conferences

Conferences

International film festivals regularly solicit the EPC to organise conferences and panel discussions. EPC’s extensive network allows for the participation of key strategic players of the Film industry on a variety of relevant issues affecting film production, distribution and exploitation. EPC’s experts can be responsible for:

  • Defining the objectives with the Festival,
  • Fine tuning the conference theme on the subject proposed by the festival,
  • Finding and inviting relevant speakers,
  • Overseeing the event,
  • Communication and promotion of the event,
  • Follow-up and impact assessment of the event according to the festival objectives.

Since 2002, the EPC has organised more than 40 conferences, always greatly appreciated by many professionals and festival-goers. The quality of our conferences has led to a relationship of trust with a number of festivals choosing to work with us on an ongoing basis. Past events include:

  • The American studios' strategies for fighting piracy, Cannes 2007-2008,
  • Focus on European sales agent companies: their strategy for today, their vision for tomorrow, Haugesund 2008, Berlin 2007,
  • Co-productions or International sales, Thessaloniki 2006,
  • Legal aspects of filmaking in Spain, France, Germany, Italy, Ireland, and the UK; in association with FAPAE, San Sebastian 2003-2004.

Panelists have included Hengameh Panahi (Celluloid Dreams), Wouter Barendrecht (Fortissimo Films), Thomas Mai (TrustNordisk), Martin Moszkowicz (Constantin Film Produktion), Marco Chimenz (Cattleya), Trevor Albery (Warner Bros.) and more.

2008 Norwegian International Film Festival

“Focus on European sales agent companies: their strategy for today, their vision for tomorrow”.

2007 Thessaloniki International Film Festival

"Everything you always wanted to ask about film piracy and were afraid to ask!"

The conference will address the latest policies about piracy.

2007 Norwegian International Film Festival

When inspiration faces the production stages: how can the work of an artist and his/her vision prevail once it enters the production system? Does this work stop being his/her own or does the artist still a have a word to say?

2006 Thessaloniki International Film Festival - Panel 1

Co-productions or international sales?
What is the most appropriate way of financing a film? Which model to prefer? Is there an opposition between co-production and sales agent models? What are the other strategies to finance a film?

2006 Thessaloniki International Film Festival - Panel II

A tour of Europe:
the recent evolution of the European market. Policies and regulations have changed in many places, and have a firm impact on the film industry. We feel it would be beneficial to all to be updated on the general movement of the market within Europe.

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