Eligibility Criteria for the Workshops
• EU/EEC Passport holder; all Creative Europe MEDIA supported countries
• Writer has one feature film script produced (or equivalent experience)
• Producer must be attached
• If your project is accepted, producers are obliged to attend the last 2,5 days of the workshop.
• Applicant speaks English (workshops held in the English language)
• Cinema projects only
• Scripts submitted in industry - standard format and pagination.
• If project is selected, an English translation must be provided in 21 days.
• If your project is invited, the workshop assumes travel, food and lodging for the writers.
• Screenplays for cinema (1. Drafts are not accepted).
• Application fee - 50€ (Bank information is on the application)
• Travel costs are not covered for producers.
• A charge of 350€ /per Producer and any additional team member (cowriter) covers food,
lodging and airport transfer.
• In the event that a screenplay developed with the support of eQuinoxe Europe is produced, the
producer agrees to pay eQuinoxe Europe a fee of 0.1 % of the production budget, invoiced on the
first day of principal photography.
- We accept one writer from a writing team.
- The co-writer may attend together with producer for the last 2.5 days of workshop, provided
space is available.
- Travel arrangement and costs are assumed by cowriter.
Call for Projects
23. eQuinoxe Europe Screenwriter's Workshop
Call for Projects
1a) On the application - page 4 -when you save and print out the application, you will find the list of materials and documents required to be sent with the signed application, including the bank information for the application fee.
1b) This will include the short agreement that, should the film be filmed, that the producer will pay eQuinoxe Europe 0,1% of the final budget.
2) The mailing address for the materials is on the first page of printed application.
It can be found on our email signature as well.
3) Normal post and air mail are encouraged. Incurring courier costs are not necessary.
4) INCOMPLETE applications (materials) will unfortunately not be processed.
5) Submissions include a) hard copies, b) sending per email and c) uploading on the website.
Our AUTUMN 2018 - Call for Projects will be online mid- May.
Thanks for checking.
If you would like to receive our "CALL FOR PROJECTS", mailed out in spring and autumn
of each year, please send an email requesting that you receive the Call to:
Scroll down for Filmmakers' Impressions
Impressions of Filmmakers
Writer’s impressions - Emily Atef (F)
Meeting with 5 very experienced, script advisors who come from different countries and writing traditions, they all had their own style and agenda so in the intensive meeting we had daily, if one stays opened one will find hidden treasures in one’s story, also hard facts of what to dismiss. Somehow with my script all the advisors were pretty much on the same wavelength regarding the problems I was having, so I wasn't totally lost.
I went back home, with a totally filled head and about a week later found the answers, I wrote the next draft which was pretty much the shooting script!
Writer’s impressions - Baran Bo Odar (CH)
"...I learned more in one week at eQuinoxe than I did in four years of film school."
Writer’s impressions - Juha Lehtola (FIN)
I take the risk of being over-dramatic by saying the eQuinoxe workshop was a big turning
point in my life as a writer.
Let me explain.
On the second day I had a session with Dev (Having just had two great sessions with Martin
and Susan.). Dev asked me to tell him the story of my script in my own words. I couldn’t do
it. I just mumbled some odd sequences, one after another to him. He looked at me as if I
was a major idiot in this world.
After the session I was puzzled. Why wasn’t I able to tell the story? Is the story of my
movie so bad that even I cannot speak it out loud? Is my script terrible? Where is my story?
I understood the problem was not merely to do with my screenplay. The problem was also
to do with me. I realized I used to be a storyteller, but I am not anymore. I’ve become a
writer who writes scenes about some theme, but doesn’t write stories. I looked back to the
movies and scripts I have written over the past few years. They all have a strange tendency
of being theoretical. I had to travel to Austria in order to understand that something has
changed in my dramatic thinking, and that this change has not necessarily been for the
Saturday, June 13, is a day I will never forget. It was the day when the producers arrived;
giving the writers some spare time. I woke up early determined to build a whole new story
on the basis of our script. I started to rearrange the scenes, and plan new sequences in my
hotel room. I went out, and for hours I sat in the cafes and market place. I totally lost track
of time. I wandered the streets of Mittersill scribbling down notes. I wrote hundreds of
them. At some point I sat down on the pavement with my notebook. I changed my place
when a passing car almost killed me. At some point I lost my wallet and my phone because
I was so deep in my thoughts. Thankfully a nice old man found my wallet, and Emily found
my phone. I kept planning and planning, and in the afternoon I had a totally new story. It
was a nice and a peculiar day. Come to think of it, I have not been so creative for many
years. In the evening I called my co-writer and explained the general outline of this new
story to him. He yelled to me:” That is really a great story!”
On the whole, I feel lucky to have had such great advisers. Dev was the one who really put
me up against the wall. I believe he did this with great respect for both the story, and me.
Martin was really critical about the musical aspect of the film. He also had big doubts about
the way the script portrays elderly people. Undoubtedly, he was right. Susan pushed me to
think about the story in a more profound way, and was very precise about character details.
Claire was great! She was so generous, giving me new ideas. I feel she really understood
and respected the tone of the film. Also, I will never forget Laurence’s quirky smile when
she stated: “You write scenes in terms of ellipses. Well… It is not always good.” This was
an exceptionally accurate observation of my way of writing.
The whole concept of eQuinoxe is carefully planned out. For this, I am so grateful to Ellen
and eQuinoxe Europe. This workshop gave me the opportunity to re-consider not only my
script, but also my way of thinking.
Thank you and see you at the premiere of My first, my last, my everything (All right, I will
change the title...)
