April 12th – May 13th 2021
The hybrid format combines digital plenary sessions & individual meetings in editing room
The first session aims to maximize the film’s potential. The workshop is focused on intensive individual editing sessions and creating tailor-made distribution strategy.
We start with screenings of the participants’ rough cuts, followed by a moderated discussion and in-depth analysis of the rhythm, character development, narrative structure and dramaturgy. Each participant is assigned a supervising tutor and chooses an additional ‘fresh eye’ consultant to work with on the editing, receives their feedback on the structure, dramaturgy and narration of the film and its potential for international audience.
Meanwhile, the producers of the participating projects work on a distribution and festival strategy, searching for specific opportunities for their films within different territories, platforms or institutions. They prepare a proper time schedule, based on current situation of the film and receive feedback on their financing plans, attending case studies on crowd-funding and other independent financing possibilities, using their social networks.
In between two workshops the participants are supposed to work intensively. They should:
- achieve a near ‘final cut’ stage
- prepare a distribution and festival strategy which will be discussed at the next session
- have an idea about the first release of the film and its marketing, incl. its financial plan
Confirmed tutors for the 1st dok.incubator workshop 2021:
Christine Le Goff /FR/ – Head of Studies, Production tutor
Christine is a producer and director who has spent more than 30 years working on feature docs and series. She had previously spent seven years working for French production group TelFrance, where she worked on programs such as Seduction in the City, The Birth of Shopping and The Mystery of the Disappearing Bees, among others. Her credits also include Werner Herzog’s The Wild Blue Yonder, the 2002 Academy Award winner Murder on a Sunday Morning and the 2005 Europa Prize winner The Origins of AIDS.
Freddy Neumann /DK/
Neumann PR & Strategic Communication
Founder of Neumann PR & Strategic Communication, focused on strategic consulting, communication management, agenda setting, corporate- and product branding, community relations, public affairs, issues management, crisis management and media awareness. PR and marketing specialist, concentrated primarly on the cinema (feature- and documentary film) with a client’s portfolio mainly represented in the Danish and international film and entertainment.
Sales & Acquisitions I Deckert Distribution GmbH
Liselot graduated with a degree in film production from the Dutch Film Academy in 2007. She has more than 10 years experience in the audiovisual sector, first working for a few years in production before moving to film festivals. Amongst other postings, she was a festival and market producer at the IDFA Forum and Cinekid for professionals, two of Amsterdam’s most preeminent cultural events. In 2013 she began working in documentary sales, first for the sales arm of NPO sales and then for Autlook Filmsales. She currently handles sales and acquisitions for Deckert Distribution. Parallel to this, in 2018 she co-founded Dox Consulting, offering bespoke consulting and tutoring services for a variety of clients. Liselot is based in Amsterdam.
Audrey Maurion /FR/
After being graduated in Philosophy, Audrey Maurion began her career as an editor. She has been working as a freelance editor for feature and documentary films since 1995. Among the award-winning documentaries she’s edited: the theater documentary A Specialist by Eyal Sivan and Rony Brauman, Conversation on a Sunday Afternoonby Khalo Matabane, The Siege by Rémy Ourdan and Patrick Chauvel and the recent series Slavery Routes directed by Fanny Glissant, Juan Gélas, and Daniel Cattier. She has co-directed the feature-lenght documentary I Love You All with Eyal Sivan. She has also directed Farewell Peasant, a 52′ archive documentary. In recent years Audrey has been editing consultant for various documentaries in South Africa, country in which she has tied links since 1997 and her involvement in the Step for the future project. She is currently working as co-writer and editor on a documentary mini-series for Arte and PBS about the Tiananmen massacre.
Thomas Krag /DK/
Educated as film editor from the national film school of Denmark, Thomas has been editing film and tv series, short films and documentaries for 25 years. He collaborated with Lars von Trier and many other Danish, as well as Swedish directors. Former feature film commissioner at The Danish Film institute, also the Danish Eurimages representative.
