Programme 2017, to be published by end of May 2017 Methodology, Skills and Professional Benefits Participants → Applying to the Seventh MEDICI Workshop MEDICI Coordinator and Head of Studies «The 12 Labours of Hercules» Report of the Reports – Workshops 1 to 4 Reports Previous Workshops

Schedules Previous Workshops

First Workshop — 25 to 27 April 2012 — Stockholm (Sweden)
Strategies and Initiatives for the Film Funders [Show/Hide the programme]

Wednesday 25 April 2012
13.00 Welcome and Introduction
13.30 — 16.00 MODULE 1 — Role of Public Film Funds
Moderator: Katriel Shory
Whatever our structure as a public fund is (independent organization or division within a governmental entity), we are facing new challenges and shared issues (budget cuts, political vs cultural issues, economic benefits…)
How do we understand our mandate? What do we do and why? Do we represent the voice of the public entities or the voice of the audiovisual sector? How can we bridge political and film sector issues? How – as a public service organization – can we be proactive as a leader in policy making? Are there innovative ways of addressing film policy?
16.00 — 17.00 Break and late check-in
17.00 — 19.30 MODULE 2 — Partnership with Industry
Moderator: Katriel Shory
Part 1: The viability of the audiovisual sector depends more and more on public money, increasing the responsibility of the film funds.
What kind of a relation do we have with the industry? How far can we interfere in the film business? How far can film industry be involved in funds policies? How can funds collaborate effectively?
Part 2: The role of the Producer (Producer as Entrepreneur)
What to expect from the producer in this context? More responsibility? More entrepeneurship? How does it fit in a protected and regulated environment?
19.30 — 21.00 Dinner
21.00 — 21.45 Feedback and consolidation – 3 groups to discuss issues pertaining to Modules 1 and 2
Thursday 26 April 2012
10.00 — 13.00 MODULE 3 — Strategies
Moderator: Katriel Shory and Joëlle Levie
Part 1: Identifying strategies that best serve the responsibility and control of public support, and that deliver films able to meet and answer the cultural and economic environment and challenges.
How can the dynamics and diversity of national cinema be sustained and strengthened? How can the importance of art-house film funding be conciliated with the necessity of offering mainstream films to European audiences? Do we want to support films or companies (sustaining the film industry)? What are the core activities that would better serve the industry (scriptwriting, development, Production, distribution, promotion, professional development…)?
Part 2: The Definition of National Film
What defines a National Film? From points systems to cultural content tests, what are the positive and negative sides of such procedure? In which way are they obstacle to coproduction?
13.00 — 14.30 Lunch
14.30 — 17.00 MODULE 4 — Continuity and Newcomers
Moderator: Petri Kempinnen
The number of creative talents is constantly on the increase, as is the number of films being produced.
How to find the right balance in the support of first-feature versus established directors? Different mechanisms for first-time directors? How second-time directors are evaluated when their first feature failed to meet certain expectations? How to deal with the number of films financed and the diversity of national cinema?
17.00 — 17.30 Break
17.30 — 18.30 Feedback and consolidation – 3 groups to discuss issues pertaining to Modules 3 and 4
19.30 Dinner
Friday 27 April 2012
9.30 — 12.00 MODULE 5 — New Formats
Moderator: Sophie Bourdon
Expert: Inga von Staden
New techniques, new forms of content, new distribution models, new screening devices, and new types of audiences will change all the traditional schemes.
How are we prepared for such changes and transformation? How can we adapt to them and be proactive? What is trans-media or cross-media? What are their specific challenges? How can we benefit from each other's experience? How far are we ready to go in taking initiatives?
12.00 — 13.00 Conclusions and Feedbacks

Second Workshop — 7 to 9 November 2012 — Retz (Austria)
Financing Strategies [Show/Hide the programme]

