CAE have started working together more closely, especially to bring together the culture and audiovisual sectors in support of the Creative Europe Programme.

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FERA has been invited to do joint political events with CAE and we are currently exploring what those might be. European Audiovisual Observatory - Advisory Committee meeting FERA is a member of the Advisory Committee of the European Audiovisual Observatory. Elisabeth Sjaastad will attend the annual meeting and special workshop in celebration of the 20th anniversary of the Observatory on June 7 in Strasbourg, immediately before the General Assembly. FIAPF Secretary General Benoit Ginisty is Chairman of the Advisory Committee. Since FERA is not in a financial position to commission professional surveys and reports, it is very important for us to push the Observatory to also work on topics that are of particular interest and use to film directors. World Intellectual Property Organisation (WIPO) This year FERA did not make it a priority to attend meetings at the WIPO headquarter in Geneva of the Standing Committee on Copyright and related rights, to which we have Observer status. European Film Academy (EFA) FERA Vice President and Executive Committee member Gabriel Baur attended the European Film Awards and EFA’s General Assembly in Berlin in December 2011. Directors Guild of America (DGA)

Kathy Garmezy at DGA and Elisabeth Sjaastad maintain regular e-mail contact to exchange information of mutual interest. Kathy Garmezy has again been invited to the FERA General Assembly, and very much regrets not being able to attend due to important meetings in Washington DC. Through DGA Elisabeth Sjaastad was invited to The Content Protection Advocacy Brainstorming Day in Paris on October 19, hosted by SACEM (Société des Auteurs Compositeurs et Editeurs de Musique) in partnership with FACF (Franco American Cultural Fund) and Gesac (Groupement Européen des Sociétés d’Auteurs). On this occasion Elisabeth also met DGA National Executive Director Jay Roth and DGA President Taylor Hackford. The event was designed to be an open international exchange and discussion about piracy and content protection in the digital era between creators, industry representatives and policy makers, with a view to define the adequate ways and means for conveying the appropriate message towards both the policy-makers and the public in general.

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Directors Guild of America (DGA) President Taylor Hackford spoke about artists’ need to make a living from their work. DGA National Executive Director Jay Roth outlined recent developments in the US, while Member of the European Parliament (MEP) Marielle Gallo (Legal Affairs Committee) described the challenges of building consensus on IP enforcement issues in the European Parliament. The Norwegian International Short Film Festival For the second time, FERA will host a small reception for international guests (filmmakers and festival representatives) at the Norwegian International Short Film Festival in Grimstad, Norway in June. The festival is one of 10 short film festivals that nominate to the European Film Awards Short Film Prize. In 2010 Polish director Katarzyna Klimkiewicz was nominated in Grimstad with her film Hanoi - Warzsawa and went on to win the EFA award. She was invited back as a jury member last year and attended the reception. Elisabeth has kept in touch with her since. Katarzyna is also active in a young filmmakers’ association in Poland called Film 1,2. The reception is entirely paid for by the festival, and provides a good opportunity to raise awareness about FERA and our work. The representative from the Tampere festival said last year that they would also like to have a FERA reception at their festival, so it may be a good idea for FERA members to consider whether it would make sense to promote FERA at one of their own festivals. Other events and meetings attended (selection) Council of Europe Think Tank (November 2011) Cultural Governance: from challenges to changes A small number of high-ranking policy makers, leading thinkers and practitioners in the cultural sector gathered for 1½ days of reflection in Bled, Slovenia on 11-12 November. FERA CEO Elisabeth O. Sjaastad was one of the participants. The meeting was devoted to the ideas and practices involved in responsible cultural policy making, and especially the role of the state in ‘cultural governance’. The event was hosted by the Ministry of Culture of Slovenia and was the third in a series of CultureWatchEurope events, building on previous work. By means of case studies, analysis of strategic dilemmas and stories of change, the conference targeted insight and directions for democratic cultural policy making in times when our society is exposed to multiple challenges that require policy makers to look ahead and make difficult choices. Questions addressed included :

• How to ensure cultural rights and democratic access? • What are the basic values not to be compromised? • What are the conditions/possibilities for culture to be an agent of change? • How to ensure system change and a new public policy?

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Artsfex Summit Copenhagen (December 2011)

Artistic expression is under pressure from many sides and is frequently in the centre of conflicts between different interest groups. International human rights organizations include repression and persecution of media and media professionals in their annual country by country reports on freedom of expression. However they rarely document repression of artists or cultural workers. The Artsfex Summit brought together a wide range of stakeholders with a strong interest in protecting art and artists’ rights to freedom of expression. The summit explored options for establishing a global network for the protection and advocacy of artistic freedom of expression.

The summit included a public meeting with opening address by Mr. Uffe Elbæk, Minister of Culture, Denmark and participation of former Danish Minister of Culture, Mr. Per Stig Møller. Belarus Free Theatre and Zimbabwean writer/composer Chirikure Chirikure were invited as “experts of consequence” for artists at risk. The participating organizations decided to develop the network by forming a small working group of representatives working with different arts forms, on different continents and engaged in various fields of work. This group will develop a proposal for the collaboration and decision-making process within the network and how to collaborate with ICARJ, IFEX and other organizations. The participants will also seek to meet again in Oslo, Norway on the occasion of the World Summit on Freedom of Artistic Expression, 25-26 October 2012.

I. European Political Agenda The continued questioning of Copyright and the challenges and opportunities of the Internet During the past year FERA has published Position Papers and contributed to public consultations on the following occasions (documents can be downloaded from the FERA website):

• Orphan Works Directive • State Aid Issues Paper Consultation • Contribution to Green Paper on Online Distribution of AV works • Creative Europe Programme Position

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Orphan Works Directive 10 organisations in the AV sector have signed a joint Position Paper on the proposed Orphan Works Directive. The audiovisual sector has long questioned the scope of the largely undocumented problem of orphan works in our sector and therefore opposed the inclusion of cinematographic and audiovisual works within the scope of the Proposal. If audiovisual works are to be included in the Proposal, substantial modifications are required to ensure proportionality and legal certainty in the application of the Directive to the specific and unique characteristics of audiovisual content. Audiovisual works such as films and TV programmes are made to be seen by the widest possible audience. In the case of orphan works, we cannot know what their authors and other rightholders would have wanted for their works, but their colleagues in this sector support balanced solutions that can help facilitate the opportunity for contemporary audiences to enjoy the works concerned. The right to authorise or prohibit the use of one’s works and the principle that remuneration is due are two of the main pillars of copyright and must be recognized by the Proposal in a manner consistent with the EU copyright acquis. Negotiations on the final text of the Directive between the Commission, Council and Parliament are currently underway, and our joint lobbying has so far contributed to getting some important changes agreed. There are some remaining issues still in play such as unpublished works and the need for a diligent search for each work. Contribution to Green Paper on Online Distribution of Audiovisual Works Timeline of related activities

• July 2011 European Commission published Green Paper consultation on Online Distribution of Audiovisual Works

• DG Internal Market responsible, but DG Education and Culture, DG Information Society also involved

• FERA had individual meetings with Commission representatives • 18 November deadline - FERA submitted comprehensive reply • European Parliament now working on draft report (their Green Paper reply)

Jean-Marie Cavada (FR) is Rapporteur • Public Hearing in the European Parliament held on 27 February • Commission to publish consultation summary report in May • European Parliament plenary vote on Cavada Report in September • No legislative proposal forseen yet

After a lengthy process of research, inquiries, consultation with FERA members and discussions with other AV sector operators we produced the position paper “New Market, New Deal” which sets out proposals for improved online distribution around seven key points:

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1) The EU digital market for audiovisual material is now growing at an increasing rate, but this growth must be encouraged and directed with EU legislation, and its proceeds shared.

2) FERA proposes a system of National One Stop Shops that would simplify rights clearance for European films and programmes, and increase their online distribution to European audiences.

3) Equally important to the achievement of growth is the involvement and incentivisation of film authors in Europe.

4) Authors’ have little negotiating power: most are obliged to sign contracts that allow them no participation in the success of their works

5) Their full and proper participation requires EU legislation for inalienable, unwaivable Fair Payment initially for online use, and eventually for all means of distribution.

6) These complex issues would benefit from ongoing involvement of EU authorities via, for instance, an extended role for the Contact Committee.

7) Legislation for online growth must not undermine European cinema.

Cavada Report FERA, FSE (screenwriters), FIA (actors), UNI MEI (film workers) submitted joint amendments to the European Parliament draft report by MEP Cavada, which was released following the Public Hearing at the end February. Basically all our amendments (or their substance) have now been tabled in the Culture Committee, which is a great first achievement. The Cavada report is of course not an actual piece of legislation - but if we succeed in getting our amendments voted into the final report this means that the European Parliament will officially call for:

• Fair remuneration for all forms of exploitation, including online (Amendments 54, partially 123, 124, 126, 129, 130, 139)

• A rebalancing of the bargaining position between authors and producers by granting unwaivable remuneration (Amendment 130)

• A ban on buyout contracts (Amendments 124, 126) • Contributions from online players towards investment and promotion of European

audiovisual works (Amendments 20, 21, 88, partly 151, 154, 157) We are now in the process of lobbying the members of the Culture Committee to vote for "our" amendments (mainly tabled by Helga Trüpel and Lothar Bisky). SAA submitted their own amendments, but also support ours. SAA is working with us on the next steps.

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The Culture Committee will vote on the amendments to the Cavada Report on June 19. The European Parliament plenary vote will be in September.

We will consider if and when to ask FERA members to lobby their MEPs. The office will be in touch and provide all necessary information.

Digital Cinema Expert Group – subgroup Online Distribution

The technological and market developments (fast and ultra fast internet, take up of VOD services, DTT, connected TV, etc.) compel the Commission to re-examine its policy. One aim of last July’s Green Paper on online distribution of audiovisual works was to assess if the copyright rules need to be revised.

In order to assist the Commission in its reflection and more precisely in the preparation of a new proposal for a Council Recommendation on European cinema in the digital era, the Commission has appointed an Expert Group that Elisabeth Sjaastad is a member of. "Chatham House rules apply" which means that the members are asked to speak freely as an expert irrespective of the position their organisation or company may have on any of the subjects covered in the meetings, and no minutes are published, and members may not report conversations. The Group has had two of its three meetings. The first was October 26, 2011 and the second meeting was held on February 29, 2012.

FERA is also member of the Cinema Expert Group – subgroup Film Heritage, which meets once a year in September.

Creative Europe Programme The next generation of EU Programmes (2014 – 2020), which will replace the MEDIA Programme, were debated and drafted in 2011, and FERA has been very active in this process on all levels. FERA’s CEO has attended several conferences, public hearings, written proposals and MEDIA support letters and statements/press releases. Collaboration between the FERA office and FERA members was very satisfactory and in the days prior to the Council meeting in Brussels on May 10, 22 Culture Ministers received a letter from their national directors’ association urging them to support Creative Europe. On 23 November 2011 the European Commission unveiled the new Creative Europe Programme. With a proposed budget of €1.8 billion for the period 2014-2020, a 37% increase on current spending levels, it would be a much-needed boost for the cultural and creative sectors. Creative Europe will be the umbrella framework comprising the current Culture and MEDIA programmes. MEDIA support schemes will stay largely the same, but some new actions for sales agents and online platforms. Directors will not get direct support, but training/development and promotion schemes with directors as beneficiaries are welcome. Culture Programme will see more radical changes, and operational grants to European networks will be replaced by project funding

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The indicative budget split between the programme strands would be 30% for the culture strand, 55% for MEDIA and 15% for the cross-sectoral loan guarantee fund. A € 2 million Preparatory Action has been launched to test alternative ways to release films. Of the €905,5 million to the MEDIA strand, it is tentatively divided among the following action lines:

• Training 7 % • Project development - theatrical films 12% • Project development – television 12% • Video games 2 % • International co-production funds 2% • Promotion 10% • Distribution – theatrical 27% • Cinema network 11% • Online platforms 6% • Festivals 3 % • Sales agents 4.5 %

At the annual MEDIA info day for the film industry at the Berlinale, which FERA’s CEO attended, Head of MEDIA Unit Aviva Silver cautioned the sector not to take the proposed budget increase for granted. It will be a political battle to get an adequate budget for the MEDIA Programme and FERA and its members must continuously voice our support when speaking to MEPs and national politicians. The Creative Europe proposal is now under discussion by the Council (27 Member States) and the European Parliament who will take the final decision on the budgetary framework for 2014-2020. The Commission hopes to launch the Programme in the second half of next year, provided that the next budget period negotiations with member states are concluded by the end of this year. Timeline for the establishment of the Creative Europe Programme

• 2010 - 2011 FERA lobbied for support scheme for directors and replied to online consultation. A record 2600 replies were submitted.

• March 2011 Commission held Public Hearing on the future of the MEDIA Programme • June 2011 FERA met Budget Commissioner who later proposed 37 % increase for

the period 2014 - 2020 • Late 2011 Impact Assessment and Legal Base published • European Parliament is now to prepare its report

Silvia Costa (IT) is Rapporteur • Public Hearing in the European Parliament held on 26 April • Council partial agreement on content (not budget) agreed at 10 May meeting • FERA and Culture Action Europe have joined forces to support programme • Budget negotiations to be concluded by end of 2012

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New Cinema Communication – Revision of State Aid rules Timeline for the adoption of a new Cinema Communication

• Current state aid rules expire on 31 December 2012 • June 2011 European Commission (DG Competition) published issue paper as first

consultation • FERA replied in September 2011 • Draft Communication published in March 2012 • Deadline for consultation is 14 June • FERA and a select group of AV organisations have been invited to informal meetings

to discuss draft with Commission representatives. The second meeting was on 7 May.

• Consultation on Draft Cinema Communication - deadline June 14 • New Communication to be adopted by end of 2012

Main points on content

• The criteria assess the compatibility of national, regional and local film and audiovisual support schemes with EU state aid rules

• Previous Communication only covered production, but rules were applied by analogy to other stages

• New Communication covers the whole range of activities • Scriptwriting/development can be supported up to 100%

but will count towards total support if realized – formulation is of concern • The Commission seeks to curb the ”subsidy race” by proposing incentive caps related

to budget size for non-European films • Support scheme can no longer set as a criteria that a film must spend up to 80% of

its budget o nits territory, regardless of the size of the aid granted. The new rule would set a cap at 100% of the aid amount actually granted

• The definition of territorial spending requirements has been revised. Locations are not considered territorial requirements, but the use of local/national crews and service providers are – and therefore prohibited.

• Crews would (as before) fall under the ”Posted Worker Directive” but combined with the new definition of territorial spending the combined effect is potentially very negative.