A Response to the eQuinoxe Week, Cardona - Robin Mukherjee (UK)
A few days ago I received a group photo, taken on the castle steps on the last day of our eQuinoxe week in Cardona. Everyone was smiling, as you do for group photos. But there was something else. A sense of camaraderie, generosity and genuine pleasure. We had all been through an adventure, a journey together that was sometimes tough, always useful and, quite probably, unforgettable. It’s difficult to unpick all the parts of that experience and say what made it work so well. But I’ll try!
To begin with, the organisation was faultless. From the moment I was picked up at the airport to the moment I was dropped back, everything was immaculately taken care of. Even before I set out, it amazed me that my questions via e-mail were answered so promptly and helpfully. When I was there, I knew exactly where to be and when. What I needed, meanwhile, was always waiting for me, whether a bag to carry my papers, a bottle of water to quench my thirst, or food (the food!) at lunch and dinner. There was a continuous attention to detail directed towards the wellbeing of everyone involved. If there were crises (I’m sure there must have been), we the writers were unaware of them. There was also a perfect balance of hard work and opportunities to share the company in less formal circumstances, such as the trip to the Salt Mine and the day in Barcelona. The whole week has clearly evolved over the years to get everything just right.
Secondly, I’m still a bit dazed by it all. It strikes me as incredible that so many people could work so hard to help a bunch of writers. Usually it’s very much a solitary struggle, so to experience neither solitude nor struggle for a whole week was almost disorienting. We were encouraged, cared for, respected and supported. It renewed my enthusiasm for the art and made me think that it wasn’t such a crazy career choice after all. It is easy to overlook, sometimes, the importance of company, just being with fellow professionals, to share experiences, anecdotes, insights and laughter. Mutual enrichment in these circumstances is as inevitable as those circumstances are, sadly, rare.
That it was enjoyable then, is undoubted. The question remains, apart from re-invigorating my dedication to writing, was it useful? In terms of my particular project, I have to say, that it was invaluable. This is a view shared by the producer and director/co-story writer who came on the last weekend. Under the searching tutelage of my advisers, the script has undoubtedly strengthened. With the strengthening of a script, of course, comes a strengthening of the writing itself. So this goes beyond the particulars of one project. I learnt a lot and I shall take that personal development into my next work, and the next. The week does not finish with the week. For the record, I have taught two weekend seminars for MA students since eQuinoxe and found myself drawing from my eQuinoxe experiences often. The value of eQuinoxe, therefore, travels far beyond one small group in Cardona.
I am very grateful for the whole event, and to those who made it work so well, who keep the organisation going, and who support its continuation. I am also confident, as I have said, that the benefits ripple out through the participants far into the literary world and beyond. No doubt, many of them will also be seen on cinema screens in the future to the enrichment of countless people. I have already told other UK writers about it, just as a fellow writer had told me. When he first called I said that I owed him a pint for that. I’m thinking now that I owe him a great deal more.
My Impressions of eQuinoxe, eh? by Johnny Ferguson (IRE)
Let´s see....spending a week in Budapest talking about your work and yourself to a group of seasoned professionals at the top of their game who are firm but fair and ultimately have your interests - your success - at heart? In fairness, what's not to like.
I mean never mind that accommodation and meals are taken care of, everything is so well organized that you get to enjoy the place, to enjoy the company of other writers, to enjoy yourself and get some transformative work done and get inspired (and maybe a little euphoric). Sorry, I must pause before I hyperventilate from the pleasure of the memory...ahem...centre..that's better.
To borrow a metaphor from my daily peregrinations back and forth over the Danube (the MIGHTY Danube), the eQuinoxe workshop took my script - a rickety, charming yet serviceable pontoon - and transformed it into a strong and proud and rock solid (yes, yes, insofar as anything is permanent) bridge. With lions.
I returned rejuventated. And what's more so did my producer who apparently strode the croisette and rues and avenues of Cannes exuding belief and confidence. (There are, apparently, financiers out there who can barely contain their bladders such is their excitement about the Dead Spit. Now, of course, all I have to do is write it all down. And I am n the process of this, And I am enjoying it.)
There's no waste, no repetition just a growing intoxicating, momentum. And a clarity that came from constant interrogation - What's the story about? Who are these characters? What are you really trying to say? In such sustained brightness there was nowhere to hide. In other, more conventional circumstances the exchanges might have been combative. With the cocoon of eQuinoxe they were transformative. I was completely focusssed and when I got back to my desk I felt I had written a whole new draft and that all I was doing ---and am doing right now.. is a polish.
I will never forget the experience and will carry that sense of inspiration, empowerment and focus with me all the way through the bullshit, past the popcorn stand and onto the BIG screen.
Thanks for pimping the ride!
Deadline is the
postal date of JUNE 30, 2018.
Please find the Application online.
23. Intl. Screenwriters' Workshop & Master Class
Login / Registration
1) Please click "Log In", menu will come up.
2) You can then register with your name
3) Applications must be printed out, signed and
mailed to our office with all requested material
per post and per email.
4) The requested printed material (script, letter, etc.) are vital to having your
application complete. Postal date of your hard copy material is evidence complying
with submission deadline.
(Please include a self-addressed envelope if you would like your DVD material returned.)
For any questions, please mail to: email@example.com
Login or Register for Application Form
! In the Login Area - to download application Click PRINT at the bottom of the screen, this will "download" the file to your Download Folder as a PDF.You can then print it out and save for your files.
Don´t hesitate to contact us, if you have any questions.