Wednesday 7 November 2012
13.00 Welcome and Introduction   Joëlle Levie – Head of Studies
13.30 — 16.00 MODULE 1 — The Role of Public Film Funds
Moderator: Miroljub Vuckovic (Film Center Serbia)
This issue has been raised and discussed during the First Workshop. Participants have asked to include it again in the Second Workshop in order to discuss more in depth based on the following questions:
What do we want to do? What do we want to achieve? What ambition do we have? Why do we think we have a role to play?
16.00 — 17.00 Break and late check-in
17.00 — 19.30 MODULE 2 — Co-production, Minority and Agreements
Moderator: Danny Krausz (Dor-Films)
How can reciprocity among producers be reconciled with co-production treaties having a legitimate need to favor national films? How to preserve the creative and artistic quality of a co-production? How can funds facilitate co-production procedures?
19.30 — 21.00 Dinner
Thursday 8 November 2012
10.00 — 13.00 MODULE 3 — Financing Tools
Moderator: Jean-Baptiste Babin (Back-Up Films)
Different forms of funding supports are proposed by public funds (automatic, selective, grant, equity participation, recoupable loans, advance on receipts…)
What is at stake behind the notion of those forms of funding? Different forms of recoupable funding (equity, soft loan, interest free loan, investment…). Why recoup? What is the current level of recoupment? How do they collect their share of revenue? Is a cultural grant old-fashioned? What does it means in terms of follow up?
Performance-based Mechanisms
Different funding mechanisms are based on success (box office, festivals, sales…). Which indicators are used to define "success" and/or "performance"? How do producers use this "currency"?
13.00 — 14.30 Lunch
14.30 — 17.00 MODULE 4 — National Funds / Regional Funds – Friends or Competitors?
Moderator: Gregory Faes (Rhone-Alpes Cinema)
Assisted by Charlotte Appelgreen (CineRegio)
The weight of regional funds is becoming increasingly important in film financing; it may represent a real added value and an alternative to more traditional national funds. With variously identical and different goals, how can the two cohabit?
17.00 — 17.30 Break
17.30 — 18.30 "Open space" module for important and / or unexpected issues raised during the previous modules and needing to be discussed further.
19.00 — 20.30 Dinner
Friday 9 November 2012
9.30 — 12.00 MODULE 5 — A diversity of voice… a real challenge
Moderator: Anna Serner (Swedish Film Institute)
Funds are facing real challenges to reach "diversity" in their decision process. How to deal with gender representativity? Regional production companies and authors? Diversity of genres (thriller, comedy, genre films…)? Diversity of cultural communities?
12.00 — 13.00 Conclusions and Feedback

Third Workshop — 17 to 19 September 2013 — Limelette (Belgium)
Impact of Digital in Film Business and Production Decision Making Processes [Show/Hide the programme]

