Quotes from past scholarship application emails:
your attached CV or mini bio are over
60% of the points for
gettiing the free or partial scholarships.

"why/how "

********************************

I feel The Film Programme Cannes Intensive is the catapult I have been looking for to get me to that next level. That level where I can learn to meld all my cinematic passions, business knowledge, distribution skills, and pure love of film into a uniquely visual cinematic product.

********************************

I have always been interested in the financial side of filmmaking, but the workload of writing and directing prevents me from any hands on production involvement. I'm determined to put this right with the help of the film Program Cannes Intensive

********************************

Although I am an independent filmmaker who specializes in short films. I have always wanted to expand my film career into feature films. I have written a couple screenplays that I would like to be produced. Therefore I feel the Cannes Film program will be the perfect program to explore and learn the film market

********************************

My reason for wanting to participate on the above course is that I believe that being armed with more knowledge could only aid my ability to use a script to raise funds by being able to point out potential markets and making it attractive to potential buyers or financiers, and this can be helped, a great deal, by my being able to expand my international film industry experience - an area which the course will expose to me.

********************************

Although I received a very sound education in terms of aesthetics and technical skills, film school has left me with a large gap in terms of not really knowing how the film industry actually works.  I'm very excited with drawing up plans for new projects, and have some confidence that I'll be able to fulfill those plans, but without the actual knowledge of the world of film production I'm not so sure.  That said I feel that I have everything to learn, and as a Canadian I also feel that it's very important that I reach out and meet filmmakers from other countries.  The place where I live, Montreal, which is predominantly a French-speaking city, could be a natural hub for international film production, rather than simply a cheap location for American filmmakers who want to recreate New York City on film, and I definitely feel an impulse to foster that sense of an international community by cultivating relationships with filmmakers from around the world.  As a filmmaker I really want to “be myself” by making films that move me and that I think will move others.  This is a universal language, and should be shared by everyone in all countries.

********************************

I understand, however, that I am still young and have much to learn.  I believe that the Film Program Cannes will offer me strong guidance, important knowledge, and priceless networking opportunities.  The Producing/Funding intensive seems likes an amazing opportunity for a dedicated and enthusiastic filmmaker such as I.  It is an opportunity that I would embrace with open arms, a passionate heart, and a sharp mind.

********************************

I have a very strong entrepreneurial quality and business savvy that when given the opportunity, I can surely excel. It is from this perspective combined with my humanitarian and creative visions that I would like for you to consider in reviewing my application. Nothing that I learn goes wasted, and I would be more than grateful to be granted an opportunity to gain powerful tools to produce and finance films from a professional, marketing and industry perspective.

********************************

The posting for the scholarship states that the main considerations for the scholarships are a passion for cinema and a strong desire to be a life long filmmaker. I submit that my actions -- stepping away form a successful position to take this chance, as well as my long time demonstrated commitment to the performing arts -- demonstrate both those considerations.

********************************

While I've had critical success in all of my films, I've not been able to reach my target audience.  I am about to embark on a first feature-length narrative film project and I need guidance in how to package my work in the contemporary film market. My desire to make films is to engage the audience in questioning how they see under represented individuals and issues and to encourage viewers to open themselves up to redefinitions based on acknowledgements of power relations. Storytelling is an important way in which we make sense of the world and our place within it.  The choice of which stories get told dictates what histories and ideas are made tangible. Becoming a strong producer will enable me to carry out my commitment to make the kinds of films that give new voice to those stories that have been invisible and silent. I've recently discovered that it's not just about what stories get shown and told, it's if we see and hear them at all.

********************************





"... independent producer or film company
executive utilizes the market to secure
financing for future projects or slates of films."

This FPC Master Course gives you the
information you need
that will save years in your career
in selling a film to a distributor.

If you come fully prepared your
involvement will also save years
by use of a proper selling "Package"

New this year at the Film Program Cannes Intensive:
• Montage Screenings of attendees' short films with audience Q&A on Market interest/direction.
• “Emphasis” groups that will work together with their special needs
at the Market with meetings at the “Intensive”.
• Sharing empowers and expands which attendees reach during the Market.
• Short film marketing
• Actor/casting resources at the Market
• Scriptwriter/pitching resources at the Market
• Music/composer resources and marketing during the Market
• Animation resources and marketing during the Market
• Documentary resources and marketing during the Market
• Budget “assist” group emphasis on how “your” budget will help you during Market.
• First year Market group.
Tips from industry experts and guide to special emphasis checklist.
Allows each attendee to work with the proper information and daily
updates and direction as the Market proceeds.

