EKRAN+, organized by Wajda Studio and Wajda School, is a training program focused on the creative pre-production of feature films, based on shooting practice.
Making of EKRAN+ 2019
Deadline for applications is December 1st, 2019
Participation in this program is free.
EKRAN+ 2019 Graduates summarize their EKRAN experience:
EKRAN+ 2019: Interview with Mauro Mueller, director of “The Good Reputation”
EKRAN+ 2019: Interview with Noemi Steffen, writer of “Palace”
EKRAN+ 2019: Interview with Norah McGettigan, director of “Nest Egg”
EKRAN+ 2019: Interview with Aleksandra Terpińska, director of “Other People”
EKRAN+ 2019: Interview with Egle Vertelyte, director of “Funny and Sad life of George”
EKRAN+ 2019: Interview with Lina Luzyte, director of “Is That All There Is”
EKRAN+ 2019: Interview with Maciej Marczewski, director of “Our House”
EKRAN+ 2019: Interview with Maria Sigrist director of “Palace”
EKRAN+2019: Interview with Igor Bezinović, director of „Fiume o morte!“
EKRAN+ supported by Creative Europe MEDIA EU Programme, is a common project of Wajda Studio and Wajda School, FOCAL (Switzerland), Austrian Film Institute, Croatian Audiovisual Fund, Lithuanian Film Centre, with support of Polish Film Institute.
What is “EKRAN+”?
- EKRAN+ is a 22-day, project based, professional training programme, primarily designed for directors/writer-directors, focusing on the vision of their future film.
- This vision is elaborated through the combination of three major elements: the script, the audiovisual components and the collaboration with the other professionals involved in the shooting of the film.
- EKRAN+ focuses participants on exploring, identifying and refining the tone and visual language of their films. It aims at advancing participants’ treatments/scripts and producing two scenes from each script/ treatment.
- Every participating project is represented by a Creative Team consisting of a director (or writer/director), a writer (or co-writer), a director of photography and producer.
EKRAN+ 2019 film sets / fot. Wajda Studio
The EKRAN+ process includes:
- Treatment and / or script development group and individual work.
- Preparation for shooting: casting, storyboard and individual consultancy with tutors.
- Shooting with tutors’ directing supervision.
- Evaluation with group and tutor analysis of the produced scenes.
The creative team (director, screenwriter, and producer) are offered a choice of locations, actors and set design within the usual logistical and budgetary constraints.
EKRAN+ supports shooting with expertise and help from casting directors, set designers and production managers.
EKRAN+ 2019 film sets / fot. Wajda Studio
What Do I Take Away from EKRAN+?
At the end of the EKRAN+ programme each team will have a well developed treatment or a first draft of a script and two scenes, presenting the tone, genre and visual language of the project. Those scenes (the second scene especially, with its specifically cast actors, selected location, props and style of photography) can be treated by participants and their producers as a Demo/Pilot visual material to accompany the script as a part of the Production Package, and to be used in search for financing of the film. However they can be as well treated as a testing material or visual laboratory and not to be shown to decision makers. The final decision how to approach the EKRAN+ scheme depends on the participants.
How much does EKRAN+ cost? Participation in EKRAN+ is FREE!
The selected directors and their teams will be granted scholarships including participation fees and accommodation. Travel costs are to be covered by participants.
EKRAN+ Tutors / fot. Wajda Studio
The team of tutors involves experienced film professionals from all over Europe including: Wojciech Marczewski Head of EKRAN+ Programme, Paweł Pawlikowski, Krzysztof Zanussi (Poland), Ildiko Enyedi (Hungary), Antoine Jaccoud (Switzerland), Udayan Prasad, Marilyn Milgrom, Margaret Glover (England), Denijal Hasanovic (Bosnia) and Roshank Behesht Nedjad, Christoph Hochhäusler, Volker Schloendorff (Germany).
Who can apply for EKRAN+?
EKRAN+ is based on teamwork and involves professionals from several fields. The primary target group consists of European directors or writer/directors who have realized their first feature or several shorts. In order to be accepted by EKRAN+, the creative team should be consisting of: director or writer/director; the writer or co-writer of the script (where applicable) the producer committed to the project, the director of photography they intend to work with
How do I apply for EKRAN+?