Tuesday 17 September 2013
19.00 Arrival of Participants
19.30 — 21.00 Welcome Dinner
21.00 — 22.30 Introductory Meeting
Presentation of Participants
Summary of First and Second Workshops (lessons learned, options, etc.)
Introduction to Third Workshop
Wednesday 18 September 2013
Impact of Digital in Film Business and Production
Methodology: each module is organized in two parts. The first part will present evidence relevant to the question, drawn from research and case studies, from film and other related industries. The second part will take the form of a PEST analysis asking participants to consider a set of potential responses to the question.
9.00 — 9.15 Introduction (The Perfect Storm/the workshop method - PEST analysis)
9.15 — 10.45 MODULE 1 — Should we support less films for an overcrowded market, or focus on ensuring that the films we select find audiences on new platforms?
Briefing including facts and figures, covering the following issues
  • The increase in the number of films made against the availability of screens
  • The reduction in access to European film through traditional channels, notably cinema, DVD and terrestrial television
  • The vast increase in choice of films on all platforms
  • The potential for new access to audiences through new platforms
Group(s) discussion (PEST analysis of a set of options):
Should we:
  1. Support fewer films with more money with an emphasis on ‘quality’?
  2. Support the same or more films but focus on new forms of distribution?
  3. Support fewer films for primarily theatrical release but focus the release of smaller or more innovative films and cross-media projects on new platforms and forms of distribution?
11.00 — 12.45 MODULE 2 — How does the dramatic increase in audience data and a demand-driven economy affect our decision-making processes?
Briefing including facts and figures, covering the following issues:
  • Analysis of the growth of demand-driven services
  • Analysis of the growth in audience knowledge
  • Social media and personalisation
  • Evidence of changing demand and how it affects content
  • How on-demand economics is affecting the industry value chain
  • The difference between ‘demand’ and ‘market’
Group(s) discussion:
Should we:
  1. Ensure that our decisions remain firmly fixed on a core aesthetic and cultural criteria without reference to demand?
  2. Match our selection criteria to known audience demand patterns locally and internationally?
  3. Change our processes to reflect how films can now build audiences and generate and sustain their own demand?
14.30 — 15.45 MODULE 3 — How far do we need to adapt to new business models, and how far can we seek to protect traditional industrial structures?
Briefing including facts and figures, covering the following issues:
  • An overview of the pressure on theatrical, DVD, television, etc
  • Research on coming film business landscape
  • Analysis of windows debate
  • Analysis of territorial sales debate
  • Overview of new models
Group(s) discussion
Should we:
  • 1. Protect the existing value chain and the central role of theatrical as a means of supporting both industry and culture
  • 2. Support films regardless of how they are being released and are open minded about the importance of theatrical
  • 3. Explore the potential of new business models and platforms we extend our selection criteria to cross-media projects
16.00 — 17.30 MODULE 4 — Conclusions
The concluding session will bring together the themes of the day and think about the environment that would need to be taken into account in the decision process.
The session will try to distil the discussion into a set of ideas that will help the discussion of the second day and inform how decisions could be taken.
The emphasis will be on finding practical approaches to the big questions, including:
  • What is a film as of today?
  • What is a film in a digital on-demand economy?
  • How far should funders take audience demand into account in their objectives?
  • Is protecting the existing industry a responsibility of funders, or should it be exploring innovation in the interests of connecting content and audience?
17.45 — 19.00 Open Space
20.00 — 22.00 Dinner
Thursday 19 September 2013
Decision Making Processes
Moderator: Bernhard Stampfer
Methodology: each module will start with 2 to 3 case studies and/or experiences presented by participants and/or guest speaker(s). This will be followed by group discussions and a plenary session to share each group's results.
9.00 — 9.15 Introduction – Recap of key issues of Day 1
9.15 — 11.00 MODULE 5 — Goals and selection processes/methods
The decision process is key in the management of public funds. Methods vary from single person (director) decisions to board or committee driven ones. Funding decisions and funding goals are closely intertwined.
Case studies presented by selected participants:
  • What are the objectives of film funds in financing projects (culture, infrastructure, employment, inward- investment et al)?
  • Is “development” given sufficient weight?
  • How far are those objectives influenced by broadcasters and their respective programme demands?
  • Which selection processes/methods are being used?
Group(s) discussion:
  1. Is there “the” ideal method or can they be complimentary?
  2. Are these methods transparent enough to the producers?
  3. How “co- production – friendly” are these methods?
  4. Should such methods be harmonised across Europe?
11.15 — 12.45 MODULE 6 — Selection criteria
Based on the discussion results from Module 2, we have a deeper look into selection criteria now and in the future: selective funds aim to support “quality” projects that will gain public recognition, reach an audience, be selected by the major festivals and most often service broadcast demand. To reach these targets, funds are often opposed to multi- functional selection criteria.
Case studies presented by selected participants and comparison of sets of criteria used by funds
  • Comparison of sets of criteria used by funds
Group(s) discussion:
  1. How to evaluate “quality”?
  2. How to prioritize selection criteria?
  3. How to achieve a balance between a project's financial and cultural elements?
  4. How to achieve a balance between supporting an industry or a project?
  5. How to achieve a balance between reaching audience and supporting new talents?
  6. Are these selection criteria sufficient to capture the digital future?
13.00 — 14.15 Lunch
14.15 — 15.30 MODULE 7 — Profiles of experts, consultants, selection committee members
Project assessment needs various specialized skill-sets: writing, packaging, legal issues, production, distribution, international marketing et al., hence selection committees most often consist of working professionals.
Case studies presented by selected participants based on the following issues:
  • The appointment of members of selection committees
  • Skills/profiles required now and in the future (!)
  • Procedures and/or regulations to guide selection committee members
  • Duration of tenure, securing sustainability, planning stability
Group(s) discussion:
  1. Identify negative and positive aspects of the skill/profile of actual member
  2. Size of a selection committee, number of members, pros and cons of small vs. large
  3. To what extent are committee members responsible for their work?
15.45 — 17.00 MODULE 8 — Relations with higher authorities and producers
1. Relations with the political levels
Politicians expect funding bodies to be successful, funded films to gain high visibility at all levels and the money spent to have equally visible economic and employment effects. What are the experiences regarding political pressures at times of economic downturn and budgetary constraints?
How do public funds establish and maintain good communication with politicians in charge and their respective administration?
A brief discussion about the current state of public funding in Europe.
2. Relations with the producers
Relationships with producers (applicants) before, during and after the application process are of significant importance as funding decisions can have a massive impact on the production companies, their collaborators and employees. If negative, funding decisions can provoke frustration, anger and aggression.
Case studies presented by selected participants based on the following issues:
  • How can public funds establish and maintain good communication with producers (before, during and after decision process)
Group(s) discussion:
  1. Can funds interfere and propose changes in projects?
  2. Where is the dividing line between “good communication” and “manipulation” or direct influence?
  3. How do funds maintain communication with sales and distribution?
17.00 — 18.15 Conclusions on Day 1 and Day 2 (Bernard & Michael)
18.30 Cocktail followed by Closing Dinner