CLICK TO REGISTER NOW FOR THE SPECIAL LOW "FILMMAKER GROUP" RATE

To Register and hold your place in the workshop and lodging CLICK:

To Apply for the FREE and partical tuition Scholarships CLICK:

Registration is Open for the May 2008
Film Program Cannes
Intensive Producing Workshop!

Register NOW CLICK

Information on how to apply for the free tuition fee
scholarship and partical tuition scholarships:


The FPC Intensive 08 scholarships
celebrate the Sixth Anniversary of the
Film Program Cannes
All instruction is in English

The Scholarships:
The FPC Intensive Producing scholarships celebrate the
Sixth Anniversary of the Film Program Cannes.
Free tuition will be awarded to a Filmmaker:
The Film Program Cannes Producer Funding
“Intensive” is held concurrent
with the Cannes Film Festival/Market
in Cannes, France enabling attendees
to attend the “Intensive” while at the Festival.
As a Film Program Cannes “Intensive” participant
you set your own schedule. Attend the “Intensive”
sessions when you want. Organize your schedule
to obtain maximum benefit from both the “Intensive”
and the film Festival. We realize there
may be conflicts with other Festival/Market meetings.

If you have any questions, suggestions or if you would like to arrange
a screening in the Program's theater please email us. This is the 6th year
for the Film Program Cannes Intensive and we want it to contribute to your
gaining maximum professional benefit while attending the Festival or Market.
Thank you for your interest.

Ralph Ackerman, Director
Film Program Cannes

How to Apply for the scholarships or internships:

You can read selected past entries on the right of this page >
It is a simple process to apply: by emailing FPC (ralph@film-program-cannes.com the reasons why/how the
scholarship will help you move your filmmaking career forward. This is not a "needs based" scholarship so no
references about lack of resources to attend without the free tuition scholarship. Just let us know how it will
be of benifit to your filmmaking goals.

eMail Your request Application:
The email application does not need to be long or detailed just answer the question: How will attending the
Master Funding/Producing Course help you? How is FPC different for other such workshops
producing/funding courses. Course details below- Example it takes place during a major film market (Cannes).
It will help your application if you have read the information on the Master Workshop.
Be sure to attach a CV and/or short Bio

Scholarships terms:
This is as "free" tuition scholarship for the FPC "Intensive" master glass during the Film Festival/Market in May 2008. Room and board can be arranged in reserved rooms for attendees only of the Master Class during the Cannes Festival. You must be at least 20 years of age. You may attach your a CV to the email if you wish. The Film Program Cannes is not an official CannesFilm Festival Program.

Internship terms:
Interships (3) get attendees 20% off the special filmmaker tuition fee and acces to speical room and board during the festival.

Email us your appications or question(s). ralph@film-program-cannes.com

To read what past attendees have to say about the
Film Program Cannes "Intensive" CLICK.

New this year at the Film Program Cannes Intensive:
• Montage Screenings of attendees' short films with audience Q&A on Market interest/direction.
• “Emphasis” groups that will work together with their special needs
at the Market with meetings at the “Intensive”.
• Sharing empowers and expands which attendees reach during the Market.
• Short film marketing
• Actor/casting resources at the Market
• Scriptwriter/pitching resources at the Market
• Music/composer resources and marketing during the Market
• Animation resources and marketing during the Market
• Documentary resources and marketing during the Market
• Budget “assist” group emphasis on how “your” budget will help you during Market.
• First year Market group.
Tips from industry experts and guide to special emphasis checklist.
Allows each attendee to work with the proper information and daily
updates and direction as the Market proceeds.

A discription of the intensive master workshop is below:

Film Production and Producing, Understanding and Use of the
Contemporary Film Marketplace

Course Objective
The core course of the Cannes Intensive Workshop is intended to provide a working understanding of the contemporary film market with an emphasis on how the film producer or executive functions
in the market place to optimize the recoupment of funds invested in a film. The strategies and mechanics of successfully bringing films to the market place and negotiating and closing distribution
contracts lies at the core of the course. We will also explore how an independent producer or film company executive utilizes the market to secure financing for future projects or slates of films. The emphasis of the course is on narrative feature films, which is the dominant focus of the Cannes Market. Documentary and short films are marketed in similar ways but primarily at different markets
that are focused on these genres.

