The World Conference of Screenwriters has released a Declaration and a Joint Activity Programme.

Joint Activity Programme – IAWG/FSE

The Board of the FSE and the PRG of the IAWG have discussed the strengthening working relationships between the two organisations, which have grown quickly following the solidarity campaigns of guilds around the world with their colleagues in the writers’ strike in the United States which ended in February 2008, and which will be further cemented during the first World Conference of Screenwriters in Athens in November 2009.

Recognising the limited resources of both organisations and the press of  many priorities but nonetheless determined to strengthen and deepen working relationships between our organisations in the interest of writers everywhere we have agreed that we will:

1. Establish an information system on the FSE and IAWG websites to keep member guilds of each organisation informed of the activities of the other.
2. Agree a system of exchange of information between guilds about topics of collective interest, by establishing and circulating a contact list of all the world’s writers’ guilds and by publishing and distributing an occasional global e-newsletter.
3. Arrange to have observers at one another’s meetings.
4. Set up a group to work together virtually to agree a glossary of basic terms related to writers, writing and their remuneration that could be agreed globally.
5. Set up a group to work together virtually that would agree basic terms in respect of writers’ credits that could be agreed globally.
6. Establish a joint campaign on the right to collective bargaining, beginning with an analysis of common problems.
7. Establish a joint campaign on the future of collecting societies in the digital world, starting with an analysis of the relationship of writers’ guilds to collecting societies worldwide.
8. Stand ready to support one another in the event of any crisis situation by appropriate solidarity activities.
9. Take note of the debates and conclusions of the first World Conference of Screenwriters.
10. Initiate a discussion about the desirability and practicality of establishing a global organisation for screenwriters.

World Screenwriters Declaration

In the new digitised and globalised world, we screenwriters have today come together, in Athens Greece, to discuss our central role in the creation of the stories that are carried with such impact to the world’s myriad screens and to people’s minds and hearts.

Stories influence our behaviour and shape our culture. They help us understand. Stories can conquer fear. Stories have power. As screenwriters, the storytellers of our time, we are conscious of our role and our responsibility and we have met to make sure that we can continue our work in the new environment.

The creative and financial challenges which we face, can only be met if we join forces and work together. We insist on the individual capacity of every one of the twenty five thousand screenwriters, whose representatives are gathered here, to see and understand the world in their own way and to reflect that unique perspective in their stories. We exult in the knowledge that individual creativity is what brings us together to defend and assert our common rights and goals.

We endorse the ambitions and intentions of the Charter of the FSE, the Charter of the IAWG and the Manifesto of the European Screenwriters.

We demand the right of screenwriters everywhere to be acknowledged as an author of the audiovisual work which they have written and to be fairly compensated for each and every use made of their work.

In pursuit of these objectives we will engage in active collaboration on campaigns that seek to achieve our common goals.

We pledge to work together to defend and extend the rights of writers for the screen.

Agreed and Signed on Saturday 7th November 2009 in Athens at the conclusion of the first World Conference of Screenwriters :

Christina Kallas
President
Federation des Scenaristes en Europe/Federation of Screenwriters in Europe

Michael Winship
Chair
International Affiliation of Writers’ Guilds

Cocktail farewell

Participants of the conference are invited to a Cocktail reception on the 10th floor of the Titania Hotel at 8pm.

Enjoy a drink with your colleagues before you say goodbye.

This afternooon’s activities

Lunch ends at 2.30pm, and the next panel runs until 3.30pm.

WRITERS RESPONSE I: Interventions on writers issues
• Chuck Slocum, associate executive director of the WGA West will outline the American deal following the strike
Robert Staats, managing director of VG Wort will examine the complex question of reciprocity and multi-territory licences
• Cécile Despringre, executive director of SAA, the new organisation of Audiovisual Authors’ collective management societies in Europe, will talk about European collective management societies’ collaboration to improve writers’ remuneration
• Maureen Parker, executive director of WGC will discuss the issue of collection from the writers perspective looking at how and what to collect? How can writers best arrange to collect what is paid to them?