Reactions to new draft rules FERA has co-signed a joint letter with the following organisations: CEPI - European Coordination of Independent Producers EUROCINEMA – representing French film producers Europa Distribution – Independent European Distributors EPC – The European Producers Club EuroFIA – European Group of the International Federation of Actors FIAD - International Federation of Film Distributors Associations FIAPF - International Federation of Film Producers Associations IVF - International Video Federation Publishers of Audiovisual Content on Digital Media and Online UNIC – International Union of Cinemas UNI-MEI – Uni Global Union Media Entertainment and Arts

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The main issue of controversy is the Commission’s proposal to change the territoriality rules. In our join letter we state: “There is insufficient evidence for the main modification proposed by the Commission, i.e. the replacement of the criteria of territorialisation allowing Member States to require that 80% of a film’s budget be spent in their territory by a criterion that 100% of the aid be spent in the EEA. There is no evidence or proof that the current territorialisation criteria require modification. In the worst case scenario, we fear that a change would have the undesirable result of Member States reducing the funds available for financial support to film creation. We therefore support maintaining the current rules for state aid to film and other audiovisual works. We urge the European Commission to take into consideration the views expressed in the consultation of the industry concerned, and to refrain from proposing changes to the criteria of territorialisation.” Following their meeting in Cannes, the European Film Agency Directors (EFADs) issued a declaration in which they state: “The proposed new rules clearly threaten the stability and the sustainability of European public support to the audiovisual sector and the ability of Member States to develop and adopt policies and strategies to meet the future challenges of the sector. The proposed criteria will significantly reduce, if not eliminate, the leverage or multiplier effect of public policies. They will, therefore, jeopardize the viability of national and regional film support schemes in many Member States, increase uncertainty for producers', threaten jobs and the level and the diversity of European film production… In summary, with regret, the EFADs are unable to endorse the draft Cinema Communication as it stands now as it would put the European audiovisual sector at great risk. We therefore ask the EC to refrain from introducing any changes to the legal framework until the EC has adopted a more comprehensive approach - an approach which embraces the shared vision for European audiovisual culture between the EC and the Member States and acknowledges the specific characteristics of the audio-visual sector.” In addition to discussing the FERA position at the General Assembly in Copenhagen, we will consult and coordinate with the other organisations before submitting our final position paper on the draft Cinema Communication on June 14. Other events and meetings attended (selection) Participation in debate at the European Parliament in Strasbourg At an event in the European Parliament in Strasbourg on 16 November, MEPs and experts in the creative sector confirmed their support for the Commission's IPR Strategy to encourage further growth. Opening the debate, Chair Dominic McGonigal (PPL) highlighted that the creative sector is a European success story and a key factor in delivering growth in the economic crisis. Speaking for the creative sector, Elisabeth Sjaastad pointed out that artists not only create their own jobs, but their work creates jobs and new businesses in the extended value chain that is collectively known as the cultural and creative industries. 14 million people work in the creative sector across Europe today.

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The IPR panel was part of the British Chamber of Commerce annual event at the European Parliament, and was concluded by a dinner during which Malcolm Harbour MEP (UK), Chairman of the EP Internal Market Committee, spoke about the traditions, values and consumer confidence that make European brands competitive on the global market. This was a very good opportunity for FERA to engage more extensively with MEPs.

Ten Years after the EU Directive on Copyright in the Information Society

Earlier this year Directive 2001/29/EC, also known as the 'Copyright' or 'Infosoc' Directive, turned 10. To mark this belated birthday, the CRIDS (University of Namur) and IViR (University of Amsterdam) jointly organized a conference at the European Parliament in Brussels on January 13.

The overall objective of the event is to assess the achievements of the Directive and to discuss possible next steps.. Has the Directive been a success? What is still missing to foster a thriving European market for cultural products and an inclusive knowledge society?

At the end of the conference, a new body, the European Copyright Society was launched by a number of European academics. With the rapid growth of an important body of harmonized copyright law, the European Copyright Society aspires to provide a platform for unbiased scholarly debate on European copyright issues, and to give a voice to the academic community in this highly politicized field. Gallo IP Forum with Commissioner Neelie Kroes FERA’s CEO attended the second of MEP Marielle Gallo’s IP Forums on 24 January. The topic was Online Distribution of audiovisual works and music, a topic of high relevance as the European Parliament is currently preparing its position on the Commission’s Green Paper from 2011. Digital Agenda Commissioner Neelie Kroes was invited to give a keynote speech in which she focused on the opportunities in cloud computing, connected TV and the ”growth in the scope of creative content” and ”Possibilities way beyond the old models. Look at Angry Birds: a franchise that sent Rovio Mobile towards a 100 million dollar turnover last year. Enough money to produce The King's Speech 8 times over. That's not bad for a smartphone game largely given away for free.” This remark prompted Elisabeth Sjaastad to remind Commissioner Kroes that the cost and risk involved in film is very different, and that such a business model is not sustainable for us.

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Report Summary The activities conducted in 2011/2012 have significantly improved the effectiveness and visibility of FERA itself, but also contributed to achieving results on issues of major concern to the audiovisual and cultural sector as a whole. We have made good progress on all 3 main objectives of the 3 years’ strategic plan:

• Improving the sharing of information and know-how within the network.

• Increasing visibility for European film and film directors through our diverse activities and publications.

• Establishing strategic partnerships with important European institutions in the audiovisual sector, and with related organisations in the cultural field and thereby increase the impact of our activities.

In 2012/2013 we will continue to promote, implement and further develop the tools created in the last year. Elisabeth O. Sjaastad May 2012

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b) 2011 Accounts

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Tel: +32 2 708 38 26_ Fax: + 32 2 708 43 99_www.kpmg.be

1060 Brussels

Balance Sheet & P/L Statement

31/12/2011

Avenue de la Toison d'Or 60c

KPMG Fiduciaire Offices: Avenue du Bourget 40 - 1130 Brussels

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F.E.R.A. AisblAvenue de la Toison d'Or 60c1060 Brussels

31/12/2011

1) Balance sheet

2) Profit & Loss Statement

3) Comments

CONTENTS

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31/12/2011

ASSETS

FIXED ASSETS 142

IT Equipment 0 (1)

Guaranty (Partena) 142

CURRENT ASSETS 33.406

Memberships Fees/ Contributions/ recharge expenses unpaid 13.102 (2)

EU funding to receive 17.732 (3)

Cash in bank account 2.570

Acquired revenues (Bank) 2

TOTAL ASSETS 33.548

LIABILITIES

CAPITAL AND RESERVES -7.226

Cumulated results at 31/12/2010 -7.240Result 31/12/2011 14

PROVISIONS 24.521

Litigation Former General Secretary 24.521

CURRENT LIABILITIES 16.253

Suppliers 12.322 (4)

Litigation Promoter 0

Invoice to receive 64

Salaries to pay 1.320

Provision holiday premium 2.030 (5)

Regularization account 517 (6)

TOTAL LIABILITIES 33.548

Balance Sheet

143


31/12/2011

Budget 2011 Result 31/12/2011

Cash result at 31/12/2012

REVENUES 115.002 129.213 100.379

Full membership fees 53.400 42.298Associate membership fees 6.200 6.200Extra contributions 31.928 31.928EU Funding 37.685 19.953

EXPENSES 115.002 129.199 98.547

1. STAFF COSTS 75.800 75.303 65.043

Office Manager Salary 15.303 12.043Partena (included above) 0 0CEO fee 60.000 53.000

2. GENERAL EXPENDITURE 12.608 12.412 9.001

Office supplies 1.178 1.178Maintenance 0 0Communications 566 88Postal charges 0 0Bank charges 450 450Electricity, gas, water, etc 1.560 127Printing & Publishing (Graphic Designer) 2.952 2.952Website, books, image rights… 3.665 2.165Fees (translation, external consultancy) 1.727 1.727Other (specify) 314 314

3. WORKSHOPS, EC, PRESIDENT, etc 6.500 5.930 5.930

General Assembly 4.949 4.949Conference - Workshop 1.901 1.901Executive Committee 3.113 3.113Recharge Expenses (reimbursements) -4.033 -4.033

4. TRAVEL EXPENSES AND SUBSISTENCE COSTS 10.980 10.737 10.737

Missions abroad 10.737 10.737

5. RENT AND EQUIPMENT 5.514 4.910 4.910

Equipment 263 263Rent and charges 4.647 4.647

6. SUB-CONTRACTED 3.600 4.926 2.926

Lawyer 1.045 1.045Accountant 3.667 1.667Others 214 214

7. OTHER 0 14.980 0

Exceptionnal item (Lawyer invoice) -1.600 0Last payment to Promoter (old debt) 1.000 0Depreciation on unpaid fees 15.580 0

RESULT 0 14 1.832

Profit & Loss Statement

2

44


31/12/2011

Balance Sheet:

(1) Acquisitions 2008 (IT) 1195,49Depreciations 31/12/2010 -1195,49

Total 0

(2) Debtors unpaid 31/12/2011:

ARP - 2010 2000,00GREEK Directors Guild 2011 3000,00Union of Bulgarian Film Makers 2011 200,00 paid in 2012EESTI KINOLIIT 2011 1500,00 paid in 2012Norsk Filmforbund 2011 1000,00 paid in 2012Film Directors Guild Azerbaijan 2011 500,00Screen Directors Guild or Ireland 2011 1000,00Portuguese Association of Film 2011 1000,00Directors Guild of Slovenia 2011 1000,00Hungarian Society of Directors 2011 1500,00Swedish Film directors 2011 126,69Circostrada Network 2011 275,49

Total 13102,18

(3) Balance EU Fund to receive

(4) Unpaid suppliers 31/12/2011

(5) Provision for holiday premium will be paid in 2012

(6) Provisions rent offices 12/2011 and bank charges

Comments

345

c) Accountant Report

46

d) Budget for 2012

48

ESTIMATED BUDGET 2012 Name of the organisation :

Starting date: 1/01/2012 Finishing date: 31/12/2012 Please do not write in this column

I. EXPENSES

1. Staff CostsA- Permanent Staff of the organisation

Total estimateda) Category A (director, project manager, administrator, etc.) budget €

Function Number of persons Total N° of days Amount in € per day Total €

office manager 1 180 110,00 19.800,000,000,000,000,000,00

Total 1 180,0 Total (a) 19.800,00

b) Category B (assistance functions, accountant, etc.)


0,00

0,00

0,00

0,00

0,000,00

Total 0 0,0 Total (b) 0,00

c) Category C (secretaries, etc.)


0,000,000,000,000,000,00

Total 0 0,0 Total (c) 0,00

Federation of European Film Direcors

Please state your EXPENSES & REVENUE only by use of these FIELDS

19.800,00

ALL FIGURES IN EUROS € - Amounts exceeding €5,000 should be justified in a separate document.

ELIGIBLE COSTS

Total section 1.A (a+b+c)

ESTIMATED BUDGET Page 1 of 7

49




B- External persons paid by the Organisation(Fees for auditors, consultants, experts, artists, speakers, etc.)


CEO 0,000,000,000,000,000,000,00

Total 0 0,0 Total (B) 0,00

0,00

2. General expenditureTotal estimated

budget €Office supplies 950,00Maintenance 306,50Communications 850,00Postal charges 500,00Insurance & taxes 600,00Electricity, gas, water, etc. 1.800,00Printing & Publishing 7.000,00

2.500,00

0,00

3. Conferences, seminars, workshops, etc.Total estimated

budget €1.000,001.500,002.000,00

500,004.882,96

0,00

Other (website, books, image rights)

(including the estimated cost incurred in third countries) Expenditure incurred in a

third country

9.882,96

Total section 1.B0,00

Total section 1

(including the estimated cost incurred in third countries)

Total section 3

Interpretation (fees)

14.506,50

Amount in €

Amount in €

Total section 2

Hiring of premises & equipment

Catering

Other (travel )

Expenditure incurred in a third country


19.800,00

Documentation


(A+B)


50




4. Travel expenses and subsistence costsTotal estimated

budget €a) Travel

Mode of transport Number of persons Total N° of journeys

Average cost per journey/€

Total €

Plane 1 3 250,00 750,00

Public transport 1 5 10,00 50,00

0,00

0,000,00

Total 8,0 Total (a) 800,00

b) Subsistence (accommodation and meals)

Number of persons Total N° of days Average cost per day - € Total €

1 10 125,00 1.250,00

0,00

0,00

0,000,00

Total 10,0 Total (b) 1.250,00

B- External persons paid by the Organisationa) Travel

Mode of transport Number of persons Total N° of journeys

Average cost per journey/€

Total €

Plane 40 60 300,00 18.000,00

Train 1 4 150,00 600,00

Public transport 1 40 3,00 120,00

taxi 1 25 40,00 1.000,000,00

Total 129,0 Total (a) 19.720,00

b) Subsistence (accommodation and meals)

Number of persons Total N° of days Average cost per day - € Total - €

1 50 125,00 6.250,00

0,00

0,00

0,000,00

Total 50,0 Total (b) 6.250,00

0,00


2.050,00


A- Permanent Staff of the organisation

(a+b)Total section 4.A

(a+b) 25.970,00Total section 4.B

Total section 4 28.020,00(A+B)


51




5. Rent, leasing and depreciationNo total purchase costs !

Total estimatedRenting Leasing Depreciation budget €

Amount in € Amount in € Amount in €a) Equipment 1.000,00 1.000,00

b) Land 0,00

c) Immovable property 6.500,00 6.500,00

0,00

6. Cost of sub-contracted activities (Maximum amount eligible not more than 50% of the requested grant)

Total amount of the

subcontracting Chapter 1 - Staff Costs 29.541,44

29.541,44

0,00

7. Other eligible costsPlease don't use this section 7 !

109.250,90

0,00

0,00

0,00%

109.250,90


(including the estimated cost incurred in third countries for the eligible amount only)

Total of expenditure incurred in third countriesof which eligible expenditure incurred in a third country (Attention:

maximum 15% of the total eligible budget of the expenditure)

TOTAL OF ELIGIBLE COSTS


29.541,44

0,00

Total section 6

Total section 5(a+b+c)

TOTAL SECTIONS from 1 to 7

(costs referred ONLY to the eligible part of the sub-contracting in a third country)

Chapter 3 - Conferences, seminars, workshops, etc.Chapter 2 - General expenditure

Chapter 5 - Rent, leasing and depreciationTotal Sub-contracted activities

7.500,00(including the estimated cost incurred in third countries)


52




Total estimatedbudget €

8. Total costs of projects co-financed by other EU-grants

9. Ineligible sub-contracted activities

Ineligible Amount in €

41.958,550,000,000,000,00

41.958,55

10. Other non eligible costs Costs generally non eligible and costs of projects that are not subject of an application for EU grants

Third countries costs exceeding the 15% barrier

151.209,45

0,00

0,00

Chapter 1 - Staff Costs

TOTAL

Chapter 4 - Travel expenses and subsistence costsChapter 5 - Rent, leasing and depreciation

Total Ineligible Sub-contracted activities

NON-ELIGIBLE COSTS

41.958,55

0,00

Chapter 2 - General expenditureChapter 3 - Conferences, seminars, workshops, etc.