All applicants are asked to fill in the ONLINE REGISTRATION FORM at www.ekranplus.eu
The applicants are also asked to send in hard copies of the documents and a signed entry form
Until 1st December 2019 to
Wajda Studio | Wajda School
ul. Chełmska 21
Applications from Switzerland must be sent until 1st December 2019 to:
Av. de la Rasude 2
Applications from Austria must be sent until 1st December 2019 to:
AUSTRIAN FILM INSTITUTE
A – 1070 Vienna
Applications from Croatia must be sent until 1st December 2019 to:
Croatian Audiovisual Fund
Nova Ves 18
Applications from Lithuania must be sent until 1st December 2019 to:
Lithuanian Film Centre
Zigmanto Sierakausko st. 15
How is EKRAN+ training organized?
The EKRAN+ training program is divided into three sessions 4-9- days each and additional 2- days Follow-up session.
Session 1: 2th – 5th March 2020 Participants: directors and scriptwriters
First session is a visual warm-up and introduction to shooting practice. It begins with the group analysis of the treatment and two scenes to be shot during next two sessions, and continues with the visual presentation of participants’ projects, as attempt to imagine the movies for themselves, and find the visual way of communicating it to others. At the end of the session participants meet Casting Director and Art Director in order to prepare the shooting of the scenes for the 2nd session.
Session 2: 16th – 24th April 2020 Participants: directors, scriptwriters
The focus of second session is put on production of scenes from participants’ projects with 2-3 actors (Polish actors speaking English) in the context of exploration of creative tools of audiovisual film language. After scenes’ group analysis participants discuss re-written scenes with their supervising shooting tutors. The further treatment/script development is continued by analysis and discussion with two independent script doctors. The pre-production of the scenes includes directing strategies, choice of the location, props and light. Each team is given time for rehearsal with actors, one day of shooting and one day of editing. The session ends with an evaluation, screening and discussion of the produced scenes, as well as meeting Casting Director and Art Director in order to prepare the shooting of the scenes for the 3rd session.
Session 3: 15th -23th June 2020 Participants: directors, scriptwriters, DOPs, producers (optionally)
On the third session each team has the opportunity to invite a director of photography and two actors from its native country to produce a scene from the script in their native language. Focus is put on imagination and searching for specific imaging tools to create a desired tone and atmosphere of the film. After scenes’ group analysis participants discuss re-written scenes with their supervising shooting tutors. The treatments’ and scripts’ further development is provided through individual analysis with two independent script doctors. The session ends with summary of project development as well as evaluation, screening and discussion of the produced scenes.
EKRAN+ Follow-up session (optional): 2 days in December 2020 Participants: directors, scriptwriters
Participants come back for the final treatment or script consultancy and setting up the directions for the advanced draft development.
The Andrzej Wajda Studio and Film School — EKRAN+ coordinator reserves the right to make changes to the programme without prior notice
THE FILMS PRODUCED OUT OF THE PROJECTS DEVELOPED ON EKRAN/EKRAN+ BY NOW:
EKRAN 2004: “Teraz ja” (It’s me, Now) by Anna Jadowska, Poland (Best Debut Award, Gdynia Film Festival 2005); “Out of bounds” by Fulvio Bernasconi, Swizerland (Best Actor Award, Locarno International Film Festival 2007); EKRAN 2006: “Ma salama Jamil” by Omar Shargavi, Denmark (Tiger Award for Best Film, 2008 IFF Rotterdam), “Coeur animal” by Séverine Cornamusaz, Switzerland (2010 Swiss Film Prize for Best Feature -“Swiss Oscar”); „Songs of love and hate” by Katalin Gödrös, Switzerland (in competition: IFF Locarno, IFF Rotterdam, Warsaw IFF, IFF Mannheim-Heidelberg, IFF Salsbrücken, IFF Palm Springs); “Ki” by Leszek Dawid, Poland (Venice Days, IFF Venice 2011); “Two lives” by Georg Maas, Germany (2013 German Oscar candidate); EKRAN 2007: “Viktoria” by Maya Vitkova, Bulgaria (in competition: Sundance IFF 2014, Rotterdam IFF 2014) “Cornea” by Jochem de Vriees, Netherlands (in competition: Netherlands Film Festival 2014); EKRAN 2008: “Sanctuary” dir. Norah McGettigan, Ireland/Poland (Best of Show film at 2012 Indie Fest, California, USA), “Fear of falling” by Bartek Konopka, Poland, (Best Debut, Gdynia Film Festival 2011, The Silver Gateway Award for the Second Best Film, 2011 Mumbai Film Festival “Courage” by Greg Zglinski, Poland (Flash Forward, IFF Busan 2011); “Mary and Johnny” by Samuel Schwarz, Germany (Special Mention, Max Ophüls Filmfestival 2012); EKRAN 2009: “Sohnemaenner” by Ingo Haeb, Germany, (IFF Hamburg 2011), “Summer solstice” dir. Michał Rogalski, Poland/Germany (2015 Montreal IFF, Best Screenplay award); EKRAN 2010: ”One step behind the Seraphim” by Daniel Sandu, Romania (Bucharest IFF 2018 Best Screenplay Award); “Daas” by Adrian Panek, Poland (A. Munch Studio Award for Best Debut in 2011), “Fugue” by Agnieszka Smoczyńska, Poland (Semaine de la critique, Cannes 2018); „Dora or Sexual neurosis of our parents” by Stina Werenfelds, Switzerland (Panorama, Berlinale 2015); EKRAN 2011: “Dreamland” by Petra Volpe, Switzerland (Audience Award, Busan IFF 2013, nominated to EFA Awards 2014), “The Here After” by Magnus von Horn; Sweden/Poland (Directors’ Fortnight 2015 Cannes IFF), “Off Target” by Erik Bernasconi, Switzerland; EKRAN 2012: “A hole in the head” by Piotr Subbotko, Poland (Shanghai IFF 2018); “Modris” by Juris Kursietis, Latvia, (Special Mention, New Directors Section, 2014 San Sebastián IFF); EKRAN 2013: “One of us” by Stephan Richter, Austria/Germany (San Sebastian IFF, Best Feature Film Max Ophüls Preis 2016, nominated to EFA awards 2016); “Demon” by Marcin Wrona, Poland/Israel (Toronto IFF 2015; Austin Fantastic IFF Best Picture); “Alois” by Tobias Noelle, Switzerland, (Berlinale, Panorama 2016 – Fipresci Prize); “Indian burn” by Marcus Lenz, Germany/Ukraine, in post-production; “Tereza 33” by Danilo Serbedzija, Croatia – in post-production; “The Saint” by Andrius Blaževičius, Lithuania (Molodost FF, Kiev, Grand Prix); EKRAN 2014: “Home is Here” by Tereza Kotyk, Austria (2017 Tallinn Black Nights Film Festival); ”Werewolf” by Adrian Panek, Poland (Best Film, Tallin Black Nights Film Festival 2018); „The diary of Diana B.” dir. Dana Budisavljević, Croatia (Best Croatian Feature Film Award, Pula Film Festival 2019); “Rain” by Janno Jürgens, Estonia – in post-production; “Open” dir. Orsi Nagypal, Hungary (Montreal IFF 2018); “Clouds whispers” dir. Kerstin Polte, Germany (Best Directing, 2018 Bavarian Film Awards); EKRAN+ 2015: “Summer 1993” dir. Carla Simon Popo, Spain (BEST FIRST FEATURE AWARD – Berlinale 2017); “The Gulf” dir. Emre Yeksan (2017 IFF Venice, Critics Week); “Panic attack” dir. Paweł Maślona, Poland; “Cronofobia” by Francesco Rizzi, Switzerland (Tallinn Black Nights Film Festival 2018, Special Jury Prize); EKRAN+ 2016: “The man with the magic box” by Bodo Kox, Poland (2017 IFF Busan); “Cops” by Stefan Lukacs (2018 Max Ophüls Prais Audience Award); “Nova Lithuania” by Karolis Kaupinis (2019 Karlovy Vary IFF, East of the West competition); EKRAN+ 2017: “People we know are confused” by Tomas Smulkis, Lithuania – in post-production; EKRAN+ 2018: “Hochwald” by Evi Romen, Austria – in production;