The following panel will run from 3.30pm – 4.30pm.

WRITERS RESPONSE II: What are the key issues for writers?
What are the key issues for writers in the context of the scenarios outlined over the last day and an half? How can writers enhance their status worldwide?
• Lowell Peterson, executive director of WGA East (chair)
• Tim Pye, president of the AWG
• Bernie Corbett, general secretary of the WGGB
• Peter Henning, board member of the VDD
• Daniele Cesarano, president of SACT
• Olivier Lorelle, president of UGS
• Marcilio Moraes, president of the Screenwriters Association of Brazil
• Leora Kamenetzky, chair of the Scriptwriters Guild of Israel

A coffee break will last until 5pm, and the final session will last until 5.30pm.

Closing session: GLOBAL RESPONSE
• Christina Kallas, president of the FSE
• Michael Winship, chair of IAWG/President of WGA East

Participant profile: Lars Boom

We leave Greece temporarily to travel to the Netherlands to meet Lars Boom.

Lars Boom

Lars Boom has been writing since 1990 for television, film and theatre.

In theatre he has written musical plays like the award-winning In the shadow of Brel (about Jacques Brel through the eyes of his driver and friend Jojo) and two libretti for opera: Van Gilse and Slauerhoff, the Dutch poet.

Lars has also written about 100 episodes for comedy serials such as: Zeg ‘ns Aaa, Oppassen, Victorie, Sam Sam, Flodder, Bradaz and Sprint; drama and police serials Westenwind, DOK 12 en Baantjer; and a variety of drama formats for companies like Eyeworks and Endemol.

His feature film screenplays include Frans, a man with mental damage who runs away with his favourite pig because of the swine flu, and Rikshawboy, a romantic comedy about a Rikshawboy from India who becomes a cyclist in The Netherlands.

This morning’s agenda

The bus will leave at 9am in front of the Titania hotel.

The first session will take place from 9.30am – 10.45am

CONGLOMERATES AND OTHER PLAYERS I: Role of the multinational conglomerates in the digital future
Will the multinational conglomerates continue to dominate production and distribution worldwide or will the telecoms, ISPs etc. step in in the digital world? Will smaller companies have any real opportunities in the context of lower production costs and lower costs to enter online distribution? Will independent producers, sales agents, distributors, broadcasters and other players change their behaviour in response?
• David Kavanagh, FSE board member (chair)
• Cameron McCracken, deputy managing director of Pathe
• Frederik Stege, head of legal affairs of TrustNordisk
• Chuck Slocum, assistant executive director of WGA West

Immediately afterward, from 10.45am – 11.30am:

CONGLOMERATES & OTHER PLAYERS II:Interventions

• Jacqueline Woodman, executive director of the AWG will consider whether the aspirations of the multinational conglomerates can be understood through an examination of trade agreements particularly bilateral agreements.
• Dr. Eva Inés Obergfell, professor of law at the RWTH Aachen University will address the issue of how consumers will pay for product – the German Green proposal for a flat rate for culture and other models.

The coffee break is from 11.30am to noon.

Followed by the next panel from noon to 1.30pm:

SECOND DEBATE: Has the independent production model failed?
Has the Independent Producers System Failed and What Are the Alternatives? Development i.e. Notes and Moral Rights – How Do we develop and does it ensure Original Writing?
• Gino Ventriglia, FSE board member (chair)
• Milcho Manchevski, writer/director, Razvan Radulescu, writer, Peter Mohan, writer/producer, Jan Sardi, writer, Stefano Rulli/Nicola Lusuardi, writers, Robin Swicord, writer, Larry Karaszewski, writer

Lunch will take place from 1.30pm – 2.30pm.

Day one: overview

Day one of the conference is now over. It’s been a long day, with lively debates about the state of the film and television industries, the advent of new media, and prognostications about their future(s).

At times people became passionate about the subject, which is a good reaction, because this is something in which we are invested: artistically for some, and commercially for others. And, as always, the clash happens when the two worlds of creativity and finance collide.

Hopefully, tomorrow we can engage further on the topics and explore solutions.

The conference twitter hashtag is #wcos and the twitter stream can be followed here live. Several of the participants have been posting their thoughts on the panels, and you can expect more tomorrow.

This afternoon’s session

After lunch, the first discussion will kick off at 2.30pm, and end at 3.30pm.

FIRST DEBATE: Working with directors
(the first of two debates on issues of particular interest to writers)
Whose film is it anyway and what does it matter?
• Stanislav Semerdjiev, FSE board member (chair)
• Srdjan Koljevic, Peter Hedges, Scott Alexander, Guillaume Laurant, Guy Hibbert, Sergio Sanchez, Mateo Gil, Olivia Hetreed, writers

The following discussion will run from 3.30pm – 4.15pm

DISTRIBUTION I: New distribution methods and the implications for writers
Digitisation and the net have changed distribution of content. What are the implications of the changed distribution structures for production in general and how does this impact writers?
• Rebecca Schechter, president of the WGC (chair)
• Arvind David, producer and CEO of Slingshot Studios
• Lucinda Engelhart, head of production at Aramid Capital
• Julian Friedmann, agent
• Fred Breinersdorfer, writer

There will be a coffee break from 4.15pm – 4.45pm.

The last dicussion of the day will take place from 4.45pm – 5.30m.

DISTRIBUTION II: Interventions on distribution issues
• Anita Ondine, founder of Seize the Media, will make a presentation on the different possible models for monetisation of the internet. Will it be advertising supported, streaming, subscription?
• Tilman Scheel, CEO of Europe’s Finest will look at the digital future of cinema and TV distribution.

There are no other events planned for the day.

Conference is underway

Christina Kallas introduces the conference

Due to the traffic in Athens the conference is running approximately half an hour late.

We’re only a hour into the event, and already many serious issues facing screenwriters across the globe are being delved into.

Christina Kallas, president of the FSE, and Michael Winship, President of the WGA (East), introduced the event and welcomed the participants.

Those of you who are following the conference on twitter, should check out the #wcos twitter stream, to which several members of the conference are contributing.

Acropolis photos

I’ve added some photographs to the Conference’s Event page on Facebook, and I’ve also created a Picasa Album with some of my images.

The low light comined with my average camera meant that they are good for viewing on the web only.I spotted a number of fancy gadgets among the conference members so I’m sure many of you took better quality images.

Feel free to upload your favourite pictures to Facebook. If you wish to add pictures to the Picasa Album, and have a Google account, then drop me an email to wcosblog [at] gmail.com and I’ll enable sharing on the album.

Or send the images to me at that email address and I’ll add it to the blog myself – make sure you let me know what attribution you would like.

I like this picture because of the juxaposition of the old Athens city under the shiny New Acropolis Museum, with screenwriters as a conduit in between.

Tomorrow morning’s schedule

Tomorrow the bus leaves the Titania Hotel at 8.45am for the conference venue.

The first session will begin at 9.30am and run until 10.30am

Opening session: GLOBAL CHALLENGE
Welcoming speeches and opening of the conference
• Representatives of the Greek Government and Government Agencies
• Michael Winship, chair of IAWG/president of WGA East
• Christina Kallas, president of the FSE

The next panel will run from 10.30am – 11.30am

PRODUCTION I: Global trends in production
An assessment of global trends in production for cinema and television – volume of production, budgets, how the production will be funded and how (and when) this will change in the digital age.
• Sven Baldvinnson, vice president of the FSE (chair)
• Michael Gubbins, film industry analyst and former Screen International editor
• Caterina d’Amico, CEO of RAI Cinema
• Jonathan Davis, coordinator of the EFAD
• David N. Weiss, writer

There will be a break for coffee from 11.30am  – noon.

The last session before lunch will run from noon until 1.30pm.

PRODUCTION II: Interventions on production related issues
•Yomi Ayeni, creative lead of Expanding Universe will discuss writing and producing for the net: new formats, new dramaturgies, new procedures.
•Kelly Sweeney, head of original productions at Bebo will address new decision making for production and the building of new audiences.
•Alison Taylor & Peter Mohan, writers, will address the role and form of drama for television considering such questions as: will reality continue to be important; will the pilot season model in the US continue; will seasons of half hour or one hour drama continue to be the structure and the reality and future of the “created by” (showrunner) model.

Lunch will occur from 1.30pm – 2.30pm

Participant profile: Francesco Ranieri Martinotti

On the eve of the conference it’s time to meet Italian film director Francesco Ranieri Martinotti.

Francesco Ranieri Martinotti

Francesco is a film director, an independent producer and recently the director of Festivals such as France Odeon in Florence.

He started in the industry in the ‘90s and with his production company Iterfilm, and its films quickly won several awards, such as two David di Donatello, a Nastro d’Argento, the Prix du Jury at Montreal and the Prix du Publique at the Annecy Festival. His first feature film Abissinia (1993) also participated at the Cannes Film Festival and at the Sundance Film Festival.

His other films include Downdelions (1990), Artichokes will grow in Mimongo as writer and co-director with Fulvio Ottaviano (1997), Gills (1999), Ti lascio perché ti amo troppo (2007), and La seconda volta non si scorda mai (2008)

He is an active member of A.N.A.C. (Italian Author’s Guild) and co-founder of Venice Days, the new section of the Venice Film Festival.

Tour schedule reminder

Just a reminder to participants of the World Conference of Screenwriters to meet outside the Titania Hotel today at 4.30pm sharp.

Buses will take you to a short excursion at the Acropolis and the Parthenon, followed by a special tour and reception at the New Acropolis Museum. Further details are available on the social events section.

Please be considerate of your colleagues and the deadlines involved, and arrive on time.

This is one event for which you don’t want to miss the bus!

Participant profile: Marcílio Moraes

We’re just in time to meet with Brazilian writer Marcílio Moraes.

Marcilio Moraes

Marcílio was born in Petrópolis, Rio de Janeiro, Brazil, and writes short stories, novels and screenplays for television.

He has written for famous Brazilian soap operas (known as telenovels) like Roque Santeiro, Noivas de Copabacana, Mandala, and Roda de Fogo among others.

Recently he has written for the television series Vidas Opostas (2006 – 2007) and the sixteen-episode crime drama Lei e o Crime (2009).

He is also the President of the Associação dos Roteiristas (Screen Writers Guild).

Registration open

Registration for the World Conference of Screenwriters is now open in the lobby of the Titania Hotel. The desk will staffed all day, as well as tomorrow morning, before moving to the conference venue itself.

Come along, introduce yourself, pick up your badge and information for the conference, and meet some of the organising team.

Participant profile: Stefano Rulli

We jaunt over to Italy, to say ciao to Stefano Rulli.

Stefano Rulli

Stefano was born in Rome, and after graduating in Literature with a thesis on ‘Neorealism and the Cinema Critic’ in 1974, he organised the conference on Neorealism at the Mostra del Nuovo Cinema in Pesaro.  He wrote the book Polanski and began to contribute to the magazines Ombre rosse, Scena, Quaderni Piacentini, Essai, and Cinemasessanta, with articles about emerging cinematographies: Schlondorff and the New German Cinema; Bacso and the Hungarian Cinema;  Wajda and the third Polish generation.

With the essay ‘Perrault: alla ricerca del paese perduto’ on Canadian Direct Cinema he developed a theoretical reflection which lead him to direct documentaries.

He has worked as a script developer at the Centro Sperimentale di Cinematografia and for European MEDIA programs.

Stefano has written many movies, among them: Meri per sempre, Il Portaborse, Muro di Gomma. Ladro di bambini, Arriva la bufera, Il toro, La scuola, Pasolini: un delitto italiano, La tregua,  I piccoli maestri, La meglio gioventù, Romanzo Criminale, and Mio fratello è figlio unico.

For television, he has written the series La piovra (seasons 3, 4, 5, 6), Don Milani, La vita che verrà,  Come l’America, Perlasca, and Cefalonia.

He has directed a number of documentaries, including Matti da slegare, La macchina cinema, Il pane e le mele, Settecamini a Roma, Lunario d’inverno, and Un silenzio particolare.

In Greece

Participants of the World Conference of Screenwriters have begun congregating in Athens, Greece.

Events kick off this evening with participants of the conference being treated to a special tour of the New Acropolis Museum, which cost $200 million and sits near the base of the Acropolis with a direct view of the Parthenon. Opened in June 2009, the new building consists of 226,000 square feet of glass and concrete designed by the New York-based architect Bernard Tschumi.

The agenda for Friday and Saturday consists of meetings and discussions about the state of the industry and the new challenges facing screenwriters around the globe.

Participant profile: Eylem Kaftan

It’s over to Turkey now to meet screenwriter Eylem Kaftan.

Eylem Kaftan

Eylem was born in Turkey, she completed a B.A. in Philosophy at Bogazici University in Istanbul and a Masters degree in Cinema at York University in 2002. At York University, she worked as a teaching assistant and wrote her thesis on the identity crisis in post-1980 Turkish cinema.

Her first short fiction film called ‘A Swan Story’ was featured at the International Women’s Film Festival in Ankara in 1999. Her first documentary, Faultlines (2002), investigates the aftermath of the earthquake which hit Turkey in 1999. It won Best Short Film and the Jury Prize at the Planet Indie Film Festival in Toronto in that year.

Eylem then wrote and directed Vendetta Song (2005) produced with  DLI Productions in co-production with the National Film Board of Canada. This gripping hour long documentary about her personal journey into the honour-killing of her aunt in a small Kurdish village in Turkey was broadcast on Vision TV and Télé-Québec in Canada and has received several awards including CIDA Prize for Best Canadian Documentary on International Development at Hot Docs; the Quebec Film Critics Association Award for Best Medium Length Documentary; Best Documentary, Calgary International festival and Best Documentary, Female Eye Film Festival. The film also won the 3rd prize at the International Women’s film festival in Torino, Italy.

Her third documentary Bledi, This is Our Home (2006) tells the story of the non-status Algerians and their struggle to remain in Canada. The film is made for the Quebec broadcaster Télé-Québec and premiered at the International documentary festival in Istanbul.

Eylem has contributed to several documentaries on social and political issues ranging from immigration and women’s rights to mental illness and culture shock. She also collaborated on the award winning short fiction films of Turtle Productions. Eylem is presently working on her new documentary on Kurdish youth and developing a script for a feature length fiction film called My Secret Heart.

http://www.imdb.com/name/nm1549870/

Participants listed

I’ve added a list of all the participants who will be attending the conference. This is our most up-to-date information, but doesn’t factor in any last minute cancellations.

It should give you a good sense of the stellar line-up of international screenwriters who will be attending.

Participant profile: Anne Hogben

We alight in England this morning to meet Anne Hogben.

Anne Hogben

Anne is the Deputy General Secretary of the Writers’ Guild of Great Britain, where she has worked for over ten years.  Every day she advises members on problems with  contracts, producers, broadcasters, agents, publishers and sometimes their fellow writers.  Addressing issues early on and having proper union minimum terms agreements in place prevents problems spiralling out of control. When disputes arise she handles the Guild’s screen credit arbitration process.

Most disputes arise from badly written contracts, faulty communication and poor preparation before a project even begins: this is the main reason why both the TV and Film Committee have spent a great deal of time preparing guidelines for writers. Delegates will find copies of both in their conference information packs.  If these guidelines are adhered to  the time, money, energy and human resources wasted on messy disputes can instead go to producing well-written and good quality film and television.

Anne also organises campaigns (such as the international day of solidarity for the striking members of the Writers’ Guild of America) and works directly with the Guild’s Film and Television Committees and Executive Council, where policy is decided.  She helps to organise lobbies at the Houses of Parliament with fellow entertainment unions (Equity Actors’ Union and the Musicians’ Union) and attends industry meetings and negotiations.  She liaises with the press and media.

Before working with the Guild Anne worked in education, publishing, event organising and journalism.  She has a degree in Philosophy and English from University College Cork.