53




II. REVENUE

EstimatedIncome €

1. Operational grant requested(The grant that is subject of this application) 54,08%

2. Contribution by the applicant(including contributions by other organisations)

3. Direct revenue expected from the operation (please specify)

Amount in €

109.250,90100,00%

EstimateIncome €

4. Other EU-grants for specific actionsThe amount stated here must correspond to the details included in the application form

5. Applicant's contribution to these actions

6. Income covering other non eligible costs

151.209,45

Total section 3

TOTAL

0,00

41.958,55

ELIGIBLE INCOME

0,00

0,00

TOTAL OF ELIGIBLE INCOME

59.082,88

50.168,02

OTHER INCOME


54

4. FERA Work Programme 2012/2013

55

Annex 2: W

ORK PROGRAMME 2012

DET

AILE

D SCHED

ULE OF TH

E AC

TIVITIES

OF TH

E ORG

ANISAT

ION FO

R 201

2

Date/Duration

Venu

e Ty

pe of a

ctivity

Field or sub

ject

Target group

Mem

bers

taking

part

Num

ber o

f pa

rticipan

ts

Objectiv

es / resu

lts exp

ected

Janu

ary -

Februa

ry

Brussels

Adv

ocac

y/Cap

acity

building

Pub

lish the

Adv

ocac

y Man

ual o

nline

with

active lin

ks

FERA

mem

bers

All

39

orga

nisa

tions

Objec

tive: Enc

ourage

active

participa

tion of th

e FE

RA m

embe

rs in

ad

voca

cy work towards

their M

EPs

and na

tiona

l gov

ernm

ents.

Res

ults exp

ected: In

crea

sed

mob

iliza

tion an

d ac

tivism in

the

audiov

isua

l sec

tor in prom

oting

inve

stmen

t in film.

Februa

ry

Berlin

Promotion an

d visibility

Dire

ctors in

Dialogu

e at th

e Berlin

ale Ta

lent

Cam

pus

You

ng

filmmak

ers

German

y/de

pend

ing on

the

film dire

ctor

who

will

participa

te

300

Objec

tive: Visibility for E

urop

ean film

and film dire

ctors

Res

ults exp

ected: D

evelop

as a veh

icle to

promote Europ

ean

cine

ma.

Februa

ry -

Sep

tembe

r Brussels

Cap

acity

building

Write a

guideb

ook on

au

thors rig

hts/

contract la

w

Professiona

l film dire

ctors

and prod

ucers

All

10

Objec

tive: To ex

plain in plain

lang

uage

not only what

contract sho

uld look

like

but also why

Res

ults exp

ected: Produ

ce an

effective teac

hing

aid fo

r film

sch

ools

and profes

sion

al worksho

ps

March

Brussels

Adv

ocac

y

Con

ferenc

e/

seminar on

Cop

yright and

crea

tivity: F

air

Use

in Europ

e

Policy mak

ers

and

filmmak

ers

All will be

invited

100

Objec

tive: Highlight a sub

ject of

particu

lar c

once

rn to

doc

umen

tary

filmmak

ers

Res

ults exp

ected: Awaren

ess am

ong

policy mak

ers ab

out the

current abu

se

of th

e argu

men

t of fair u

se in

the

name of creativity.

56

April -

September

Brussels

Promotion and

visibility

Develop the

short film series

-Z of

European

General

audience in

the cinemas

and online

FERA office in

consultation

with members

2-10

Objective: Promotion of contemporary

European film

Results expected: : Enlist the

participation of filmmakers in

promoting

heritage

May

Cannes

Promotion and

visibility

Directors in

Dialogue

Film industry

professionals,

press/media

France

150

Objective: Visibility for European film

and film directors

Results expected: D

as a vehicle to promote European

cinema.

January -

December

Brussels

Advocacy

Audiovisual

rights

Policy makers

and FERA

members

All

40

Objective: Contribute to policymaking

at the European level

Results expected: Increased EU

budget for European film, establish

sound terms for online distribution,

and sustainable financing of AV

works.

June

Copenhagen

Capacity building

training

workshop (in

connection with

General

Assembly)

FERA

members

All

50

Objective: Directly em-powering

directors in their daily work

Results expected: Promoting Best

Practice and reducing legal

discrepancies EU wide.

October

Oslo

Advocacy

Participate in

programming

committee of

World

Conference on

Freedom of

Expression

Politicians,

governments

Norway,

Denmark

500

Objective: Raise awareness among

politicians, governments and citizens

Results expected: Increased

mobilization and activism in defense

of artistic freedom

November

Barcelona

Capacity building

training

workshop

FERA

members

Spain,

Portugal, Italy

30

Objective: Directly em-powering

directors in their daily work

Re Results expected: Promoting Best

Practice and reducing legal

discrepancies EU wide.

57

5. General Assembly Participants

58

a) FERA delegates’ contact details

59

COUNTRY ASSOCIATION DELEGATES CONTACT DETAILS

FEDERATION OF EUROPEAN FILM DIRECTORS FÉDÉRATION EUROPÉENNE DES RÉALISATEURS DE L'AUDIOVISUEL (FERA)

Ms Elisabeth O. Sjaastad Director and Chief Executive Officer of FERA Ms Mar Bordanova Office Manager of FERA

+32 489 303 703 +47 906 83 800 [email protected] +32 485 527 125 +34 607 479 902 [email protected] Address: Avenue de la Toison d’Or, 60C, 1060 Brussels Belgium Tel: +32 2 544 03 33 [email protected] www.filmdirectors.eu

AUSTRIA

AUSTRIAN DIRECTORS ASSOCIATION (ADA)

Ms Dagmar Streicher Director and vice president of ADA

+43 6602136050 [email protected] Address: Filmhaus Spittelberg Spittelberggasse 3 A-1070, Wien Austria Tel: + 43 681 106 24 187 Fax: + 43 1 967 89 29 [email protected] www.directors.at

BELGIUM ASSOCIATION DES RÉALISATEURS ET RÉAMOSATRICES DE FILM (ARRF)

Mr André Buytaers Director and co-president of ARRF

+32 495 99 45 18 [email protected] Address: Rue du Prince Royal 87, 1050 Brussels [email protected] www.arrf.be

60


BULGARIA UNION OF BULGARIAN FILM MAKERS(UBFM)

Mr Evgeny Mihaylov Director and member of UBFM

+359 0888705 556 [email protected] Address: 1504, „Dondukov“ blvd 67 Sofia +359 2 946 10 68 +359 2 946 10 63 [email protected]

CROATIA

CROATIAN FILM DIRECTORS GUILD (DHFR)

Mr Hrvoje Hribar Director, member of the Executive Committee of FERA

+385 91 444 49 94 [email protected] Address: Britanski Trg 12 10000 Zagreb Croatia Tel/Fax:+385 1 484 68 52 [email protected] www.dhfr.hr

CZECH REPUBLIC

ASSOCIATION OF CZECH DIRECTORS AND SCREENWRITERS (ARAS)

Mr Petr Kaňka Director and Vice chairman of ARAS Mr Marek Dobeš Director and member of the board of ARAS

+420 724 250 111 [email protected] +420 602 162 024 [email protected] Address: Karlovo nám. 19 12000 Praha 2 Czech Republic Tel : +420 737 52 00 99 Fax: +420 224 32 25 58 [email protected] www.aras.cz

DENMARK DANISH FILM DIRECTORS (DFD)

Ms Birgitte Stærmose Director and member of board of DFD Ms Sandra Anne Piras General Secretary of DFD

+45 2612 05 80 [email protected]

+45 26 19 90 89 [email protected]

Address: Nørre Voldgade 12, 2. th.1358 Copenhagen Denmark Tel: +45 33 33 08 88 [email protected] http://www.filmdir.dk/

61


EUROPEAN DOCUMENTARY NETWORK (EDN)

Mr Cay Wesnigk Director and member of the board of EDN

+49 171 830 0647 [email protected]

Address: Vognmagergade 10 DK-1120 Copenhagen K Tel: +45 33 13 11 22 Fax: +45 33 13 11 44 www.edn.dk

ESTONIA ESTONIAN FILMMAKERS UNION

Ms Erika Laansalu General Manager of EFU

+372 503 79 26 [email protected] Address: Uus Street 3 10111 Tallinn tel/fax :+372 64 64 068 [email protected]

FINLAND DIRECTORS GUILD OF FINLAND - SELOry

Mr Janne Pellinen Executive manager of SELOry Mr Heikki Kujanpää Director and member of the board of SELOry

+358 50 563 8270 [email protected] +358 50 3599961 [email protected] Address: Töölöntorinkatu 2B, 8.krs FIN-00260 Helsinki tél +358 50 539 09 51 www.selo.fi

FRANCE

GROUPE 25 IMAGES SOCIÉTÉ DES RÉALISATEURS DE FILMS (SRF)

Ms Lou Jeunet Director and member of Groupe 25 Images Mr Michel Andrieu Director, co-president of SRF and member of the Executive Committee of FERA

+336 86 26 36 40 [email protected]

Address: Rue Blomet 147 75015 Paris France Tel: +33 1 4250 64 30 [email protected] www.groupe25images.fr +336 86 88 14 04 [email protected] Address: 7 avenue de Clichy 75 017 Paris tél +33 01 53 42 40 00 fax +33 01 42 93 57 88 [email protected] www.larp.fr

62


GERMANY GERMAN DIRECTORS GUILD (BVR) GERMAN DOCUMENTARY ASSOCIATION (AG DOK)

Mr. André F. Nebe Director , member of the board of BVR and member of the Executive Committee of FERA Mr Thomas Frickel Chairman and Chief Executive Officer of AD DOK

+49 175 42 85 001 [email protected] Address: Augsburger Straße 33 10789 Berlin Germany Tel: +49 30 - 21005-159 Fax: +49 30 - 21005-162 [email protected] www.regieverband.de + 49 / 1522 160 74 23 [email protected] Address: Schweizer Strasse 6 D-60594 Frankfurt on Main Germany Tel: +49 69 62 37 00 Fax: +49 61 42 966 424 [email protected] www.agdok.de

HUNGARY

DIRECTORS GUILD OF HUNGARY (MRC)

Mr András Monory Mész Director, member of the executive board of MRC and responsible of international relations

+ 36 30 964 00 24 [email protected] Address: 1143 Ida u 3 Budapest Tel +36 30 964 0024 [email protected]

ICELAND

GUILD OF ICELANDIC FILM DIRECTORS (SKL)

Mr Hilmar Oddsson Director and Board member of SKL

+354 898 0209 [email protected] Address: Leifsgata 25 101 Reykjavík Iceland Tel: +354 588 6003 [email protected] www.gjola.is

63


IRELAND SCREEN DIRECTORS GUILD OF IRELAND (SDGI)

Ms Trish McAdam Director and member of SDGI

+353 87 957 4120 [email protected] Address: Curved Street South Temple Bar, Dublin 2 Ireland Tel: +353 1 633 7433 [email protected] www.sdgi.ie

ITALY 100 AUTORI ASSOCIAZIONE NAZIONALE AUTORI CINEMATOGRAFICI (ANAC)

Mr Maurizio Sciarra Director and member of the executive board of 100 AUTORI and Member of the Executive Committee of FERA Mr Giacomo Durzi Director and member of the executive board of 100 AUTORI Mr Massimo Sani Director and member of ANAC

+39 348 783 05 74 [email protected] +39 347 982 60 49 [email protected] Address: Vicolo di San Celso 3 00186, Rome Italy Tel/fax: +39 6 682 108 95 [email protected] www.100autori.it + 39 3483536377 [email protected] Address: via Montello 2 – 00195 Roma +39 06 37519499 [email protected] www.anac-autori.it

LATVIA LATVIAN FILMMAKERS UNION (LKS)

Ms Ieva Romanova Chairwoman at LKS

+371 26 44 04 70 [email protected] Address: Elizabetes 49 LV1010 Riga Latvia Tel: +371 67 28 85 37 Fax: +371 67 24 05 43 [email protected] http://www.latfilma.lv/lks/

64


LITHUANIA LITHUANIAN FILMMAKERS UNION (SKL)

Mr Gytis Luksas Directors and President of SKL

+370 618 88 261 [email protected] Address: Vasario 16 str. 13/1, LT-01107 Vilnius Tél/fax +370 5 212 07 59 [email protected] www.kinosajunga.lt

LUXEMBOURG L'ASSOCIATION LUXEMBOURGEOISE DES RÉALISATEURS ET SCÉNARISTES (LARS)

Mr Christophe Wagner Director and Vice President of LARS

+352 621 386776 [email protected] Address: Avenue Guillaume 10 1650 Luxembourg Tel: +352 691551700 www.lars.lu

NETHERLANDS DUTCH DIRECTORS GUILD (DDG)

Mr Ger Poppelaars President of DDG Ms Monique Ruinen Secretary General of DDG

+31 610 47 37 80 [email protected] +31 653940771 [email protected] Address: Rokin 91 1012 KL Amsterdam Tel: +31 20 684 28 07 Fax: +31 20 688 52 99 www.directorsguild.nl

NORWAY NORWEGIAN FILM MAKERS' ASSOCIATION (NFF) DIRECTORS' GUILD OF NORWAY (NFR)

Mr Sverre Pedersen Director/Producer and President of Norwegian Filmmakers’ Association Ms Eva Dahr Director and President of NFR

+47 91 32 59 57 [email protected] Address: Dronningens gate 16, 0152 Oslo Norway Tel: +47 22 47 46 40 www.filmforbundet.no +47 917 78501 [email protected] Address: Postboks 275 NO-1319 Bekkestua Norway Tel: +47 67 52 51 58 www.filmdir.no

65


POLAND POLISH FILMMAKERS ASSOCIATION (SFP)

Mr Marcin Pieczonka Director and member of the board of SFP

+48 669 499 388 [email protected] Address: Ul. Krakowskie Przedmieście 7 00-068 Warsaw Poland Tel: +48 22 556 50 40 Fax: +48 22 845 39 08 [email protected] www.sfp.org.pl

PORTUGAL PORTUGUESE DIRECTORS’ GUILD (ARP)

Fernando Vendrell Director and vice president of ARP

+351 917765817 [email protected] address: Rua da Imprensa Nacional, 73RC 1250-124 Lisboa [email protected]

ROMANIA ROMANIAN INDEPENDENT FILMMAKERS (DACIN SARA - SCIRO)

Ms Lorena Soculescu Legal Adviser

004 0744 499 690 [email protected] Address: Dem. I. Dobrescu Str. No. 4-6, intr. B, et. 3, cam. 50-52, Bucarest Romania Tel: +40 21 314 57 31 Fax: +40 21 315 84 83 [email protected] www.dacinsara.ro

SPAIN SCREEN DIRECTORS OF CATALONIA (CDCC)

Mr Lluís Valentí Bohigas Director and member of CDCC

+34 633 75 51 66 [email protected] Address: Passeig Colom 6, Oficina 08002 Barcelona Spain Tel: +34 93 2682776 [email protected]

66


SWEDEN SWEDISH FILM DIRECTORS (SFR) TEATERFORBUNDETS Rights & Media Corporation (TROMB)

Mr Håkan Bjerking Director, Chairman of SFR and member of the Executive Committee of FERA Ms Christina Olofson Director and Vice Chairwoman of SFR Ms Marianne Ahrne Director and member of the board of SFR Ms Leyla Assaf-Tengroth Director and member of SFR Mr. Ulf Mårtens Chief Executive Officer of TROMB

+467 559 30 80 [email protected] +467 630 7278 [email protected] +467 708 146907 [email protected] +46 707190043 [email protected] +46 705 952281 [email protected] Address: Box 12710 112 94 Stockholm Sweden Tel: +46 706307278

SWITZERLAND SWISS FILMMAKERS ASSOCIATION (ARF/FDS)

Ms Gabriel Baur Director, Member of the Executive Committee of FERA, Vice-President and Member of the Executive Committee of Swiss Filmmakers Association ARF/FDS

+41 76 325 38 00 [email protected] Address: Neugasse 10 CH – 8005 Zurich Switzerland Tel: +41 44 253 19 88 Fax: +41 44 253 19 48 [email protected] http://www.realisateurs.ch

67


UNITED KINGDOM

DIRECTORS UK (DUK) Mr Piers Haggard Director, member of the board of DUK and member of the Executive Committee of FERA Mr Charles Sturridge Director and Chairman of the board of DUK Mr John Goldschmidt Director and Board Member of Directors UK Mr Delyth Thomas Director, member of DUK Mr Dan Clifton Director, member of the board of DUK

+44 7773 800 058 [email protected] +44 7960 198 198 [email protected] +44 7770 431 051 [email protected] +44 796 8591411 [email protected] +44 7711 423986 [email protected] Address: Inigo Place, 31/32 Bedford St Covent Garden London WC2E 9ED United Kingdom Tel: +44 20 7240 0009 Fax: +44 20726 0676 www.duk.com

68

b) FERA organizations and delegates

69

Mr István Szabó

Director and President of FERA

István Szabó was born in Budapest, in 1938. He was an assistant film director and later a film director of MAFILM Hungarian Film Studios until the winding-up of the company.

His films have won several international film awards, and he has been nominated for an Academy Award (Oscar) four times for the films Confidence, Mephisto, Colonel Redl, and Hanussen. Annette Benning was an Academy Award best actress nominee for the leading role in his film Being Julia. His films have been nominated twice for the Golden Globe award (Colonel Redl, Sunshine). Mephisto has won the Academy award and Colonel Redl has won the British Academy Award. Mephisto has won the David di Donatello Award as well; Sunshine has won the Canadian Grand Prize. The scripts of Sweet Emma, Dear Böbe and Sunshine won the prizes of European Film Academy for best screenplay. The Day of Daydreaming and 25 Fireman's Street have won the prizes of Locarno Film Festival; Father has won the Grand Prix of Moscow Film Festival; Confidence and Sweet Emma, Dear Böbe have won the prizes of Berlin Film Festival for best director; Mephisto and Colonel Redl have won prizes at the Cannes Film Festival.

Many of the above films have also won awards from Hungarian Film Critics and the Hungarian Film Week.

70

Ms Elisabeth O. Sjaastad

Director and Chief Executive Officer of FERA

Elisabeth O. Sjaastad (born 1977) studied directing at the Beijing Film Academy and the Central Academy of Drama (1998-2000). Her directorial debut was a theatre production of Bertolt Brecht’s The Good Woman of Setzuan in Beijing with a cast of 25 actors. The feature documentary Shiny Stars, Rusty Red (from China) was invited to film festivals worldwide and nominated to Norway’s national film award in 2003.

If she wasn’t working for FERA day and night, she would be developing her docudrama TV-serial on James Joyce and Henrik Ibsen. Elisabeth has been Vice President of the Norwegian Film Makers’ Association and served on several juries and boards, including the Einarsson-committee appointed by the Norwegian Ministry of Culture to restructure the Norwegian Film Institute and redefine Norwegian audiovisual policy. Elisabeth O. Sjaastad was appointed FERA CEO in 2009.

71

Ms Mar Bordanova

Officer Manager of FERA

Mar (born 1988) studied law at University Pompeu Fabra in Barcelona. During this time she did part of her studies in Brussels, where she got a high knowledge of the European Institutions and European law, specialized in the culture field. Also, she was awarded with a European grant to develop an internship at Pearle* (Performing Arts Employers Associations League Europe).

Mar has always been engaged with the community civil life of Barcelona, forming part of the Athenaeum del Clot, where she leaded various cultural activities and cooperation projects with underdeveloped countries. When in Brussels, she has started to volunteer in a Spanish radio called Radio Alma, where she is scriptwriter and anchor for programmes of different nature. She is FERA Office Manager since April 2011.

72

The Austrian Directors’ Association (ADA)

1. Collecting Societies

2. Copyright Issues

Ms Dagmar Streicher, director and Vice President of ADA

73

Association des Réalisateurs et Réalisatrices de Film (ARRF)

We are the Association of film directors in Belgium. We’re still working to reinforce our low budget film structure: “Cinéastes Associés”. After the four first films produced in two years, we begin a new contract of four films to be produced in the next three years. The shooting of the first new film “Yamdam” by Vivian Goffette begins in Arlon (near the Luxembourg border) the 11th of June.

Also in June, during the Brussels film Festival, a moviemaker master class with Lucas BELVAUX and our Shortfilm prize.

In October, we will do the second edition of our “Acting Master Class for directors” with Pico Berkowich.

Main topics of 2012:

- Better coordination between state and regional funding sources, tax shelter, etc. - Author’s rights - VOD diffusion

Mr André Buytaers, director and co-president of ARRF

Etudes en Belgique de réalisation en radio et télévision à l'Institut des Arts de Diffusion (IAD) et de journalisme à l'Institut de la Maison de la Presse. Langues : Français, Italien, Anglais et Néerlandais.

Réalisateur de télévision à la RTBF depuis 1982. Par ailleurs, il se consacre à la conception et la réalisation de "Making of" pour le cinéma belge, dont IL MAESTRO de Marion Hansel et TOTO LE HEROS de Jaco VAN DORMAEL.

En 1994, il écrit avec Alain SCOFF le projet de fiction TV AIRLINERS ( Gaumont – RTBF – France 2 ). En 1997, il passe au long-métrage de fiction télévisuelle et réalise un épisode de la série QUAI N°1 intitulé LE PERE FOUETTARD (RTBF – HAMSTER – France 2). Il enchaîne avec UN CŒUR PAS COMME LES AUTRES ( RTBF– ALYA – France 2 ).

De 2000 à 2005, André BUYTAERS collabore au magazine de grands reportages de la RTBF : L’HEBDO. Il y a réalisé, notamment, un documentaire en co-production avec TV5 sur le metteur en scène Franco DRAGONE : FRANCO FAIT SON CIRQUE. En 2007, il réalise un documentaire sur la Sicile de l’écrivain italien Andrea CAMILLERI CAMILLERI ALLA SICILIANA (RTBF – France 3 - Image.Création.Com). En 2008, un moyen-métrage cinéma LA CHASSE AUX TRUFFES (Climax Films). De 2010 à 2012, écriture du long-métrage PIANISSIMO avec Vincent ENGEL et Luc JABON ( Frakas Productions ). En production. Doctoring sur le scénario RETOUR A TIRANA de Luc JABON ( Stromboli Pictures ). En production. Ecriture d’un docu-fiction DE LA LONGITUDE EN MER AU GPS avec Guy BOISTEL.

André Buytaers a assuré la Présidence du Comité Belge de la SACD (mandat de 2009 à 2011) et est, actuellement, co-président de l’Association des Réalisateurs et Réalisatrices de Film (ARRF).

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The Union of Bulgarian Filmmakers (UBFM)

The Bulgarian cinema which exists from the beginning of the 20th century and which produced till the historical change in 1989 about 50 feature films per year – half of them for TV – faced a very difficult transition period during which the film productions were reduced very nearly to zero. And only when in 2004 the Film Industry Act came to force, the Bulgarian cinema began to revive – attracting the cinemagoers' interest (in the leftover 300 cinema halls of 3,100 before in the country) and winning about 270 awards at international film festivals. The Union of Bulgarian Film Makers - which exists from 1934 or already 78 years - continues to defend the professional rights of its nearly 850 members in the name of the Bulgarian national culture as a part of the European culture. And today the struggle of UBFM is for the state support of about 9 million EUROS which have to cover the production of 7 feature films, 14 full-length documentaries and 160 minutes animation according to the Film Industry Act.

- The Union of Bulgarian Film Makers continues to insist for a third year in different ways – open letters, declarations, street protests, negotiations with the Ministry of Culture - that the Bulgarian government is obliged to observe the Film Industry Act and the formula in it about the state's financial support for the Bulgarian cinema – till now without enough success, because the ruling circles continue to transgress the law.

- The Union of Bulgarian Film Makers continues to be an active party and a partner in the process of creation and forming of all concepts, legislations, models and decisions which correspond to and affect the problems of Bulgarian audiovisual culture. UBFM has its own representatives in the National Film Council at the National Film Centre as well as in all the national commissions that choose the best film projects for state support, that decide the amount of that support and that define the category of all the films distributed in the country.

- The Union of Bulgarian Film Makers cooperates for development, protection and promotion of Bulgarian cinema by creating in 2010 the BULGARIAN FILM ACADEMY uniting with other organizations of film producers, screen writers, cameramen, sound directors for the annual awards for film art which were established as a cultural tradition by UBFM in 1975. UBFM stands for development of the film theory and film history; for aesthetic education of the cinemagoers and for applying of high art criteria by its own (from 1946) publication - magazine "KINO" (6 issues per year), by its Internet site http://www.filmmakersbg.org/ubfm-eng.htm, as well as by subserving the promotion of European cinema in its House of Cinema, by organizing public discussions on different topics, by participating with its own awards at national and international film festivals in Bulgaria.

Evgeny Svetoslavov Mihaylov, director and member of UBFM

Education: High Institute of Cinematography – Moscow, Specialty: Film Director. 1976 NATFA “Krastyo Sarafov” – Sofia, Specialty: Film Director.

Professional experience: 2006 - Kinoceter Sofia, Film Production Company, Owner and Managing Director. 1997 – 2006 Chairman of the Board of Directors and Executive Director of Boyana Film Studios. 1994 – 1997 Deputy at the 37th National Assembly, Vice-chairman of the Radio and Television Committee. 1992 Bulgarian National Television, Art Director of Channel 2. 1981 – 1991 Boyana Film Studios – film director

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Croatian Film Directors Guild (DHFR)

Mr Hrvoje Hribar, director, member of the Executive Committee of FERA and Member of the Board of DHFR

Born in Zagreb, Croatia, Hrvoje Hribar graduated from ADU (Academy of Dramatic Arts) with a diploma in Film directing. He has worked as a first assistant director, scriptwriter, radio play writer, cook, essayist. In his company FIZ production he produced and directed the feature comedy What's a Man without a Moustache? Before that, he also produced, directed and wrote two Adriatic documentaries (The World is Great and Once there was a Man) and his first feature The Tranquilizer Gun.

As a director and a scriptwriter, Hrvoje is also the author of Croatian Cathedrals (television film produced by HRT-Croation National Television) and the short film Between Zaghlul & Zaharias (produced by Tuna-film). In 2001, he directed the TV series New Age (HRT production). He was awarded the Oktavian (best Croatian film of the year) for several times (Tranquiliser Gun, Once there was the man, Between Z&Z). What is a Man without a Moustache was the most attended film in Croatian cinemas in 2006, and was shown in more than 30 international film festivals worldwide.

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The Association of Czech Directors and Screenwriters (ARAS)


- Cooperation with Czech Television.

At the end of 2011 won an audition for director Czech Television Petr Dvorak, he was director private TV Nova before. ARAS its selection and continued to support open communication with him and his managementem. ČT undergoing dramatic changes, it was established 14 new producers. ARAS committed to transparency in the adoption of ideas and evidence evaluation. The authors do not see YET THE STATE AS A POSITIVE CHANGE BECAUSE SYSTEM DOES NOT WORK. ARAS criticizes STATE TO MEET MANAGEMENT Thurs all It is only the lag.

- Legislative - The Law about czech cinematography

The Republic still have no law on cinematography. At present, our Parliament is one of many proposals that had never before failed to tighten over the legislative process. Last vetoed the bill President V. Klaus. ARAS is now in partnership with other organizations in the film environment (associated to the Film Chamber ) of all the forces trying to time enforced the law really was.

- Media law

ARAS seeks to complete the free media space and independence of public service media for political parties. It seeks to amend the Law on Elections to the patterns of media advice by other states. Our media laws were established more than twenty years ago, media laws are actually this is still indebted. We welcome advice and experience from FERA .

Petr Kaňka, director and Vice Chairman of ARAS

Education: Theory and History of Film, Theatre and Music; the Charles University, Prague 1981

Employment: Director of the Czechoslovak Radio broadcasting company. Awarded a prize for dramatic poem about the Russian poet Vladimir Mayakovski “I Was a Poet“/director and screenwriter/ Dramaturgist of F. X. Šalda´s Theatre in Liberec, North Bohemia. Dramaturgist /programme editor/ of the Czechoslovak Television broadcasting company

Special experience: Assistant to the famous film director Jaromil Jireš /Czech New Wave/ Cooperation with Jaromil Jireš on screenplays for music documentary

Author and director of TV projects: “Hello, Music” and “Terra Musica” / TV magazines on current music events - 60 episodes/ “Ten Centuries of Architecture“ /monothematic documentary on Czech architecture from Romanesque style to contemporary works of art - 27 episodes/ Czech historic songs for TV /5 ´clips – 26 episodes.

Festival films: “Music against Death“ /screenplay/ “Laterna magica - Life with a Dream“ /director and screenwriter/ “Karel and Jan Saudek“ /director and screenwriter - biographic document on famous twins/ “In Search of Janáček“ /director and screenwriter/ Producer, director and screenwriter of the documentary “The Year of Czech Music“. “The Greatest of the Czechs – Antonín Dvořák /director and screenwriter, 2005/ “I Was Touched by The Finger of God“ /about composer Josef Suk - director and

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screenwriter, 2006/ “The Gentleman Josef Škvorecký” /director and screenwriter, 2009/ “Ideals and Money”, “Money and Ideals” - politic documentary /director and screenwriter, 2009, 2010/

Director awards: Santini´s Church of St. John of Nepomuk at Zelená Hora / 1997/ In Search of Janáček – Golden Prague International Festival /2003/ “The God´s Finger Touched Me” /about composer Josef Suk/ Awarded a prize of The Czech Literary Fund 2007/ “The Gentleman Josef Škvorecký” Awarded a prize at the Film festival in Telč /Czech Republic, 2008/

Contemporary activity: In the course of the entire year of 2009 – producer and screenwriter of the new documentary “Wherever I look, I miss my face there” /about Czech poet Karel Hynek Mácha/

Pedagogical work: Head of the Department of Media Studies –Literary Academy of Josef Škvorecký, Prague / documentary film workshop, history of Theatre and Music etc. Chairman of the board – The Association of Czech Film Directors and Screenwriters

Marek Dobeš, director and member of the board of ARAS

Having been in the film business over ten years, Marek Dobes has become one of the most innovative Czech film and television directors and screenwriters.

Born in Prague 1971, 1998 he obtained his Master's degree in film criticism at the Charles University College of Social Science. During studies participated on Karlovy Vary International Film Festival.

As a director he debuted in 1999. He wrote, directed and co-produced - with Czech Television a short horror comedy I Was a Teenage Intellectual. The film was awarded Golden Award at Worldfest Houston among others.

As a screenwriter he wrote two prime time TV series “A place above” and “A place in life” which became one of the most successful TV shows in Czech Republic. More than half of all television viewers were watching every episode when it debuted.