Course Design
The course is primarily designed for beginning producers and film production executives with a
working knowledge of film production who intend in the future to either bring completed films to
market or utilize the market to secure financial commitment for future projects. The course content
can also be extremely useful for writers and directors in understanding how content and packaging
will impact upon the potential funding and financial return for a film project. The course will meet for
intensive day long sessions prior to the opening of the market. During these sessions the emphasis
will be on the acquisition of knowledge necessary to understand the workings of the market. After
the festival and market begin the course will meet in the morning to examine the news and trends that
are actually developing in the market. An examination of daily market news published in the
trades will keep serve to develop market skills. Precipitants will be
expected to engage the market by meeting with sellers and
buyers to better understand the process and the success and
failures in the market place.

Course Outline
The first part of the core course is divided in to five basic modules
that will be delivered prior to the opening of the festival. Once the
festival begins the emphasis will shift to what is actually occurring
in the marketplace as events unfold. Most producing courses begin
with the finding of material, however this course begins with an
examination of how films recoup investment. If one begins
with this understanding one is much more likely to have success.

The course is based on the philosophy that if one has a good
script, a good cast will follow. If one has a good script and a good
cast, then the financing will follow, if the project is appropriately
budgeted for the value offered with the script and cast. It really is that simple, but.....finding a good
script and attaching a good cast turns out to be far more difficult than actually securing
the financing. That is the trick.

Attendee comment:
Without reservation, I highly recommend this course. "
from a writer/director 2006 attendee from Los Angeles, California
more attendee comments click>>>.

The Course Details

Film Production and Producing,
Understanding and Use of the
Contemporary Film Marketplace

Part 1: The 5 Basic Modules

1) Understanding the Film
Industry and Film Markets

Course Introduction

Understanding Foreign Sales and pre-sales
Licenses vs. Sales
Licenses and sales agreements
Foreign Delivery Requirements
Market research and strategies
Genres and foreign sales
Star power - still a star system

2) Finding, Developing and Packaging for the
Investment Market

Finding material
Original scripts vs. stories based on other material
Options - strategies and agreements - Chain of Title
Writing and rewriting - Writers' agreements
Dealing with writers' representation
Negotiations

Packaging
Final Script as part of contractual obligations
Attaching Director
Attaching Key Cast and other elements - Lead
Preliminary Budget as a function of project scope and cast

3) Preparing the Financials of the Package, Contracts, Legal

Preliminary Production Schedule - Prior to Final Budget
Shooting schedule and Board prepared by producer
Introduction to Scheduling Software
Production Management Considerations
Preparation of Full Production Budget
Schedule folded into accurate budget
Introduction to Budgeting Software
Multiple Budget Strategies Hi-Lo
Analysis of schedule and location changes on budget

Production Financing
Industry vs. Private monies
Legal entities - Corporation - LLC
Bifurcated financing - Banking contracts - Cash Flow
Guarantors and gap financing based on pre-sales

4) The Producer's Functions During the Making of the Film

Role of Producer in Pre-Production
Relationship with Director and Casting Director
Storyboards and their function
Banking, accounting, auditing and chart of accounts
Union and Guild Negotiations - wavers - union deferrals
Crew considerations and hiring
Locations and scouting - Location contracts
Music and licenses for music on camera
The Production Management team AD PM POC DP
Production Paperwork and record keeping
Product clearances and Product Placement
Rehearsal and the care and feeding of talent

Role of Producer in Production and Post-production
Making the schedule
Production reports
Cost Reports and the Completion Bond Company
Facilitating production and staying out of trouble
Continued care and feeding of Director and cast
Director's cut and then final picture lock
Music - composer, underscore, Master and Synch Licenses
Sound packages and mix
Laboratory Finishing

5) Completion & Delivery, Festivals and Marketing the Film

Completing the Film
Delivery Requirements
Physical Delivery IP IN M&E Video Mastering
Legal and Contract Document Delivery
Preparation of marketing materials
Key Art
Foreign delivery
Marketing strategies and publicity
Publicity agencies
RegisterPress Kits

Completion & Delivery, Festivals and Marketing the Film

Preparing for the Market
Research and identifying distributors by territory
Seeding the market
Market materials and plans
Heading to market, office and communications
Sales negotiations ask and take prices by territories
Talent availability and support and press relationships
Closing deals and financial and banking arrangements

Part 2: Market/Festival Activies & Daily Evaluation

Review of Daily Trades
Screen International, Variety, Hollywood Reporter, and Moving Pictures

Q & A: Previous Day's Festival and Market trends and What's Next?

FPC Intensive attendees join their
Festival/Market activies of choice.
Meetings, panels, research Buyers and sellers,
and research film commissions and financial incentives.

To Register and hold your place in the workshop and lodging CLICK:

To Apply for the FREE and partical tuition Scholarships CLICK: