fera logo
  • WHO WE ARE
    • About Us
    • Our People
    • Our Members
    • Work With Us
  • MEET THE DIRECTORS
  • NEWS
  • PUBLICATIONS
  • WHO WE ARE
    • About Us
    • Our People
    • Our Members
    • Work With Us
  • MEET THE DIRECTORS
  • NEWS
  • PUBLICATIONS

Advocacy, Artificial Intelligence, Authors' Rights, News

Joint Statement on Artificial Intelligence and the Draft EU AI Act

26 September 2023

Authors’, Performers’ and Other Creative Workers’ Organisations Joint Statement on Artificial Intelligence and the Draft AI Act

 

We represent several hundred thousand professional authors, performers, and other creative workers and artists, who rely entirely on their ability to license and control the use of their work, as well as their voice, likeness, and other personal data, to make a living. We all share a common concern as generative AI rapidly spreads in a legal environment which is poorly enforced and lacks adequate safeguards regarding the use of our members’ works and personal data for AI training purposes. Equally problematic are the numerous unauthorised, abusive, and deceptively transformative uses of our members’ protected works and personal data by AI-powered technologies.

Our eyes are on the EU AI Act, which represents the first attempt by a major regulator to establish a legal framework for the advancement of this technology, while safeguarding fundamental societal and individual rights. As the negotiation of this Proposal enters its final “trilogue” stage, we must reiterate our position and insist on the absolute need for ahuman-centric approach to regulating generative AI. This approach should recognise, secure and enforce the right of our members to control the use of their artistic creations during the machine-learning process. To make sure it protects human artistry and creativity, it must be built upon principles of informed consent, transparency, fair remuneration and contractual practices.  

We acknowledge that AI represents an extraordinary technological advancement with immense potential to enhance various aspects of our lives, including in our sectors. However, it is crucial to recognise that alongside these benefits, there exists a darker aspect to this technology. Generative AI is trained on large sets of data and huge amounts of protected contents scraped and copied from the internet. It is programmed to deliver outputs that closely mimic and have the ability to compete with human creation. This technology poses several risks to our creative communities:

Firstly, the protected works, voices, and images of our members are often used without their knowledge, consent and remuneration to generate content. Some of these uses may harm their moral and personality rights and prejudice their personal and professional reputation. Additionally, there is a risk that their own work may become displaced, forcing them to compete against their digital replicas, with dire economic consequences. There is also a broader societal risk, as people may be led to believe that the content they encounter—whether in text, audio, or visuals—is a genuine and truthful human creation, when it is the mere result of AI generation or manipulation. This deception can have far-reaching implications for the spread of misinformation and the erosion of trust in the authenticity of digital content.

AI cannot be permitted to develop in a manner that disregards fundamental rights, such as authors and performers rights, image, and personality rights, and it should not be employed in ways that may deceive the general public. As the AI Act approaches its final stage of negotiations, the creative professionals we represent request absolute transparency to be prioritised. This is essential to ensure that informed consent and fair remuneration can be agreed upon, effectively implemented and enforced in relation to both the input(protected contents and data used by machine-learning) and the output (results generated).

Authors, performers and other creative workers should be informed and have accessible means to give or withhold authorisation when their protected contents or personal data are used, or are planned to be used, to train AI. This is essential for them to be able to engage on fair terms with those using and benefiting from their creative contents and their value, determining aspects such as the scope, purpose and length of usage and how they may be remunerated for such use. At present, neither the CDSM directive (and in particular Article 4 and its so-called “opt-out” mechanism) nor the GDPR are adequately enforced in this radically new technological environment. It is crucial to acknowledge that none of the protections built into these legal instruments has a slightest chance to work if strict transparency requirements are not placed upon developers of generative AI. We welcome the European Parliament proposals to include specific transparency requirements for AI foundational models, but it is paramount to further enhance these safeguards by encompassing the reproduction of any protected works and any personal data for purposes of training these models. Scraping and mining to train AI were initially permitted for research and trend analysis purposes; today, this has become an integral part of generating content: legislation must reflect this change in the use of protected works and personal data.

The AI Act should also impose strict visible and/or audible labelling obligations to all deployers of generative-AI powered technologies, warning the general public about the fact that what they are watching, listening to or reading has been altered or generated by AI. While these obligations may be adapted to the nature of the content in order not to hinder its exploitation, we firmly reject broad exceptions that would render labelling obligations practically meaningless, such as when it is deemed “necessary for the exercise of the right to freedom of expression and the right to freedom of the arts and sciences guaranteed in the Charter of Fundamental Rights of the EU”, or “where the content is part of an evidently creative, satirical, artistic or fictional work”.

We urge the European institutions to agree on a balanced regulation that not only forwards the advancement of AI technologies but also promotes original human creativity in our societies and preserves the rights and livelihoods of the authors and artists we represent.

 

CEATL (European Council of Literary Translators’ Associations) was created in 1993 as a platform where literary translators’ associations from different European countries could exchange views and information, and join forces to improve status and working conditions of translators. It now unites 34 member associations from 26 countries across Europe, representing some 10,000 individual literary translators.

Web: www.ceatl.eu / EU Transparency Register ID: 65913704675-82

ECSA (European Composer and Songwriter Alliance) represents over 30,000 professional composers and songwriters in 27 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org / EU Transparency Register ID: 71423433087-91

EFJ (European Federation of Journalists) is the largest organisation of journalists in Europe, representing over 320,000 journalists in 73 journalists’ organisations across 45 countries. The EFJ is recognised by the European Union and the Council of Europe as the representative voice of journalists in Europe. The EFJ is a member of the European Trade Union Confederation (ETUC).

Web: www.europeanjournalists.com / EU Transparency Register ID: 27471236588-39

EGAIR (European Guild for Artificial Intelligence Regulation) is a network of creatives and associations from all over Europe, lobbying for the protection of artists’ works and data from AI companies. Originally founded by MeFu, the Italian association of comic book creators, EGAIR now represents over 20.000 creatives, artists and associations.

Web: www.egair.eu / EU Transparency Register ID: 385629348610-21

EWC (European Writers’ Council) is the world’s largest federation representing solely authors from the book sector and constituted by 49 national professional writers’ and literary translators’ associations from 31 countries. EWC members comprise over 220.000 professional authors, writing and publishing in 33 languages.

Web: https://europeanwriterscouncil.eu / EU Transparency Register ID: 56788289570-24

FERA (Federation of European Screen Directors) represents film and TV directors at European level, with 48 directors’ associations as members from 35 countries. Founded in 1980, FERA speaks for more than 20,000 European screen directors, representing their cultural, creative and economic interests.

Web: https://screendirectors.eu / EU Transparency Register ID: 29280842236- 21

FIA (International Federation of Actors) is a global union federation representing performers‘ trade unions, guilds and professional associations in about 70 countries. In a connected world of content and entertainment, it stands for fair social, economic and moral rights for audio-visual performers working in all recorded media and live theatre.

Web: www.fia-actors.com / EU Transparency Register ID: 24070646198-51

FIM (International Federation of Musicians) is the only body representing professional musicians and their trade unions globally, with members in about 65 countries covering all regions of the world. Founded in 1948, FIM is recognised as an NGO by diverse international authorities such as the ILO, WIPO, UNESCO, the European Commission, the European Parliament or the Council of Europe.

Web: https://www.fim-musicians.org / EU Transparency Register ID: 01953872943-65

FSE (Federation of Screenwriters in Europe) is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 organisations from 19 countries, representing more than 7,000 screenwriters in Europe.

Web: www.federationscreenwriters.eu / EU Transparency Register ID: 642670217507-74

IAO (International Artist Organisation) is the umbrella association for national organisations advocating for the rights and interests of the Featured Artists in the music industry. Our main interests are transparency, the protection of intellectual property rights and a fair reflection of the value an artist’s work generates.

Web: www.iaomusic.org / EU Transparency Register ID: 490166825799-90

IFJ (International Federation of Journalists) is the world’s largest organisation of journalists, representing 600,000 media professionals from 187 trade unions and associations in more than 140 countries.

Web: www.ifj.org / EU Transparency Register ID: 999725935832-94

UNI MEI – UNI – Media, Entertainment and Arts unites over 140 unions and guilds to raise standards and enforce rights for more than 500.000 creatives, technicians and auxiliary workers. Together, our members work for a fair, inclusive, equal, and sustainable global entertainment industry and a just transformation.

Web: www.uniglobalunion.org / EU Transparency Register ID: 605859248462-93

UVA (United Voice Artists) is a global coalition of voice acting guilds, associations, and unions that have united to pursue their shared goals of protecting and preserving the act of creating, in particular, through the human voice. This collaborative effort brings together prominent associations and unions from the European Union, including France, Spain, Italy, Germany, Austria, Belgium, and Poland, as well as organizations in Switzerland, Turkey, the United States of America, Africa and in South America.

Web: www.unitedvoiceartists.com / EU Transparency register ID: 810100650765-18

 

Download the PDF version of the Joint Statement

Tweet
Share
Share
WhatsApp

HIGHLIGHTS

  • Joint Statement ahead of the Culture Council calling to strengthen the Creative Europe – MEDIA Programme
  • Open letter to the attention of Ministers of Culture ahead of the Education, Youth, Culture and Sport Council on 12-13 May 2025
  • Gints Zilbalodis’ Flow wins the 2024 LUX Audience Award

Follow Us


FERA

Who We Are
Meet the Directors
News

FOLLOW US


CONTACT US

FERA AISBL
Rue du Prince Royal 85-87
1050 Brussels, Belgium
+32 2 551 08 94
office@filmdirectors.eu

The Norwegian Guild of Directors (NFR)

nfr@filmdir.no

www.filmdir.no

Picture: Courtesy of Unknown

Elisabet Gustafsson

Honorary Treasurer

Swedish Film Directors, Sweden

Elisabet Gustafsson is a Swedish director and scriptwriter based in Stockholm with a foot in Paris. She just finished her documentary ”Djenné Djenno” that was shot in Mali where she meets her Swedish cousin and childhood idol, who runs a hotel in the desert. Her previous productions are however mainly fiction and her debut feature, “Krakel Spektakel” (2014), was based on Swedish classic children’s books by Lennart Hellsing. Elisabet has always had an international approach as a director and three of her short films have been international co-productions and shot in Estonia and France. Today, she’s in preproduction for a new short, “The Guinea-pig”, based on a true story about a guinea-pig who flew over the city of Stockholm in a homemade balloon. She is also developing a feature film, based on short novels by and together with the acclaimed Swedish writer and actor Jonas Karls

Picture: Courtesy of Unknown

Chiara Sambuchi

ExCo Member (co-opted)

AG DOK, Germany

Chiara Sambuchi was born in Pesaro, Italy. She has directed more than forty documentaries and reportages for several European broadcasters like ARD, ARTE, ZDF, YLE, RAI,. Her feature length documentary films “Wrong planet”, “Good morning Africa!”, “City of women, today”, “Lost children” were and are still presented at major film festivals around the world. She has produced and shot documentary films in post conflict regions of Uganda, in rural areas of Ruanda, in refugee camps at the European borders during the refugees’ humanitarian emergency in 2014 and 2015. Her “Lost children. Thirty thousand minors missing” has been nominated at Prix Europa 2017 for the best European intercultural television programme of the year and got the honorable mention at the Prix Media of the French “Enfance Majuscule”. Her last feature lenght documentary film “The deal” about arms of the Nigerian mafia in Europe premiered in April 2022 at CPH:DOX. Chiara Sambuchi also contributes as speaker at panels and seminars related to the topics of her work, organized by universities, European institutions and NGOs

Picture: Courtesy of Unknown

Klemen Dvornik

ExCo Member (co-opted)

Directors Guild of Slovenia (DSR), Slovenia

Klemen Dvornik (1977) graduated in film and TV-directing at AGRFT (The Academy of Theatre, Radio, Film and Television) in Ljubljana, Slovenia.
Until now, he’s directed more than 500 shows of various genres and more than 20 documentaries, short & full-length films and live concerts and has received nine national and international awards (best film, best documentary, student award, the audience award).He’s been working at the AGRFT since 2010.
In autumn 2017, he was appointed Assistant Professor of television directing.He is currently President of the Alliance of Slovenian Associations of Filmmakers and Chairman of Supervisory Board of AIPA, Collecting Society of Authors, Performers and Film Producers of Audiovisual Works of Slovenia.

Picture: Courtesy of Unknown

Martijn Winkler

ExCo Member

Dutch Directors Guild, The Netherlands

 

Martijn Winkler (1978) is a writer, director and digital creative, working at the intersection of online, cross media and linear audiovisual storytelling since 2003. International and award winning productions (including two Rose d’Ors, an Emmy, a Webby, and an International Format Award at MIPCOM), often with an innovative and/or online component. His latest series Heat, a climate change thriller, was the most awarded short form drama series of 2021.
Martijn is former chairman and current board member of the Dutch Directors Guild, member of EFA and on the Advisory Board of the VU University Amsterdam, department of Arts and Cultural Sciences. He is also co-founder and creative director of production company VERTOV and head of social media and strategy at its sister company, Coebergh Communications & PR in Amsterdam.

Picture: Courtesy of Unknown

Salvador Simó Busom

ExCo Member

ACCIÓN (Spanish Association of Film Directors / Asociación de directores y directoras de cine), Spain

My purpose for aiming to be a member of the Executive Comittee is to tighten the relations between Spanish and European directors. Our association of directors is been in the last years quite present in the developing of the laws and legal canvas of the film industry in Spain, in my opinion is time that the voice of the Spanish directors is also heard in Europe. Is been in the last years that in our country us the directors had begun to feel the belonging to a community, that is not just composed by few more known names but also a huge amount of talented directors that share a common element, the passion for telling stories.

Picture: Courtesy of Unknown

Ida Grøn

ExCo Member

The Association of Danish Film Directors, Denmark

I’m a European who was broad up on a cross road of farmers, academics and artists from different cultures and moving quite a bit. So I became an independent documentary film director educated at the NFTS in the UK. I’ve exhibited the VR-real life video installation Keep in Touch (2008) at the National Gallery of Denmark and travelled the world with my professional debut “The Kid and the Clown” (2011). Since then I’ve made a lot of national TV, lately the tv-success “William – The Impossible Choice” (2022). My creative feature “Staybehind – My Grandfathers Secret War” (2017) created a lot of attention on Stay Behind intelligence in the broad Danish public. At the moment I’m in the development of two creative feature documentaries supported by the Danish Film Institute and an art film. Since 2019 I’ve been on the board of the association of Danish Film Directors where my focus is to expose and bring down the amount of unpaid work of film directors, and the continued existence and development of film as art form. Recently I initiated a collaboration with International Media Support to help Ukrainian filmmakers making/finishing their films in their current situation through an exchange with Danish filmmakers and production houses

Picture: Courtesy of Unknown

Eugenia Arsenis

ExCo Member

Greek Directors’ Guild, Greece

Eugenia Arsenis
Dr. Eugenia Arsenis, Director – Dramaturg, is the delegate of the Greek Directors’ Guild at the Federation of European Screen Directors since 2016. She has collaborated with international cultural organizations, Royal Albert Hall – BBC Proms, National Greek Television, San Francisco Opera Center, Greek National Opera etc. As a writer, her play, “Women of Passion, Women of Greece”, travelled the past few years from Australia to India and, it has been recently adapted for film.
She has directed documentaries and, she recently directed, adapted and co-produced a film adaptation of the first American play written on the Greek War of Independence. Speaker at international conferences. Lecturer at a numerous Universities and Conservatories around the world. Designer of academic programmes. She was Coordinator and Dramaturg of the Experimental Stage of the Greek National Opera and Dramaturg of the New York Center for the Contemporary Opera. She was the President of the Hellenic Center of the International Theatre Institute, Board Member of the Greek Film Center, Board Member of the National Theatre of Northern Greece and Registrar of Public Relations of the Hellenic Theatre Studies Association.
She is a Member of the Cultural Committee of the Hellenic–American Chamber of Commerce and, the Creative Director of the international forum Artivism Drives Democracy. Her education includes Dramaturgy and Directing at Royal Holloway University of London, Opera Directing at Boston University, Philosophy at University College London, Film Directing and Screenwriting at the New York Film Academy, Music Studies and, she holds a Doctorate in Philosophical Aesthetics from the University of London. Holder of numerous international scholarships among them, Fulbright Scholarship for Artists and Art Scholars.

Picture: Courtesy of Unknown

Martijn Winkler

ExCo Member

Dutch Directors Guild, The Netherlands

Martijn Winkler (1978) is a writer, director and digital creative, working at the intersection of online, cross media and linear audiovisual storytelling since 2003. International and award winning productions (including two Rose d’Ors, an Emmy, a Webby, and an International Format Award at MIPCOM), often with an innovative and/or online component. His latest series Heat, a climate change thriller, was the most awarded short form drama series of 2021.
Martijn is former chairman and current board member of the Dutch Directors Guild, member of EFA and on the Advisory Board of the VU University Amsterdam, department of Arts and Cultural Sciences. He is also co-founder and creative director of production company VERTOV and head of social media and strategy at its sister company, Coebergh Communications & PR in Amsterdam.

Courtesy of unknown

Bill Anderson

Chairman

Directors UK, United Kingdom

 

After university Bill worked for two years on the Fulmar Alpha oil-rig in the North Sea whilst weaning himself off writing dialogue-driven TV dramas like Nailed and lurching towards telling stories with pictures. Creatures of Light, his graduation film from the National Film and Television School won the Chaplin Award for Best First Feature at the Edinburgh Film Festival.
In a TV directing career spanning 30 years, workplace dramas include Mr Selfridge, The Mill and BAFTA-nominated Dockers (the story of their strike dramatised by a writers group of sacked Liverpool dockers, executive produced by their union for Channel 4); historical epics include Daniel Craig in Sword of Honour and Alex Kingston in Boudica (co- produced by MediaPro Studios and shot in Romania in 2002); detective dramas include the pilot of Lewis and writing and directing RTS and Prix Italia-nominated Guardians.
In stark contrast to his work on Spooks and Dr Who, Abrams Press have just published Bill’s first work of prose The Idle Beekeeper, a book about empathy (and raising bees).

 

 

Association of Film Directors (ARRF)

info@arrf.be

www.arrf.be

Verband Filmregie Österreich (Austrian Directors Guild)

office@austrian-directors.com

http://www.austrian-directors.com​


     Screen Directors Guild of Ireland

hello@sdgi.ie

https://www.sdgi.ie/

Austrian Director’s Association (ADA)

office@ada-directors.com

www.ada-directors.com

Picture: Courtesy of Unknown

Valeria Simonte

Communications & Office Coordinator

Originally from Italy, Valeria is currently based in Brussels and works as FERA Communications and Office Coordinator. She has previously worked as Communications intern for sustainable mobility, as well as in regional development. Valeria is passionate about cinema, art and media.

Associazione Nazionale Autori Cinematografici (ANAC)

anac@anac-autori.it

www.anac-autori.it

 

Facebook: www.facebook.com/anac.autori/

Twitter: @ANACautori

YouTube: www.youtube.com/user/ANAClive

gaard

Guilde des Auteurs Réalisateurs de Reportages et Documentaires/ GARRD

http://www.garrd.fr

Tél. 07 85 64 10 81

Rättighetsbolaget /Fackförbundet Scen & Film

info@scenochfilm.se

https://scenochfilm.se

U2R – Union des réalisatrices et réalisateurs

contactu2r@orange.fr

https://www.union2r.fr

Swedish Film Directors (SFR)/Fackförbundet Scen & Film

info@scenochfilm.se

https://scenochfilm.se

Société des Auteurs et Compositeurs Dramatiques (SACD)

www.sacd.fr

Picture: Courtesy of Unknown

Pauline Durand-Vialle

CEO

Originally from Paris, France, Pauline has worked in film distribution and international sales. She joined FERA from her previous position as Deputy Manager in charge of European Affairs at La Société des réalisateurs de films (SRF), where she worked for five years. She is the Chief Executive of FERA since February 2014, and took over the European Audiovisual Observatory’s Advisory Committee Chair in December 2020.

ACCIÓN (Spanish Association of Film Directors / Asociación de directores y directoras de cine)

info@acciondirectores.com

acciondirectores.com

Picture: Courtesy of Unknown

Marco Bellocchio

Marco Bellochio began studying philosophy in Milan but then decided to enter film school. His first film Fists in the Pocket (1965) was funded by family members and shot on family property. He made a big impact on radical Italian cinema in the mid-sixties. In 1968 he joined the Communist Union, and began to make politically militant cinema such as China is Near (1967). In 1991 he won the Silver Bear at the Berlinale for his film The Conviction. The Wedding Director (2006) and Vincere (2009) were both screened at the Cannes Film Festival, the latter in the main competition. Bellochio was awarded the Golden Lion for Lifetime Achievement at the 2011 Venice Film Festival.

Picture: Courtesy of Unknown

Isabel Coixet

Isabel Coixet started making films when they gave her an 8mm camera as a gift for her first communion. After a BA degree in History by the University of Barcelona, she worked in advertising and spot writing. She won several accolades for her spots and finally founded her own production company in 2000, Miss Wasabi Films.

In 1988, Coixet made her debut as a screenwriter and helmer in “Demasiado viejo para morir joven”, which earned her the nomination for Best New Director in the Goya Awards.

International success came in 2003 with the intimate drama “My life without me”, a film based on a short story by Nancy Kincaid where Sarah Polley plays Ann, a young mother who decides to hide to her family that she has a terminal cancer. This Spanish-Canadian coproduction was highly praised at the Berlin International Film Festival.

Coixet has also made outstanding documentaries such as “Invisibles”, a selection of Panorama for the 2007 Berlin Film Festival, on Médicos sin fronteras or “Journey to the Heart of Torture”, filmed in Sarajevo during the Balkan War and awarded in October 2003 in the Human Rights Film Festival.

Isabel also directs Spain in a day, a collective film that shows how was a day in the life of our country, specifically on October 24, 2015, through images recorded by anonymous people through their tablets, phones or cameras. Based on Ridley Scott’s idea, “Life in a Day”, and with music by Alberto Iglesias, it premiered at the 2016 San Sebastian International Film Festival.

From Miss Wasabi Films, Coixet decides to support the production of projects by new women directors to favor the visibility of works directed by women in the world of cinema. A documentary and a short film have been produced within this initiative, as well as a fiction feature film and another short film in development.

Her first series, “Foodie Love”, explores the most essential of human relationships through the encounters of a couple and the delicacy and diversity of the food. It premiered on HBO in December 2019.

“Nieva en Benidorm” is her latest feature film. Produced by El Deseo and filmed in Benidorm during the first months of 2020, the film stars Timothy Spall, Sarita Choudhury, Carmen Machi, Anna Torrent and Pedro Casablanc. It is currently in the post-production phase.

Picture: Courtesy of Unknown

Heddy Honigmann

Heddy Honigmann has lived and worked in the Netherlands since 1978. Since then she has made a film nearly every year, both documentaries and feature films. Music often plays a major role in her films, from The Underground Orchestra (1997, about musicians in the Paris metro) to Crazy (1999, in which Dutch Blue Helmets talk about their favorite music during peace missions) and Around the World in 50 Concerts (about the Concertgebouw Orchestra, opening film of IDFA in 2014). Honigmann was guest of honor at IDFA in 2014, with a Masterclass, retrospective and Top 10 of her favorite documentaries. In 2015 she became a member of the Academy of Arts at the KNAW and in 2016 she received the Oeuvre Award from the Prins Bernhard Cultuurfonds. Her long documentaries Crazy and Forever received Golden Calves (the Dutch equivalent of the Academy Awards). Crazy also won IDFA’s Audience Award.

Picture: Courtesy of Unknown

Michaël R. Roskam

Michaël R. Roskam attended St. Lucas Academy of Fine Arts in Brussels, where he studied painting and contemporary art, and the Binger Film Institute in Amsterdam where he graduated in 2005 with a master’s degree in script writing. After several jobs as a journalist for Flemish newspaper De Morgen and a copywriter, he directed his first short film entitled Haun in 2002. This was followed by Carlo (2004), another short film which won the Audience Award at Leuven International Short Film Festival. In 2005, he made The One Thing To Do and, in 2007, Today is Friday, based on an Ernest Hemingway short story, that was filmed in Los Angeles. Roskam made his feature film debut with Bullhead  (prod. Savage Film) which was released in 2011. In 2012 the film was nominated for an Academy Award for Best Foreign Language Film. He was named by Variety one of the “10 directors to watch”. For Bullhead he received the Magritte Award for Best Screenplay and the André Cavens Award for Best Film by the Belgian Film Critics Association (UCC), among over 35 other international awards. In June 2012, Roskam was invited to join the Academy of Motion Picture Arts and Sciences. Bullhead became a major critical and commercial success, while launching the careers of actor Matthias Schoenaerts and DOP Nicolas Karakatsanis, who have both become Roskam’s close collaborators. In 2014 The Drop (prod. Chernin Entertainment), Roskam’s first US-based film, was released worldwide through Fox Searchlight, featuring Tom Hardy, Noomi Rapace, the late James Gandolfini and Matthias Schoenaerts. In 2015 he directed the first two episodes of Berlin Station, a television series produced by Anonymous Content. His next European feature film, Le Fidèle (prod. Savage Film & Stone Angels), featuring Matthias Schoenaerts and Adèle Exarchopoulos, will start shooting in Spring 2016.

Picture: Courtesy of Unknown

Charles Sturridge

Charles Sturridge’s work includes the multi award winning adaptation of Evelyn Waugh’s ‘Brideshead Revisited’ with Jeremy Irons and Laurence Olivier, ‘Gulliver’s Travels’ with Ted Danson, Peter O’Toole and Omar Sharif. In 2000 he wrote and directed ‘Longitude’ (C4) with Michael Gambon and Jeremy Irons and in 2002 ‘Shackleton’ with Ken Branagh   both winning Best Drama Serial BAFTA’s. In 2009 he directed ’The No 1 Ladies Detective Agency’ and the ‘The Road To Coronations Street’ which won the RTS and BAFTA awards for Best Single Drama. In 2012 he wrote and directed Daphne Du Maurier’s ‘The Scapegoat with Matthew Rhys and in 2013/14 he directed episodes of ‘Dates’ and “Da Vinci’s Demons’. His most recent production was ‘Churchill’s Secret’ starring Michael Gambon, Lindsay Duncan and Romola Garai. His films include: Runners, A Handful of Dust, Where Angels Fear to Tread, Aria, Lassie and the BAFTA winning Fairytale, A True Story.

Picture: Courtesy of Unknown

István Szabó

István Szabó was the President of FERA from 2008 to 2012. István Szabó was born in Budapest, in 1938. He was an assistant film director and later a film director of MAFILM Hungarian Film Studios until the winding-up of the company. His films have won several international film awards such as the nominations of the American Film Academy for four times for the films : ‘Confidence’, ‘Mephisto’, ‘Colonel Redl’, and ‘Hanussen’, and the Academy has nominated his film ‘Being Julia’ for best female artist. His films have been nominated twice for the Golden Globe award (Colonel Redl, Sunshine). ‘Mephisto’ has won the Academy award and ‘Colonel Redl’ has won the British Academy Award. ‘Mephisto’ has won the David di Donatello Award as well; ‘Sunshine’ has won the Canadian Grand Prize. The scripts of ‘Sweet Emma’, ‘Dear Böbe’ and ‘Sunshine’ won the prizes of European Film Academy for best screenplay. ‘The Day of Daydreaming’ and ’25 Fireman’s Street’ have won the prizes of Locarno Film Festival; ‘Father’ has won the Grand Prix of Moscow Film Festival; ‘Confidence’ and ‘Sweet Emma’, ‘Dear Böbe’ have won the prizes of Berlin Film Festival for best director; ‘Mephisto’ and ‘Colonel Redl’ have won the prizes at the Cannes Film Festival. From the enlisted films above many of them have won the prizes of Hungarian Film Critics and the prizes of Hungarian Film Week.

The Civil Society of Multimedia Authors (SCAM)

pole.auteurs@scam.fr

http://www.scam.fr/EN

Norwegian Film Makers Association (NFF)

post@filmforbundet.no

www.filmforbundet.no

100 Autori

coordinamento@100autori.it

www.100autori.it

Greek Film Directors and Producers Guild (ESPEK)

espek2@gmail.com

https://espek1.wordpress.com/

Greek Directors’ Guild

ees@ath.forthnet.gr

http://www.greekdirectorsguild.gr/

Directors Guild of Germany – Film & TV Directors Guild (BVR)

info@regieverband.de

www.regieverband.de

German Documentary Association (AG DOK)

agdok@agdok.de

www.agdok.de

Society of Film Directors (SRF)

contact@la-srf.fr

www.la-srf.fr

Unie van Regisseurs (UvR)

info@unievanregisseurs.be

www.unievanregisseurs.be

Directors Guild of America (DGA)

dgawebsupport@dga.org

www.dga.org

Collecting Society of Authors, Performers and Film Producers of Audiovisual works of Slovenia (AIPA, k. o.)

info@aipa.si

www.aipa.si

Dacin Sara

office@dacinsara.ro

www.dacinsara.ro

F©R – Filmforbundets Organisasjon for Rettighetsforvaltning

medlem@filmforbundet.no

www.filmforbundet.no

Israel Directors Guild

info@directorsguild.org.il

http://directorsguild.org.il/english/

Society For The Protection Of Audio-Visual Authors’ And Producers’ Rights (FILMJUS)

fj@filmjus.hu

www.filmjus.hu

Directors UK

info@directors.uk.com

www.directors.uk.com

Swiss Filmmakers Association (ARF/FDS)

info@arf-fds.ch

www.arf-fds.ch

Directors Guild of Slovenia (DSR)

info@dsr.si

www.dsr.si

Serbian Film Directors Association (AFRS)

darkolun@gmail.com

Polish Filmmakers Association (SFP)

biuro@sfp.org.pl

www.sfp.org.pl

Macedonian Film Professional’s Association

contact@dfrm.org.mk

www.dfrm.org.mk

Dutch Directors Guild (DDG)

info@directorsguild.nl

www.directorsguild.nl

Producers and Directors of Montenegro

office@ufpr.me

www.afpd.me

Luxembourgish Association of Filmmakers and Scriptwriters (LARS)

www.lars.lu

Lithuanian Filmmakers Union (SKL)

lks@kinosajunga.lt

www.kinosajunga.lt

Latvian Filmmakers Union (LFU/LKS)

info@kinosavieniba.lv

www.kinosavieniba.lv

Guild of Icelandic Film Directors (SKL)

skl-filmdirectors@gmail.com

www.skl-filmdirectors.net

Association of Hungarian Film Directors (AHD)

Association of Finnish Film Directors (SELO ry)

info@selo.fi

www.selo.fi

Estonian Filmmakers Union

kinoliit@kinoliit.ee

www.kinoliit.ee

Danish Film Directors

mail@filmdir.dk

www.filmdir.dk

Association of Czech Directors and Screenwriters (ARAS)

info@aras.cz

www.aras.cz

Directors Guild of Cyprus

directorsguildcy@gmail.com.cy

www.cyprusdirectors.com

Croatian Film Directors Guild (DHFR)

dhfr@dhfr.hr

www.dhfr.hr

Union of Bulgarian Film Makers (UBFM)

sbfd@sbfd-bg.com

www.filmmakersbg.org/ubfm-eng.htm

Directors Guild of Bosnia and Herzegovina

urirubih@gmail.com

https://www.facebook.com/urirubih/

Film Director Guild of Azerbaijan (AZDG)

info@audiovisual.az

www.audiovisual.az