Thomas is the head of editing at the Danish School, tutoring students on developing and editing fiction and documentary projects. He is in charge of several seminars on editing / sound & music / title sequence. Thomas is currently working as supervising editor and tutor, giving master classes at film schools and Universities primarily in the Nordic region. Recently he has been teaching documentary students at the Norwegian film School in Oslo, where he also moderates a seminar on documentary editing together with Niels Pagh Andersen.
Chris Wright /UK/
Chris Wright, born 1972 in Radcliffe, England. Studied German and French in Cambridge and Leipzig, before training as a film editor at Hochschule für Film und Fernsehen Konrad Wolf in Potsdam-Babelsberg. Works as a freelance documentary-maker, film editor and journalist. Lives in Berlin with two sons.
Joëlle Alexis /BE/
Born in Belgium, Joelle Alexis is one of the top film editors based in Tel Aviv. She has been working on full length documentaries, as well as on fiction films, for over 20 years. Her works have been selected by festivals like Cannes, IDFA, Sundance, and many others. A few of the recent documentaries she has worked on are ‘Leftover Women’ (premieres at Tribeca and Hotdocs 2019), ʻMuhi- Generally Temporaryʼ (Best of Fest at IDFA 2017), and ʻTwilight of a Lifeʼ (Visions du Reel 2015). In recent years Joelle has been the editing consultant on documentaries like ‘Cine Morocco’ (Leipzig FF 2018), ʻSilasʼ (TIFF 2017), ʻBecoming Who I Wasʼ (Berlinale 2017). She tutors at the Sundance Edit Lab, Doc Campus, EsoDoc and is part of the RoughCutService team of consultants.
Tutors for Czech filmmakers:
Vadim Jendreyko /CH/
Producer & Director / Mira Film
Born in Germany, grown up in Switzerland. Between 1983 – 86 Vadim worked as assistant director, camera assistant and editing assistant in Germany and Switzerland. 1986 – 1988 he worked in different theatres in Germany as assistant director and assistant of light design. Since 1986 he works as director, essentially for documentary films. Vadim together with Hercli Bundi founded production company Mira Film (Zürich and Basel) in 2002. Today he is realizing films as author and director and works at Mira Film as producer and co-producer. His films were presented in festivals around the world and received several awards, among them twice the Swiss Film Award for Best Documentary and nominations for the European Film Award and the German Film Award. He is giving lectures at film schools and is contracted as consultant and coach for independent documentary films. He is a member of the European Film Academy and the Swiss Film Academy.
Phil Jandaly /SE/
Phil has spent the last 20 years as an editor, first in fiction, fishing, and comedy, then in documentary. Part of award winning international productions like Prison Sisters, Killing Time, and Liberation Day, Phil also tutors and consultants on everything from pitching to rough cuts to the genius of sticky notes. Working out of Sweden, his projects have originated in places as far afield as Serbia, Kenya, France, Korea, and beyond. With a focus on human rights stories, Phil has brought an acute, analytical approach to storytelling to help creators get to the heart of their projects. He’s travelled the world with EDN, B2B, and independently, giving master classes on pitch pilot trailers and the craft of storytelling through scripting, editing, and sticky notes. Phil blogs about documentary and technology on his Storysmith blog, and runs BedouinViking productions, where he’s been part of developing the Sundance/Stories of Change feature documentary Brown Gold.
François Sculier /FR/
François Sculier lives in Paris – but he loves to leave Paris to travel elsewhere. His directorial work as well as his work as an editor has led him to Greece, Iran, Burkina Faso, Morocco, and Russia. Before directing movies, this self-taught filmmaker began his career with the editing of many short films in the 80‘s (narrative, experimental and documentaries), when film stock was still prevalent. His fortuitous meeting with Joris Ivens and his collaboration with Jean-Daniel Pollet were decisive. Since then he has edited and directed short narrative films but especially documentary films that have been screened and awarded at many festivals. He has been an editing trainer at the Femis, Lussas, Cinédoc and HEAD in Geneva. He pursues and maintains a balance between these three aspects of his work: directing, editing and training.