As for feature-length films, Marek Dobeš debuted as a director, producer and co-screenwriter with a black comedy Choking Hazard which internationally debuted on Tribeca Film Festival being sold to US and German market.

Last year premiered a feature length thriller drama for which he wrote screenplay for - Kajinek starring international cast: Tatiana Vilhelmova, Boguslav Linda, Konstantin Lavronenko.

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The Danish Film Directors (DFD)

By arranging a number of very qualified seminars, member meetings and other events we are slowly heightening awareness among our members of the fact that they have a shared responsibility for strengthening the position of directors in the film industry. We need all hands – and minds – on deck to join in the effort to secure better rights and working conditions. Even though other countries may view Denmark as a country with an excellent film support system, we do have our problems. For instance, it is very difficult to secure the director full pay for work done during development of a film, and we also have pay and rights issues when the director does not write the script, but supervises it.


- Negotiations on the new standard contract regulating the transfer of rights between the producers and television stations

- Negotiations on the new support scheme rules

- Internal discussions with members about the retraction of rights to the director and how our works are being used and paid for.

Ms Birgitte Stærmose, Director and Member of the Board of DFD

Birgitte Stærmose, a Copenhagen based director, holds an MFA from Temple University, Philadelphia, USA. Her award-winning shorts have screened worldwide. Small Avalanches, based on a short story by Joyce Carol Oates, won UIP Prize for Best European Short at Edinburgh IFF 2003, and was nominated for Best European Short at the European Film Awards.

Birgitte Stærmose has directed a monologue for the compilation film Letters from Denmark - a reaction to the Mohammed cartoon crisis - which was aired on Al Arabyia in 2007. Principles of Attraction, four stories about four women, is her latest film. Sophie is the last of these stories and premiered as a short at the Sundance Film Festival 2007. Birgitte Stærmose is currently writing and directing her first play, Love Bites, for Aveny T, a major theatre in Copenhagen. Ms Sandra Anne Piras, Secretary General of DFD Sandra Anne Piras is the Secretary General with the Danish Film Directors. Sandra graduated in 1992 from Copenhagen University Law School with a speciality in intellectual property and film rights. After graduation she was hired by the Danish Actors Association as the union’s first ever legal adviser, where she stayed, until she in the year 2000 got the position as Secretary General with the Danish Film Directors. Sandra holds a number of board positions in the Danish collecting society COPY-DAN and others societies, and was in 2008 appointed as expert judge to the Eastern High Court in Denmark (based on her knowledge on intellectual property law).

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The European Documentary Network (EDN)

EDN - European Documentary Network is a global network for professionals working with documentary film and TV. Over 1000 members from more than 60 countries have joined EDN.

EDN provides documentary consulting and informs about possibilities for funding, financing, development, co-production, distribution and collaboration across borders. This is done via individual consultancy to members on documentary projects, activities like workshops, seminars and conferences as well as through the two indispensable publications DOX magazine and The EDN Financing Guide.

EDN started in September 1996 as a documentary organisation for filmmakers, producers, production companies, distributors, associations, film institutions & boards, universities, festivals, broadcasters and film & television agencies. EDN is also organising a number of activities including pitching sessions, development programmes, seminars and workshops.

You are always more than welcome to contact us if you want to know more about joining EDN, getting information about our activities or getting us involved in initiatives you are organising. More information at www.edn.dk

Mr C. Cay Wesnigk, director and Chairman of the Board of European Documentary Network C. Cay Wesnigk (born 1962) studied visual communication at the University of Arts in Hamburg. 1987 he founded the C. Cay Wesnigk Filmproduktion. Since then he has written, directed and produced several feature length and short films. These have all been shown on television; some also have been distributed in cinemas and some also in the video home market. Most of Wesnigk’s films have been shown and some even have been awarded on festivals all over the world. You can find a list of his films, as well as trailers and downloads and more information on his work www.cay.agdok.de

In 1995/96, frustrated from an unpleasant experience with distributors, world sales agents and TV stations, and to make some money for a living, Wesnigk worked free lance with an advertising agency specializing in new media and Internet. As creative director he was responsible for the development and production of internet and multimedia presentations. Through this he learned about the possibilities of the new Medium Internet and decided to bring his new gained knowledge back to the film industry. In 2000, together with 120 other producers, directors and authors mostly from the AGDOK background) he founded the OnlineFILM AG as a public company to use digital technologies for the distribution of audiovisual content. He has worked as CEO of OnlineFILM (www.onlinefilm.org) since then. After riding the ups and downs of the dotcom crash, finally in 2007 the project Onlinefilm.org, a European web project to make it possible for filmmakers to very easily upload and offer there films for sale over the internet, was awarded a grant as a MEDIA pilot project and is now in Mai 2012 (in a 2.0 version) a functioning portal. 2500 films (not only but mainly documentaries) are online and sales are conducted every day. As a European project, www.onlinefilm.org has partnered with production companies and dedicated individuals in many European countries such as Greece, Italy, Austria, Ireland, Slovenia, Latvia and Lithuania, others are welcome to join. Wesnigk is also on the board of AG DOK, Germany’s largest community of independent producers (800 members) (www.agdok.de). And chairman of the board of VG Bild-Kunst, the German collecting agency for creative Artists and Producers of films (www.bild-kunst.de).

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Estonian Filmmakers Union (EFU)

Ms Erika Laansalu, general manager of EFU

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Association of Finnish Film Directors (SELOry)


- Working towards better Director Agreements and updating of the Director Model agreements

- Lobbying regarding the current situation at YLE (Finlands national public service broadcasting company)

- Lobbying regarding the current legislative proposals in Finland:

- YLE law and its definition of public service - Restructuring of the Arts Council of Finland - Copyright law

Mr Janne Pellinen, executive manager at SELOry

Janne Pellinen, Executive manager, Association of Finnish Film Directors (Suomen elokuvaohjaajaliitto SELO ry.)

Janne has a Masters degree in law 2002 (LL.M.) from the University of Helsinki, Finland. After graduation he worked as a corporate legal counsel in the computer game and software industry, focusing IT and technology related contracts as well as corporate and labour law.

Since January 2008 he has worked as Executive manager and legal counsel of the Association of Finnish Film Directors.

In addition to his job as a lawyer Janne is studying directing in the Theatre Academy Helsinki, Theatre and Drama MA Programme. He is also a member of Reality Research Center, a professional avantgarde performing arts group based in Helsinki.

Mr Heikki Kujanpää, director and member of the board of SELOry

Heikki Kujanpää is one of the founders of Q-theatre (Helsinki), where he’s been acting, directing and writing since 1990. He has taken parts as director, writer and actor in various projects in cinema, theatre, opera and television. He has acted major roles in theatre and TV-films and directed fiction and documentary films.

For his films A Small Pilgrimage and The Icebreaker he has won international prizes as a film director (among them the Grand Prix in Laon international Film Festival at 2000 and the first prize in Tampere international Film Festival).

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He has written two radio plays and five stage plays, one of them, “Mannens 2 drifter” translated in Swedish, and “Falling Angels” translated in English.

Kujanpää has worked at Finnish Radio Theatre as a dramaturgist and a director, directing about 50 radio plays. He has also worked as a teacher, teaching actor students at the Finnish Drama Academy and teaching acting, directing and writing at other schools.

For the years 2001-2003 Kujanpää worked as a director general at the City Theatre of Kuopio. At the moment he is working as a head director for a tv-series “Home Street”.

Some of Kujanpää´s latest works: TV-series Home Streat, 2011- 2012, head director / TV-film Christmas Tree Thieves, 2009, director / TV-series Beginning of the End, 2009, director / Feature Film Falling Angels, 2008, director and co-scriptwriter / Birth of a Salesman, 2007, director and co-author, play in Q-theatre / Tv-series President of the Republic, political satire, 2007, main character / Tv-series Agricola, 2006, director and one of the main actors / Hypocondriac (by Moliere), 2005, director and the main character “Argan”, Turku City Theatre

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Société des Réalisateurs de Films (SRF)

Mr Michel Andrieu, director, co-president of SRF and member of the Executive Committee of FERA

Born in Marseille, Michel Andrieu studied political economy, and then joined the director’s course at the IDHEC, the national film school in Paris. He made his first short film in 1964: A l’ombre des jours (Dark Days).

For several years he was part of a group of documentary film-makers, A.R.C. and co-directed several documentaries. In the early 1970s, he wrote thirty or so television filmscripts including La Lettre Volée (The stolen Letter), based on the short story by Edgar Allen Poe (1972) for Alexandre Astruc with Laurent Terzieff and François Simon.

From 1967 until now, he wrote, co-directed and directed several feature films, including Bastien, Bastienne (1979) which opened the Directors Fortnight in Cannes and received international awards, Le Voyage entre Paris et le Caire (1984), L’Île des loups (Wolf’s island, 1994-95), a TV thriller, and many others.

He also directed some documentaries and portraits. In 2003, he achieved the 3 years work The ultimate particle, a metaphysical road-movie looking for the origins of our world in which he plays the main character: a detective. His last movie is called Clemence's holidays (Les vacances de Clémence).

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Groupe 25 images

In 2012, Groupe 25 Images managed to organize in 2012 meetings with the major education and cultural institutions and France Televisions and private channels to preserve our rights. Groupe 25 Images had produced interviews in TV Film Festivals with directors, scriptwriters; composers from 2 years now, this author’s portraits are on his web site. On his web site, Gr 25 Images organize a fresh perspective on our profession, and also published La Lettre des Realisateurs, a forum for voicing the directors. As a short term prospective, the new Teletek, (a fiction encyclopedia on French television), with a dedicate space for teachers, educators. A data base for all the profession, a link between our professions from the television of yesterday to connected TV of today and tomorrow.


- Fight against the French fiction’s TV crisis (-20% produced this year). - Defended the director’s status as an author and not only as a set director.

Ms Lou Jeunet, director and member of the Groupe 25 images

French, Tv director and delegate of Groupe 25 Images. I was a student in Femis, as a director and editor, but it is the meeting with Roman Polanski’s scriptwriter Gérard Brach which encouraged me to write for cinema and television. I won a scholarship for Villa Medicis Hors les Murs in London. Claude de Givray, scriptwriter for François Truffaut, gave me the opportunity to write and direct my first tv movie.

I co-wrote and directed four fictions, a tv web serie. “The Favorite Daughter” won best script and Unda Prize in Monte Carlo 2000, nominated to European Emmy Awards in New York and laureate “Television Talent” for SACD ( Authors Composers Society) in 2001. “Small hands” won Best Fiction in Festival de la Fiction in 2001

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The German Directors’ Guild (BVR)

1) The Supreme Court obliged the lower courts to decide upon the iffy issue of the ZDF’s legitimate position as a partner for contracts. We expect a respective judgment in July 2012 although the whole procedure will continue through many other courts and is only the beginning of an - hopefully - upcoming arbitration process. However, the decision of any arbitrator then must be acknowledged by both parties. It’ll be a long process.

2) We continue our negotiations with the Producer’s Alliance regarding payment and profit share for cinema. Next round will be in July.

3) We’re facing a rough discussion regarding online piracy and so called “free use”. Mainly the newcomer “Pirates-Party” (sic!) likes the idea of unlimited free copying for private use of copyrighted content. Their arguments are too stupid to list or comment them here but they conquer more and more county parliaments in Germany.

- Decision of the lower Court on Arbitration BVR./.ZDF regarding fair payment - Negotiations with the Producer’s Alliance regarding wages for cinema - Positioning on digital distribution, collecting societies and piracy.

Mr André F. Nebe, director, member of the board of BVR and member of the Executive Committee of FERA 2009 Director of "The Race" (IR/D) (D: Colm Meaney, Susan Lynch). 2006-2007 Screenplay-writer of "Duende", funded by Medienboard Berlin-Brandenburg. October 2005 Set-up of production company Tucano Film in Berlin (www.tucanofilm.de)

November 2004 Director of: "Abspann" (D: Josef Ostendorf, Peter Jordan). February 2004 Director of: "Examen" (D: Wanja + Jona Mues, Mareike Fell). October 2003 Director of: "Das Jurastudium - Risiken und Nebenwirkungen" – documentary. June 2003 Director of: "Knockout" (D: Jana Schulz, Dominik Maringer). September 2002 Director of: "Kunstgriff" (D: Ursula Buschhorn, Hans-Werner Meyer)

Awards (Selection): Main Jury Award ‘Final Cut’, Youth- and Kids-Film-Festival, Marburg, Germany, Preis des Festivals des deutschen Kinos, Mainz | Bester Film der ‘‘Next-Generation’‘-Rolle 2003, RAI-Sat, Italien | Lobende Erwähnung, Golden Lion Film FestivalTaipei, Taiwan | Publikumspreis, Int. Student Film Festival, Beijing, China

2005 - 2010 Participation in various professional seminars on copyright-law, production, budgeting, film-financing and trade-marks (e.g. Erich Pommer Inst./Potsdam, medianetLAW, EAVE, MEDIA)

Publication: Legal status of film-producers in the EU (only in German) – Die Rechtsstellung des Filmproduzenten in den Mitgliedsstaaten der EU, München (2009).

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The German Documentary Association (AG DOK)


- Improving the contractual and work conditions for documentary film writers, directors and producers.

With more than 860 members, the AG DOK is the largest and most influential professional association in the German independent film scene. Currently we are conducting a survey of our members on their income and living conditions. The survey has not yet been completed, but some initial trends can be observed:

10% have an annual income below 8000 Euros, i.e. below the lowest income tax bracket; 50% live from less than 2000 Euros per month; 41% must supplement their income with other types of work

28% of those polled see their futures very negatively and an additional 46% negatively, i.e 74% are largely disillusioned and discouraged. Documentary film writers and directors are paid much worse than their colleagues from the fiction film world. Their salaries are often less than half of those from fiction films. Residuals are paid only to those who work directly for broadcasters as "regular freelancers."

For the past two years we have been negotiating with broadcasters to improve this situation. We have come to the conclusion that the broadcasters are unwilling to make fundamental changes, especially if these cost money.

Last autumn we broke off negotiations with the ARD (Channel One). We are now requesting that politicians stand up for better working conditions in the public service stations. This request has precedence: In 2008, the minister presidents of the German federal states submitted a written request to the broadcasters demanding "fair compensation and the fair division of rights." The AG DOK has written all sixteen minister presidents and requested that they finally put their words into practice.

- Copyright Debate

A heated debate about the future of copyright in the digital age is currently taking place in Germany. On the surface, the interests of users (who want everything for free) and exploiters (who are demanding the widest possible restrictions and bans) appear diametrically opposed. However, the AG DOK points out that documentary filmmakers are not only originators, but they also use parts of other works (film excerpts, archival images, music).

For this reason, we oppose overpriced licensing fees and bans on use of copyrighted material. Instead, we advocate a fair reconciliation of interests ("fair use") which does justice to all parties involved. In public debates and symposia, we have been discussing sustainable solutions with representatives of "Internet communities."

In all of these discourses, we have been pointing out that bad television contracts have caused much more extensive and long-term damage and expropriation to us documentary film producers than Internet piracy. German public broadcasters are doing the same thing as the pirates: they are taking away our films and rights and putting them on the Internet without any additional compensation, only in a much more systematic and outrageous manner than private users ever could.

For this reason we are pleading that our work and the rights of use associated with it be fairly compensated from the very beginning. If this is the case, then we will have no problems with also releasing our work for Internet use.

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This is also the basic idea behind our proposal which we are now advocating politically: We want ten percent of the fees that every household must pay for the public broadcasting system to go directly into the production of independent Internet content and not be subject to the existing broadcasting and allocation committees.

- Film Subsidies

A new nationwide film subsidy law is currently being discussed in Germany. The AG DOK has contributed recommendations of its own to these debates. These include a strict separation between commercial and cultural subsidies, the inclusion of authors and directors in the (automatic) reference funding, more courageous committee decisions, and a clearer definition of what constitutes the cultural success of a film.

Mr Thomas Frickel, Chairman and Chief Executive Officer of AG DOK

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Directors Guild of Hungary (MRC)


- Unemployment - Membership renewal - Situation in Hungary: film industry, art scene, Film Fund, emigration

Mr András Monory-Mész, Director and Board Member of MRC

Hungarian film director and photographer born in 1954. Studied at the Budapest Film Academy. Worked for the franch national broadcaster FR3 for three years.

Head of the board of the famous independent film studio BBS for six years (1981-1987). Got several festival prices by fiction films like the “Meteo”, “Romance”, “Purple sail far away”

Got the FIPRESCI prize both for his feature and the BBS itself. In the 90’s he has shot numerous documentary films for major English, French and Hungarian television companies.

Some of these documentaries have since been presented worldwide, i.e. the successful series of Lonely Planet. He has shot documentary films in the following countries: France, Egypt, Nepal, India, Syria, Libanon, Morocco, Yemen, Indonesia, United States, Cuba, England, Austria, Russia, Italy, Chech Rep., Slovakia.

From 1997 till 2010 he worked for the Hungarian Television MTV, the public television company, as the Head of the Film Department and as the Creative Director of the company.

During last six years he is a member of the executive board and responsible of international relations of the MRC

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The Guild of Icelandic Film Directors (SKL)


- New agreement with the Icelandic government

- New contract with RUV TV

- Official subsidise for Cinema Paradiso – Art cinema

We have been negotiating with politicians and officials a new agreement between the film industry and the state. This is about how much money The Icelandic Film Centre has to give to individual film and televison productions. It funds preperation and pre-production, scribt-developing and writing, production andachieve post-production.

The Film Industry and RUV TV (State Channel 1) are working on a new agreement on sales, broadcasting and co-productions. The relationsship between the two has been difficult for some years and has to be improved.

Cinema Paradiso (or Bíó Paradis) is the name of the only « real » art cinema in Reykjavík. It´s a collaborative achievement of The City of Reykjavik, The Film Industry and The State of Iceland. Due to genéral crisis in Iceland´s economy it has been difficult to make ends meet and its future hasn´t been guaranteed.

Mr Hilmar Oddsson, director and Board member of the SKL

Hilmar Oddsson was born in Reykjavík, Iceland in 1957. He studied at the Feature-Film Department of the “Hochschule fur Fernsehen und Film” in Munich, Germany. Hilmar is a musician, an actor, a director and a film critic for newspaper and TV. He wrote and directed many feature-films such as Eins Og Skepnan Deyr (The Beast, 1986); Tár úr Steini (Tears of Stone, 1995); Kaldaljós (Cold Light, 2003) and Hátið í Bæ (December, premiere in autumn 2009). He also wrote, directed and produced short films such as Í Skugga Scartaris (Scartaris, 1983); Leikur Að Eldi (Playing with fire, 1990); 27.09.06 Venjulegur Dagur (An Ordinary Day, 2006) and documentaries such as Allir Þessir Dagar (All These Days for RÚV TV, 1987); Fóstbræðralag (Brotherhood, 1996) and Dieter Roth Puzzle (2008).

Hilmar worked also for the TV and is the author of 25 video clips, 100 TV programs (music, film, portraits, reportages, series, soap operas, live discussions, etc.), 10 advertisements, including SÁÁ Campaign against Drugs Abuse (SAGA FILM 1997).

Hilmar was on the selection Board of the Reykjavík Film Festival in 1987, 1991, 2005 and 2006, Chairman of the Guild of Icelandic Film Directors (2004-2006), and Board of the Iceland Symphony Orchestra (1998-2006). Currently he is Dean of The Icelandic Film School.

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Screen Directors Guild of Ireland (SDGI)

Ms Trish McAdam, director and member of SDGI

Trish McAdam is a writer and director of feature and documentary films. Her work includes the feature Snakes and Ladders, the television documentary series Hoodwinked, and the DV documentary Flirting with the Light. She is a board member of The Irish Film Institute and also a founding board member of The Screen Director's Guild of Ireland.

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Associazione 100 Autori

100autori is the most important Italian screenwriters and directors association. The primary mission of 100autori is to defend the copyrights of the associated members. Its goal covers all audiovisual works: cinema (short and feature films), television (television films and series), documentaries. 100autori’s main objectives are the following:

• To defend the economic and moral rights of audiovisual authors (screenwriters and directors); • To secure fair remuneration for audiovisual authors for every use of their works; • To develop, promote and facilitate the management of its member’s rights.

In the last year, the “100 Autori Association” is dealing with a dramatic situation: the considerable fall of investments in the audiovisual industry. This reason is at the basis of a remarkable crisis that means the loss of a great amount of jobs.

100autori has started together whit SIAE a difficult battle against the “RAI” (national state tv) to protect the rights of its members. It has promoted several discussions and meetings (such as the events dedicated to young authors’ films and documentaries or conferences on copyrights on the web). It has a department that produces researches and analysis on the market media and on legal issues related to regulation of the audiovisual industry.

This studies and analysis have been periodically submitted to the institutions (Ministry of Culture and Welfare). In the last years 100autori has organized the independent section of the "AUTHORS’ DAYS / VENICE DAYS", dedicated to independent cinema.

During the Venice Festival week, 100autori has promoted meetings on several interestings aspects such as: the web series phenomenon, the new Italian comedy, the web copyright and the European MEDIA program.


- Funding - Governance of the public broadcaster (RAI) - Equitable remuneration

Mr Maurizio Sciarra, director, member of the executive board of 100 Autori and member of the Executive Committee of FERA

After over 10 years working as assistant director with the well known Italian director Luigi Comencini, Maurizio Sciarra made his first movie in 1997, The room of the desert wind, with the actor Giancarlo Giannini. He won the Annecy Film Festival; the Palmera de Plata at the Valencia film festival and the actor received a very important Italian Award, Silver Ribbon for the best performance.

Then, in 2001, with Off to the revolution in a 2CV, he won the Golden Leopard in the Locarno Film Festival, among other three awards. In 2006, with What’s love? The Kreutzer sonata he was again in the Locarno film festival and invited to the Tokyo International Film Festival, as well as to the Shanghai International Film festival and Rabat Film Festival. He directed also many documentaries. The last one is Travelling with the Puppets

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(December 2008) based on the true story of Mimmo Cuticchio and his family, well known puppeteers in Palermo.

From August 2006 to June 2008 Maurizio Sciarra was member of the board of Instituto Luce, the most important Italian public film company.

Mr Giacomo Durzi, director and member of the executive board of 100 Autori

Screenwriter, director, producer. His education was Graduated at the National School of Cinema of Roma- Centro Sperimentale di Cinematografia; Master Media ARISTA (European master for writers and story-editors). Graduated in LAW at the University of Bologna and he attended a scholarship for screenwriting and directing at the London International Film School.

As a screenwriter he wrote several TV movies and TV series for Italian TV (RAI and Mediaset) working for the main production companies. As an editorial consultant and content developer, he worked for NBC Universal Italy and Fox International Channels, launching new channels, selecting and developing the productions for Fox Life and The History Channel. He also worked as head writer and script consultant for Mediavivere-Endemol Italy and Itc Movie, developing new formats for TV series.

As a director, he wrote and directed several documentaries for Italian and European broadcasters such as RAI, The History Channel, NBC Universal Network, CHANNEL 4 and MTV. As a producer, he produced short films, documentaries and features.

He is a member of the “Associazione 100Autori” board, the most important Italian guild for directors and screenwriters, and of the executive board of “Giornate degli Autori-Venice Days” of the Venice International Film Festival.

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Associazione Nazionale Autori Cinematografici (ANAC)

We like to confirm, with determination, that during its life –that is to say starting just after the end of the Second World War- our association has always fought for the affirmation of authors’ rights and for a film production of great quality, which establishes its strength on a real creation and on the ideas coming from this creation. The principal activities done during last year -whether they have been based on political questions or just promotional or even based on the activity of trade unions- give all an answer to these primary requirements.

The principal activities in which ANAC gave its engagement are: Promotion of Cinema: The Authors’ days in Venice (Venice days)

The activity of ANAC in the management and development of the “Venice days” in Venice –which is an autonomous space inside the Venice International Festival-, goes on with a big success. ANAC founded the project “Venice days” together with an association of authors which doesn’t exist anymore (the API). At the present this space is managed together with the “Association of 100 Authors”. The “Venice days”, in the years of its existence, has been very successful as an important space of promotions of films and of ideas on Cinema, created by national and international authors. Defence of Authors’ Right and of the rights of Authors: Arbitration SIAE – RAI

ANAC has promoted and gives its political and organizational support -in particular together with the “Association of 100 Authors” (and also with some other associations for the audiovisual productions) – in reference with a legal question in which the SIAE is exactly opposite to RAI (the Italian public Radio and Television National Company and one of the greatest Italian Networks). The legal question has as main argument the management of the Authors’ Rights (named Equitable Compensation, that is to say the payment of the further transmission of a certain Work). RAI has to give compensation to the Authors of the Work, through the perception Society SIAE.

Promotion and retraining of Cinema and Culture: Indicinema

ANAC is the principal promoter and founder of Indi Cinema, a project for the development of the Independent Cinema. The first target of Indi Cinema is that of creating again, in Italy, the essential conditions which could allow a Film production based upon the creative independence. Together with ANAC has collaborated to the foundation of Indi Cinema other associations of the same sector like the FIDAC -Federation of Associations of Professionals of Cinema creation (directors of film shooting, cutting and editing experts, set-designers, scene-designers, sound and registration technicians, etc..) MovEm09 ANAC goes on with its activity in MovEm09 (Movement of Culture Emergency), an organization of which ANAC is the promoter and the founder (in year 2009). This Movement MovEm09 assembles some of the most important Associations of the sector of performance and of information and also the trade unions of the sector; a movement which has the purpose of promoting and managing an action of being together with the target of reaffirming the strategically importance of culture in all the political and institutional centres. Main topics of 2012:

- Promotion of Cinema - Defence of Authors’ Right and of the rights of Authors - Development of the Independent Cinema

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Mr Massimo Sani, director and member of ANAC

Born in Ferrara (north Italy) in the year 1929. Author (scriptwriter and director) of historical works for Film and Audiovisual. Journalist. Author of Theater Dramas.

Founder of the Film club of Ferrara (1948) for the realization of fiction and documentary films.

Since 1956 collaborator of the Italian Radio and Television Company (RAI-TV). From 1958 up to 1965 correspondent in Germany of the famous Italian Magazine EPOCA (Mondadori Editor) and author of films for international producers.

After that he was called as film-author of RAI-TV cultural Films and Documentary series about historical themes starting 1965 up to 1998. He is still engaged in realizations of films about historical events. Winner of many important national and international Film prizes like: Cannes, Boston, Salerno, Festivals on historical films, Golden Medal of Merit from the Italian State President, Bizarri Prix, Prix Italia and prizes of many other film festivals.

He joined the Italian Film Authors Association A.N.A.C. in the year 1967 and later became very strong collaborator of the Association and very engaged in the foundation of FERA in the year 1979. He has been several years member of the ANAC Executive and still now he is engaged in the Executive and delegate to the "Alliance Mondial du Cinema"

He took part to the Foundation of the National Audiovisual Archive of the Democratic Movement in Italy.

From 1994 to 1996 he has been Vice President of FERA. He is member of the Committee "Venice days", which organizes the projections of unknown films during the International Filmfestival of Venice.

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The Latvian Filmmaker’s Union (LFU/LKS)

- State strategy and support system for distribution of National films all over the state, taking part in initiative of digitalization programm for cinemas and other film screening places in Latvia.

- After two years of legal proceedings the court has assigned the status of the third person for LFU and film authors in the contesting at law between Riga Film Studio and the Ministry of Culture about the copyrights for the films produced during the Soviet epoch. Next proceeding of case 18.06.2012.

- Active participation in creative process of construction of the National film policy and strategy for period 2014-2020.

The Latvian Filmmakers’ Union (LFU) is working on distribution system renovation for National films all over the state. Only 17 cinemas have left in Latvia for now. We are trying to promote culture centres for film screenings at villages and small cities, organizing film directors’ discussions with the audience after film.

We have achieved changes in film project competition rules giving now more significance for director and creative idea over the administrative issues.

LFU has produced the National Film Festival «Lielais Kristaps» April, 2012 with the great publicity program.

LFU continues to develop the director agreement.

To solve the real communication problems with Ministry of Culture the Memorandum for cooperation was created together with other creative unions and culture NGOs and signed by Minister for Culture, National political party leaders and leaders of culture NGOs. The Culture NGOs Council was created in Ministry of Culture, members of it have the statuss of councillor for the Minister.

Ms Ieva Romanova, director and Chairwoman at LKS

Born in Riga, Latvian.

1978 -graduated from Moscow Film Institute (VGIK), designers fakulty, 2003-Masters degree (Latvian Academy of Fine Arts)

Production designer in more than 20 movies, as Threesome Dance, 2011,, Midsummer Madness, 2007, You’re Sexy When You’re Sad, 2003, Anna (1996) The Cristmas Jugdle (1992). Art director, art department coordinator of foreign film productions at Latvia.

Since 1999 - chair of the Latvian Filmmakers’ Union, Member of the National Film Council, on board of the Council of Creative Unions of Latvia.

Organizing conferences "Filmlanguage of Latvia”, „Filmpolicy in Latvia” etc., screenings of the Latvian film programms all over the state. Producer of the National Film Festival „Lielais Kristaps” 2012.

Participant FERA GA 2006-2011.

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Lithuanian Filmmakers Union (SKL)

With our active participation, the Cinema law (new edition) passed in Parliament and the Lithuanian Film Centre was established.

Privileges of taxes for foreign filmmakers working in Lithuania, as one of the ways for additional support to National film industry. The changes of two articles of the Lithuanian Law of Bills are prepared and are waiting for confirmation in this spring session of our Parliament.

Authors’ rights of films, made in Lithuania before 1994. Our representatives are in the special working group of Ministry of Culture.


- Cinema law (new edition). - Privileges of taxes for foreign filmmakers working in Lithuania. - Authors’ rights of films, made in Lithuania before 1994.

Mr Gytis Luksas, director and President of SKL

Gytis Lukšas, the film director, was born in Kaunas, Lithuania, May 16, 1946. Graduated from VGIK (Russian Institute of Cinematography in Moscow) in 1971.

Gytis Lukšas is the President of Lithuanian Filmmakers Union, the member of the Council of Association of Lithuanian Artists.

Filmography of Gytis Luksas:

“Vortex” (2009), “Divine light” (2005), “Lunar Lithuania” (1998), “Pilgrims of Earth” (1992), “Serpent’s gaze” (1989), “The Roots of Grass” (1988), “Yesterday and Forever” (1985), “Summer is Over in Autumn” (1982), “Fen-fires” (1980), “The Last Autumn of Childhood” (1977), “When the Oaks Were Falling” (1976), “Sleigh-bell” (1974), “Telephone” (1973)

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L’Association Luxembourgeoise des Réalisateurs et Scénaristes (LARS)

We achieved that the funding for script development by the Film Fund Luxembourg got doubled for scriptwriters. Talking with ministers about copyright in Luxembourg and some weak passages in Luxembourg Law. Promotion of films is at the moment the main topic for our association. There are no structures for developing Luxembourg films and Producers don't want to take over this responsibility (because they have no money, they say). We still think that it is the Producer's responsibility. Negotiations on contracts and salary for Directors and Scriptwriters. Discussing with Producers for an agreement on paying authors when writing a treatment especially when there's no money from Film Fund yet.


- Developing promotion and diffusion of Luxemburgish movies. There are no structures right now.

- Working on the creation of a “type-contract” and proposing it to the Producer's association. - Working on the possibility of having funding to develop script projects without having a

producer.

Mr Christophe Wagner, director and Vice President of LARS

After graduating from film school in Brussels in 2000, Christophe Wagner began directing several documentaries about social issues in Luxembourg, his home country.

He also did two short films that have been selected in various international festivals (including Locarno) and a prize for one of them. In 2007, he completed “Luxemburg, USA”, a long feature documentary shot in the United States and released in theatres in Luxembourg and Belgium.

The movie has also been broadcasted on French national television (France 3) and Belgian pay-tv (Canal+). Doudege Wenkel (Blind Spot) his first long feature film will come out in theatres in Luxembourg in October 2012.

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The Dutch Directors Guild (DDG)

The Dutch Directors Guild was founded in 1997and has almost 300 members, working in all fields of the film and television industry. Our activities can be divided into two sections: member services and policy. We organize a lot of lectures, screenings and workshops for our members and offer a set of other services for our members. For instance: discount on insurances, discount on cinema visits and legal advice.

As far as our policy activities are concerned, we focus on one main goal: to improve the position of the director within the film industry in all possible ways. One of our main focuses this year is author’s rights. Topic in the near future will be how to find alternative funding to finance the organization.


- Enumerations. - Author rights - Piracy and legal solutions

Mr Ger Poppelaars, president of DDG

Ger Poppelaars was born in Roosendaal, the Netherlands. He got his bachelor’s degree in history at the University of Amsterdam and studied screenplay, directing and editing from 1976 till 1980 at the Dutch Film Academy. He is writing and directing documentaries, television plays and feature films ever since.

For many years he worked for the cultural branch of Dutch NPS television where he realised many art-documentaries. He made films on dancer ANNE-TERESA de KEERSMAEKER, painter ROB SCHOL-TE, French theatre director BARTABAS, cinema tycoon ABRAHAM TUSCHINSKI and realised many JAZZPORTRAITS.

For public television he wrote and directed the well known five part serial on a mental hospital, VER-HALEN VAN VOGELENZANG. In close co-operation with Ton Koopman, he realised BACH CANTATES, a six part serial on Bach and his Cantatas. This serial has been sold to more than twenty-four countries. He wrote and directed the wide acclaimed and international prize winning feature films: THE THREE BEST THINGS IN LIFE (1992), MISSING LINK (1999), PARAMARIBO PAPERS (2002), SLOOPHAMER (SLEDGEHAMMER) (2003) and LAPTOP (2011). For his writing he won several prestigious prices such as the Dutch Golden Calve for BEST SCREENPLAY 2000 for MISSING LINK.

Ger is co-founder and chairman of the Dutch Directors Guild (since 2005). He has been vice-president of FERA from 2008-2010.

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Ms Monique Ruinen, secretary general of DDG

Monique Ruinen has a long standing and diverse experience in the fields of film and television. Currently she works as the Secretary General of the Dutch Directors Guild. She is also a freelance script editor, working for several production companies.

After receiving her master’s degree in Film and Television studies Monique has worked as an assistant director, producer and creative producer for Dutch public broadcasting companies and production companies.

She developed and produced several television programs for Dutch television, mainly children’s programs. As a script editor she worked on many television series and movies, including the award winning television series Najib and Julia directed by Theo van Gogh and the feature film Pluk directed by Ben Sombogaart. She is known as a motivating manager and coach with a sharp eye and a good sense of humor.

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The Norwegian Film Makers Association (NFF)

Two years ago we landed a collective agreement for those members working with TV entertainment. This has been followed up with further development of the collective agreement and better salaries. This year we are expanding our collective agreements with 2 new for TV-drama and 1 new for multi-camera productions. In our agreements the copyright is very important to ensure the remuneration for the film makers and especially to protect the collective license agreement.

We are facing rough times with our producers. They are claiming more and more from the film makers, they are attacking the copyright and they are not willing to pay decent for the film makers’ work.

A strong association is more important than in many years. We are also facing more aggressive TV-stations and cable networks, which are also attacking the copyright and the remuneration to the right holders.


- Collective bargaining, including individual contracts - Copyright - Regional film funds

Mr Sverre Pedersen, director, producer and president of NFF

Sverre Pedersen has worked in the film- and television industry since 1984. He has directed and produced several short films, music videos, commissioned films, TV dramas and one feature film. Though, it is the documentary film which has been his main area in film production.

He has made a large number of socially committed documentaries with a focus on international solidarity, nature and culture, cultural heritage, anti-war and anti-racism.

In 2005 he was elected President of the Norwegian Film Association and has since worked primarily with film policies, collective bargaining, conflict resolution, copyright and other areas that fall under his responsibility in the Film Association.

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Directors’ Guild of Norway (NFR)

We established our own found for distribution of royalties, REGIFONDET, to directors for screenings of their films and TV-production on TV in Norway.

We work for getting more scholarships and grants for directors.


- Individual contracts - Royalty/Copyrights - Access to funding

Ms Eva Dahr, director and president of NFR

Eva Dahr has directed a number of feature films, TV drama and short-films, among them she was conceptual director of the popular TV series “Blue sky, blue” (Himmelblå) (2007-10),

She has directed the feature film The Orange Girl based on Jostein Gaarders novel, a co-production between Norway, Spain and Germany (2009).

She co-wrote and directed the feature film MARS & VENUS, which was nominated as Norwegian Movie of the Year in 2007.

Eva Dahr has also directed a number of highly acclaimed short films for which she has received a string of national and international awards. Her latest TV series STIKK!, 6 episodes drama for youth and kids, is now screened at NRK.

She worked as Commissioning Editor (1999-02) at Norwegian Film institute responsible for development and funding of short films, short features and documentary films.

She was elected President of Norwegian Directors Guild in 12th April 2012.

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The Polish Filmmakers Association (SFP)

Constant Development of the Collective Copyright Management – Union of Audiovisual Authors and Producers. Opening of an internet platform dedicated to cinema worldwide, polish cinema in particular – portalfilmowy.pl. Production of around 20 short films by young authors /fiction, docs, animation/ by Studio Munka every year and – so far - 3 feature films. Fights for an authors’ friendly intellectual property laws and media /mainly tv/ laws.

At the moment preparing an international, European training program – intended to invite the most renowned film directors - Academy of Masters.


- Economic rights, creative rights, fight against internet piracy - Educational undertakings, co-organisation of film festivals - Support for young filmmakers, production of short films and film debuts

Mr Marcin Pieczonka, director and member of the board of SFP

Born 1974, film director, written and directed several short films, both fiction and documentaries – “A Short Story” /2004, Best Student Film - 52nd Melbourne Film Festival/, “A Few Pictures” /2006; Cannes Film Festival 2007/, "Step by Step" /2008/.

European Film Academy „Cinema of Tomorrow. En Encounter with young European Directors" conference participant /2006/. Teaches at the newly founded W.J.Has Cracow Film School and preparing his feature debut.

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The Portuguese Director’s Guild (ARP)

APR was founded in 16/07/2003 replacing the previously Feature Film Directors Guild. We represent more than 80 Portuguese Directors, it’s a wide range of filmmakers from the director’s that start the “Cinema Novo” movement in the 70’s (during the fascist regime) and the younger generation of directors. We have fiction, documentary and animation - short and feature - directors within our associates so we have a wide spectrum of film and audiovisual entrepreneurs. We managed to stand politically in the discussions of the Film and Audiovisual Law, and to defend the rights of the Directors in front of the film institutions, broadcasters and producers. We have current liaisons with other partners as the screen writers, technicians and producers guilds, Our current objectives are to force the new Law to be implemented in order to start with urgency the production of Portuguese films.

Due to a severe cut of film financing (100% regarding the years of 2012 and expected to prolong to 2013) APR is up in the front of the political discussions in order to reach an emergency plan that solves the eminent stopping of Portuguese film industry.

APR discussed and proposed changes to the project of the new Film and Audiovisual Law that is waiting for Portuguese government approval. We stressed the urgency of approval and implementation of this law because of the actual financial situation in Portugal.

We are managing to establish a protocol with SPA (Portuguese Author’s Society) in order to develop better protection and support of the Directors work, through a model contract and studying the possibility of the Film and Audiovisual Rights to be implemented has a collective right within the Portuguese Copyright Law.

Mr Fernando Vendrell, director and vice president of ARP

Born in 1962 in Lisbon. Fernando Vendrell graduated in Lisbon Film School, in 1985. He worked in film production as an Assistant Director for several years. He worked with Directors as Manoel de Oliveira, João César Monteiro, José Fonseca e Costa, Raoul Ruiz, João Canijo and Manuel Mozos, and others. He was professor in Film Studies in the Degree of Film Video and Multimedia – Universidade Lusófona de Humanidades e Tecnologias / ULHT from 2003 to 2005.

Directed several TV Series and feature films, such has: FINTAR O DESTINO (Dribbling Fate), O GOTEJAR DA LUZ (Light Drops) PELE (Skin) the first two premiered in Berlin Film Festival and the third at the Edinburgh International Film Festival. Films that gain international recognition and received national and international awards.

He is member of the EFA (European Film Academy), Vice-President of APR (Portuguese Director’s Guild) and Vice President from the Portuguese Coalition for Cultural Diversity.

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Romanian Independent Filmmakers (Dacin Sara - SCIRO)

Ms Lorena Soculescu, legal adviser of the Romanian Independent Filmmakers

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The Professional Association of Catalan Film Directors (CDCC)

Mr Lluís Valentí, director, producer and member of CDCC

Education and positions (Selection): 2009‐10 Relations with the Acadèmia Catalana of the Acadèmia in Hollywood. 2009‐10 Founder and director of Catalan Speaking Films & Award in Hollywood. 1989‐10 Director of Festival de cinema de Girona. 2008‐09 Creator of Circuit Autor (exhibition cycle). 2007‐09 Creator of Circuito Cines Paraíso. 2005‐09 Director of the distribution company Versus Films. 2004 Founder and leader of Girona Filmmakers. 1994 Doctor in Art History (Universidad de Barcelona) 1993 Teacher of Film Criticism and Film Aesthetics at the Casa de Cultura de Girona. 1988 Teacher of Structure and Aesthetics of classic American cinema from the period 1897‐88, at the Universidad Autónoma (UAB). 1982 Diploma in Film History and Aesthetics (Universidad de Valladolid)

Feature films (as Producer): 2010 HAMMADA by Anna M. Bofarull. YANKUBA by Emanuele Tiziani CIUDAD OCULTA by Andrés Bujardón. 2009 RES PUBLICA by Nunes. 2007 AZAÑA by Santiago San Miguel with TVE and TVC. Premio Gaudí for Acting. 2007 A LA SOLEDAD by Nunes, with TVC. 2001 AMIGOGIMA by Nunes. with TVC. Selected by Festival de Sitges. Documentaries (Selection): 2009 501 by Laia Fàbregas. 2007 La fiesta de los muertecitos. 2005 Oficios tradicionales. 2004 Masías catalanas de los siglos SVI ‐XVIII. 2003 L’esplai a Riudellots (Recreo en Riudellots). 2002 Homenots de Riudellots (Personajes de Riudellots). 2001 Deportistas de Riudellots. 1998 Localizaciones. Comarcas gerundenses. (60'). 1996 La tradición moderna. Arquitectura y urbanismo.

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The Swedish Film Directors (SFR)


- First it's the making of a director’s contract inspired by FERA’s guidelines. We are now presenting our contract for the producer’s organisation. We expect to meet with them and discuss it.

- Since 1963 our Film Agreement has been reformulated and renegotiated at five years intervals.

The current agreement came into effect on 1st January 2006 and runs until 31st December 2010. A year before its expiration it was extended for 2 years. Now there is an agreement to be implemented 1 January 2013. Remarkable formulations about the producer’s role is included and we have courted The Culture Ministry to clarify this. We are not happy with the Film Agreement.

- We are concerned about the marginalization of the film director: We are working to get the

Swedish Film Institute to create a particular film support or grant for film directors to give them opportunities for development.

Mr Håkan Bjerking, director, chairman of SFR and member of the Executive Committee of FERA

Håkan Bjerking has been working in the Film business since 1986. He started as a director assistant and directed his first short film in 1988. Since then he has both produced and directed feature films and series for TV.

His latest feature film No Tears opened in theatres all over Sweden and Norway in 2007. He has also produced and directed some documentaries; the last one he produced was Ambres - Dead Man Talking about an Egyptian spirit that takes place inside the carpenter Sture Johansson.

Ms Christina Olofson, director and Member of Swedish Film Directors (SFR)

Born in a small town in Sweden, Kristinehamn. One of the most notable of contemporary Swedish filmmakers. She works as director and producer and has her own production company, CO.Film, since 1974, and directed and produced a number of feature films and feature length documentaries. She has been awarded many prizes for her films and broadcasters throughout the world have purchased them.

Among the titles is Truth or Dare/Sanning eller Konsekvens, Happy End, A Woman is a risky Bet – Six Orchestra Conductors/Dirigenterna, Lines from the Heart/ I Rollerna Tre, Anette/Anette – Investigation Squad (Anette/Anette-Krimjouren), A Different way /Hannah med H. Producer of short films like I need you

more than I love you and I love you to bits with the director Maria Eng. Now working on the documentary The Steel-Iron-Grey Sky/Under Stålhimlen and a feature film. She has held various board positions including the Swedish Film Institute, Film Directors of Sweden, Women in Film and Television, Sweden, and vice president of FERA.

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Ms Marianne Ahrne

Marianne Ahrne, director, writer, editor, born in Lund in 1940, studied literature and drama in the USA and English, French, and Drama at Lund University. She was trained as a director at the Film School in Stockholm, 1967 - 69, and was an actress at a professional theatre in Avignon, France. She has also taught French at the University of Umeå.

Marianne Ahrne has directed about forty films - feature films for cinema, TV-serials, TV-drama, documentaries and short films. She has covered a wide variety of subjects and won awards in Sweden and abroad. Ahrne has also edited all of her films except two, where time didn´t permit it and has written the scripts of all her films - often in collaboration with Bertrand Hurault, an actor-director from Avignon. She made her debut as a novelist in 1980 with the award winning novel “Appleblossom and ruins.” The book stayed on the best seller list for more than half a year and has sold 125.000 copies only in Sweden. Her writings include numerous articles, reviews, essays, short stories, drama and film scripts and nine books, of which seven are novels, two are travelogues: one mainly about India and Haiti, the other one about Africa.

From October 2003 till the end of 2006, Marianne Ahrne worked as a Film Commissioner at the Swedish Film Institute. During that period she read about 1000 feature film scripts and decided on her own which films would get support: for script development, production planning or production. Ahrne is currently preparing a feature film, based on Simone de Beauvoirs novel “She came to stay” The first versions of this script were written together with Simone de Beauvoir in the beginning of the eighties.

Ms Leyla Assaf-Tengroth, director and member of SFR

I usually write direct and produce my films. My funding sources are the Swedish Film institute, Swedish Television, NGOs, private donors and by partnership with small production companies.

I am working on two manuscripts; one is for a long feature film about a woman from Lebanon who came to Sweden during the Lebanese war leaving a four years daughter behind and how she spends her life searching for her. The second script is a short feature about a Swedish young man from the Middle East, who plans to blow up the central part of Stockholm, but fails.

My latest film is a documentary about Christian refugees from Iraq and their struggle for a second chance. I am working with another documentary about a matrilineal society in the Bijagos islands outside the West African coast. I want to show their struggle to keep their unique traditions against the modern life and globalization. I would like to produce a feature about a Lebanese legend from ancient times, a beautiful story about love innocence and fidelity; everything is ready except the money! And this is my main concern for the moment. How can I get it?

TEATERFORBUNDETs Rights & Media Corporation (TROMB)

Mr. Ulf Marteens, Chief Executive Officer of Teaterforbundets (TROMB)

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The Swiss Filmmakers Association (ARF/ FDS)

1. Evaluation of the national film funding system and taking an active role in the process of restructuring it.

2. Negotiations concerning a new model contract (offering different options) with the producers.

3. Maintaining the financial basis of our association ARF/FDS and preparing activities for its 50th anniversary in 2012.

For several years, neo-liberal policies had an increasing influence on the national film administration and on one group of film producers. Box office success became decisive and played the key role in the selective funding of the submitted films. However, it failed to produce the expected success. On the contrary, box office results decreased, the working climate was poisoned and national film production was harmed. These conflicts culminated in a severe crisis in 2010. In response, new coalitions were built among the majority of Swiss film professionals in order to defend the artistic quality and cultural diversity of Swiss films. Our association played an important role in all the negotiations, which took more than one year. The process has led to some promising changes, including two notable achievements (although these have not yet been confirmed by the federal department of culture): more support for project development/scriptwriting and, above all, a new model for automatic funding. Of a special interest to FERA members is that we have redefined the concept of success for automatic funding. Not only will the box office success of a film be taken into account, but so will its artistic recognition, namely its cultural success based on its viewing at a wide range of designated film festivals! Overall, we have received strong and encouraging support from our members, and our association has taken part in the exhausting process of negotiation with an exciting new spirit and with unhesitant determination. Gabriel Baur, director, member of the Swiss Filmmakers Association (ARF/ FDS) and member of the Executive Committee of FERA

Gabriel Baur has been a freelance director/author since 1984. After completing her MA in Cultural Anthropology, Psychology and Mass Communication in 1982, she made her first short films at the Film school of the New York University. In-depth study of writing and directing with Krzysztof Kieslowsky (PL), Wojciech Marczewski (PL) and Frank Daniels (USA). Her films and scripts as director and author include: Cada Dia Historia (Every Day History, NIC/CH 1986/87); Die Ausnahme und Die Regel (CH/A, 1992); Die Bettkönigin (Queen of Bed, CH, 1994), Venus Boyz (CH/D/USA, International premiere at the Berlinale 2002, theatrical release in Europe and the USA as well as over 50 festivals worldwide) and Amour Fou in Process (CH/D, working title). Gabriel Baur received national and international awards for her films and is a member of the European Film Academy. She co-founded ONIX Filmproduction 1983 and ONFEATURES in 2008, and she is lecturer of the Arts ZHDK/ MA Film at the Zürich University. She lived between N.Y.C. and Central America from 1983 to 1987, today she is resident in Zurich, living and working between Zurich, Lisbon, Berlin and New York.

Gabriel Baur has been delegate by the Swiss Filmmakers association ARF/FDS to the Federation of European Film Directors - FERA since 1990.

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Directors UK (DUK)

In the UK we face familiar problems, televisions declining ambition in drama and authored documentaries, attacks on the director’s status and less money on the screen. In film we still lack effective contractual protection and face the usual financial uncertainty despite some exceptional Box Office results based on two rather different models (The Kings Speech and The Inbetweeners). However a failing economy has brought one advantage that we have tried to exploit: increased government interest in growing the ‘Creative Industry’.

Over the year we have argued in different Government and Film Industry forums that supporting creative originators ie Producers, Writers and Directors is the most effective way to achieve this. We formed the ‘Filmaker’s Alliance’ with Writers and Producers to lobby for equal and effective participation in success and we have started negotiation with Producers on a Standard Directors Contract.

In television we succeeded against in nearly tripling the payments to members for the secondary uses of our work over the next three years, we announced a new BBC Creative Rights agreement setting out the Directors role in Fiction and factual programming and are currently in negotiation with other Broadcasters and Producers to create a similar template. We also successfully campaigned for a more effective tax regime for high end television.

This year we also launched a low cost subscription scheme for Director members, allowing us to increase the services we offer from screenings and skills courses to an effective legal advice service. We are strong supporters of the work of FERA and hope to contribute to growing the strength of the Director’s voice in Europe.


- Defining Directors Copyright in the Digital Age - Building Creative Alliances - Supporting Sustainable Careers

Mr Piers Haggard, director, member of the board of Directors UK and Chairman of FERA

Having started as a director in the theatre, Piers’ first job in film was with Michelangelo Antonioni on The Blowup (1966). His own first feature came in 1972, The Blood On Satan's Claw which is now a cult classic. The 70's and ’80’s saw distinguished TV work, including Pennies from Heaven, the Dennis Potter series which won him a BAFTA award.

Piers’ other feature films include The Quatermass Conclusion, winner of a Trieste Festival Award, Peter Sellars’ last film The Fiendish Plot of Dr Fu Manchu, Venom with Klaus Kinski and Oliver Reed, and A Summer Story. He has made TV films in the US and Canada with stars such as Liza Minelli and Donald Sutherland. His last theatrical film Conquest won ‘Best Canadian Feature’ at the Atlantic Film Festival. In development are an ecological thriller and a film about Aleister Crowley.

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Piers has spent virtually his whole career campaigning for directors’ rights. He was the Founder and first Chairman of both the Directors Guild of Great Britain (DGGB), and the Directors’ and Producers’ Rights Society (DPRS). He was active in the creation of Directors UK and is a member of the DUK Board. He is currently Chairman and Vice President of FERA.

Mr Charles Sturridge, director and Chairman of the board of DUK

Films: Runners (1982), Aria (1987), A Handful of Dust (1988), Where Angel Fear To Tread (1991), Fairytale A True Story (1997), Lassie (2005), The Scapegoat (2012)

Television: Brideshead Revisited (1981), Soft Targets (1983), The Storyteller (1988), A Foreign Field (1993), Gulliver’s Travels (1996), Longitude (2000), Ohio Impromptu (2001), Shackleton (2002), No 1 Ladies Detective Agency (2009), The Road To Coronation Street (2010)

Mr John Goldschmidt, Director and Board member of Directors UK

John Goldschmidt is an award winning film director and producer, who was born in London and grew up in Vienna. Goldschmidt has both Austrian and British nationality. He studied at the Czech National Film

School FAMU and at The Royal College of Art's Department of Film and Television, where he graduated with a Master of Arts degree. Goldschmidt is resident in London.

Goldschmidt has made many documentary and fiction films for BBC TV, BBC FILMS, GRANADA TV, GRANADA FILMS, THAMES TV, CHANNEL FOUR, FILM FOUR in the UK and ZDF, WDR, NDR, ORF, SRG, FR3, RAI1, BAVARIA FILM STUDIOS, on the continent and HBO Pictures in the United States. His award winning films as director have included JUST ONE KID, IT'S A LOVELY DAY TOMORROW, SPEND, SPEND, SPEND and THE DEVIL'S LIEUTENANT (writer Jack Rosenthal), A CRIME OF HONOUR (aka A SONG FOR EUROPE), MASHENKA (writer John Mortimer based on novel by Nabakov). His award winning films as producer include UTZ (script by Hugh Whitemore based on novel by Bruce Chatwin for BBC Films), DEADLY VOYAGE (for HBO & BBC Films).

Goldschmidt's production company Viva Films was set up originally through an output deal for fiction films with Granada in London and NDR in Hamburg. He advised the European Union on their audiovisual policy and proposed the setting up of a European Script Fund as part of the MEDIA programme. Goldschmidt has been a member of both BAFTA and European Film Prize juries. He co-wrote the original report which proposed Channel 4's involvement in theatrical films, recently co-wrote The Director's Guild of Great Britain's report to the British government on the UK tax credit for feature film production and is a member of the board of Directors UK and a member of Directors UK film committee.

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Mr Delyth Thomas, director and member of DUK

Delyth Thomas is a Bafta nominated director who has worked on a wide range of television drama, from The Bill, City Central, A&E, Julian Fellowes Investigates a Most Mysterious Murder, Hope and Glory, to Richard Herring’s feature length You Can Choose Your Friends…

She also has extensive experience of children’s televison, having made three seasons of the hugely successful live action/animation drama The Story of Tracy Beaker, the anarchic comedy The Revenge Files

of Alistair Fury, and 26 part UK Canada live action/ puppet series Tati’s Hotel. In development is a feature film with David Lipman (Shrek), and a television comedy with Machine productions.

Mr Dan Clifton, member of the board of DUK

Dan Clifton is an award-winning film-maker, writer and journalist. Recent work includes short film THE CALCULUS OF LOVE, a mathematical thriller starring Keith Allen which has been screened at festivals around the world, winning several awards and being nominated for a number of others.

Dan has a long track record as a documentary filmmaker working for both British and international broadcasters. His drama-documentary credits include PARANORMAL WITNESS, STEPHEN HAWKING’S UNIVERSE and HUMAN BODY: PUSHING THE LIMITS, which was nominated for Primetime Emmy and RTS awards for Excellence in Visual Effects. Dan has a special interest in science, having written and directed many critically-lauded films, including films for BBC’s Horizon and C4’s Equinox strands.

Last year, Dan’s screenplay THE UNSEEN won the award for Best New Screenplay at the British Horror Film Festival as well as being nominated for a Claw Award at America’s leading horror genre festival, the Terror Film Festival in Philadelphia.

Dan is guest lecturer in documentary film-making at the SAE College Oxford and on the Board of Directors UK, the organisation campaigning for the interests of British screen directors. He shares his passion for film-making at www.danclifton.tumblr.com

In 1996, Dan was headhunted by Tony Blair to become Broadcasting supremo in the team that delivered Labour’s landslide victory, working alongside Peter Mandelson and Alastair Campbell. Prior to that he worked as Political Producer on ITN’s Channel Four News.

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c) Observers

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Mikro, Greek association for the dissemination of short films

“Mikro” is a body to promote, disseminate, support and distribute short films, founded in 1995.The founding members of the association were in majority active members of the film making society mostly involved with the short film, either as directors, crew, actors or academics.

The foundation of “Mikro” at that year was merely the conclusion of a process that evolved around the short film, a process that was mobilized by the on going rise of the Drama short film festival and lead to the following two main conclusions: On the one hand, that future of Greek film- whatever that may be- would have to emerge through the short film world. On the other hand, that the short film should not be treated as a stepping stone for young filmmakers to feature film, but with the specificity of a distinct cinematic category, which maintains a certain degree of artistic autonomy. On this basis,the question of supporting the short film as a necessity was raised and “Mikro” should address to that issue.

From its inception until now “Mikro” has contributed in various ways and forms- by organizing events, film screenings of short films, seminars, discussions, with the maintenance of a file of Greek short films, with publishing activities and interventions to operators who have responsibility for film issues – so that the implementation of it's founding objectives can be set under a broader goal, beyond the limits of it's own existence as union.

The contribution that “Mikro” made towards the institutionalization of ERT's short film funding program “microfilm” was important. That program and the equivalent of the Greek Film Center are a gateway to the funding problems that short film filmmakers are having to deal with. All this time, from its inception until today, “Mikro” remains an existing "infrastructure" able to gather and promote the common concerns and aspirations of the short film community, whether it be professionals or friends of the short film who would like to actively help.

After 16 years of existence “Mikro” still has on target the service of it's founding objectives, the promotion and dissemination of short films, promoting solutions to the short film, which are essentially no different of the problems of Greek cinema in general but only as to how they they are treated: The film education, from the level of second degree school art education to the level of a film academy. Ensuring an even more expanded production base of the short film, the widespread distribution of short films, screening them before feature films in cinemas, or even screenings of short films in thematic sections .These are conditions of existence not only for short film making, but much more, conditions for the solid foundation of Greek cinema in order to give seed now and even more so in the future.

John -Stefanos Kunis, director and president of Mikro

John Stefanos Kunis was born in 1977. He studied film and tv direction at the Queen Margaret University, Edinburgh and earned his MA degree in experimental,film ,video and photography from the University for the Creative Arts, Kent UK. Since then he has worked, from various positions, in the greek film and tv industry. He has directed shorts and participated in many video art exhibitions. He is currently the president of "mikro"

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Kostas Stamatopoulos, director and secretary general of the Greek Directors’ Guild

Kostas Stamatopoulos was born in 1980. He studied acting, directing and freehand drawing. Since 2001 he's been working in the audiovisual field in film and television productions.He has directed documentaries for public television, short and medium length films.

At 2010 he directed the Actor's Day tributes for the Greek actors "Ellie Lambeti" - "Dimitris Horn" presented at the ancient theater of Herod Atticus. He was a member of the editorial team of film broadcast «CinePlano».From 2005 to 2011 he has taught as a rapporteur or professor in schools and drama schools on Cinema.

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ARPA, Association of Audiovisual Directors and Producers

David Trueba, director and president of ARPA

Born in Madrid the year 1969, he studied Journalism in the Universidad Complutense in Madrid and in the American Film Institute. He has worked in press, radio and television. He is an author or three novels, and currently president of ARPA.

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6. Flight ticket reimbursement information In order to get your trip reimbursed, please rip off this page and send this form completed to [email protected] along with

- The scans of your boarding passes

- Your electronic ticket or your payment receipt

Bank Details

Name of the delegate:

Organization:

Bank Name:

Country:

Account’s Name:

Address of the owner of the account:

IBAN number:

BIC/SWFT number:

Amount to be reimbursed:

Please remember that to get reimbursed you need to have paid full membership fee

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