Fourth Workshop — 16 to 18 September 2014 — Štiřín (Czech Republic)
Promotion, Distribution and Success Evaluation [Show/Hide the programme]

Tuesday 16 September 2014
Evening Welcome and networking dinner
Presentation of newcomers, review of the agenda, presentation of the moderators and guests.
Wednesday 17 September 2014
9.00 — 11.00 MODULE 1 — The Role of Public Funds in Promotion
Public funds have adopted a variety of positions and tactics to promote the films they support. Some funds avail themselves of their website, newsletter and/or other means to promote and inform professionals, politicians and other parties. Others have created a specific entity to actively promote their industry and projects at festivals, on the market and/or for special events.
Is it the role of public funds to be pro-active as a “promoters” of the projects they support, and/or of the professionals active in their country? To what extent can they become involved? Who are the persons concerned? Do their actions bring concrete results (political level, sales, selection for festivals, etc.)? What are their relations with sales agents and distributors?
11.15 — 12.45 MODULE 2 — Release Windows
The question of release windows has become unavoidable. Access to content has changed radically since the appearance of VOD platforms and the decrease in box office revenues. Even if theatrical releases remain the best option for feature films, the pressure to change the rules for film releases must be considered.
What kind of an influence can a film fund have over its own release? How can other market responses (straight to DVD or TV and, soon, to VOD) be dealt with? What about the holdback periods?
13.00 — 14.00 Lunch
14.30 — 16.15 MODULE 3 — VOD Platforms as Potential Friends of the EU Cinema
The first day of the Third MEDICI Workshop was devoted to the impact of digital means on film business and production. Participants discussed the need to share knowledge with the industry about new distribution platforms, and a desire to see European films – mostly art-house films – attract more people and find an audience. With the arrival of VOD platforms, they expressed concern over whether people would watch art-house online.
What will happen five years from now? Can what has happened to music be an example for films? Do film funds support VOD platforms in their own country? Is it the role of the funds to initiate the creation of national VOD for their indigenous productions (all categories)?
16.30 — 18.15 MODULE 4 — Distribution: Who and What to Support?
Responsibility for distribution no longer lies with the distribution companies alone. Today, the distribution of a film (VOD platforms, theaters, producers, etc.) involves newcomers on the scene: a different expertise and a specific distribution strategy must be adapted to each film.
Who to support and what kind expenses to finance?
18.30 — 19.45 Open Space
20.00 — 22.00 Dinner
Thursday 18 September 2014
9.00 — 10.45 MODULE 5 — Finding and Addressing Audiences
Films are made to be seen and to find their target audience. Today, this represents a real challenge, given the market's fragmentation and the changes in consumer behavior. Indeed, nowadays the choice of both a film's content and its support is up to the consumer.
What tools are required for funds and the film industry to gain better knowledge of the audience and the market? At what moment do funds ask producers whether they are taking the audience into account in the development or production of their projects?
11.00 — 12.45 MODULE 6 — How to Evaluate Success?
Success evaluation is the key for film fund managers. It is a matter of accountability, not only with regard to the politicians and other instances, but also as to their own management and decision process. It can influence not only the subsidy level for a given project or producer but, in some cases, also determine their very eligibility, their evaluation criteria, the genre of the films for which support is sought, etc.
Which tools can a film fund develop to evaluate its strategies and policy?
How to make best use of success evaluation results?
What data should be used: that of the European Audiovisual Observatory? Or the European film audience report drawn up for Creative Europe? Still other data?
13.00 — 14.30 Lunch
14.30 — 17.00 Fourth MEDICI Workshop: List of Results
Each workshop draws up its own report but without any conclusions and/or statements. The decision to leave such closing remarks until the four-workshop series in its entirety comes to its end has been made deliberately by the participants thereof.
Has everything been covered? To what extent have skills been transmitted to, and acquired by, the participants? Has there been any impact on the management of funds, programs and processes and/or procedures? Has a network of film funders creatively active in the defense and improvement of European films been established? To what degree have participants gained any expected professional benefits?
17.00 — 17.30 Departure for airport

Fifth Workshop — 29 September to 1 October 2015 — Santpoort (The Netherlands)
International Co-productions, Development, Gender and quotas [Show/Hide the programme]

Tuesday 29 September 2015
Evening Welcome and networking dinner
Presentation of newcomers, review of the agenda, presentation of the Moderators and Guests
Wednesday 30 September 2015
Coproductions, an Unavoidable Way to Finance Films
9.00 — 11.00 MODULE 1 — Coproduction landscape (volume, coproduction treaties, cinema vs television, financial, non official)
Presentation of data by Karin Schockweiler, Luxembourg Film Fund and Emmanuel Roland, Wallonia Brussels Federation
The first step to start the day is to have an overview of the coproduction landscape from the funds point of view. What is the portion of film supported by the funds that are coproductions with international countries (majority and minority, financial, service deals)? What are the limits of the coproduction treaties? Who and how to decide to sign a coproduction treaty? What is the experience of those countries for the funds that have already signed a treaty with them? What about coproduction treaties for TV productions and distribution?
11.15 — 12.45 MODULE 2 — Financing issues: for the producers, for the funds (specific programmes, decision timeline, recoupment, financial coproduction)
Guest speaker: Roberto Olla, Eurimages
Majority coproductions are considered as national productions and are financed at the same level. The financing of minority ones is a real challenge for the funds. Some of them have created specific programmes dedicated to minority coproductions. Is it the solution? What is the reasonable level of funding per project? What are the selection and decision criteria? Does it really help producers to develop partnership and reciprocity partnership? How much does it affect the production budget?
13.00 — 14.00 Lunch
14.30 — 16.00 MODULE 3 — Legal issues: what documents or specific requirements to ask and what for? Can the majority producer take the lead? Do producers have enough coproduction knowledge?
Guest speaker: Pierre Emmanuel Mouthuy, lawyer Belgium
Coproduction means to put together different business practices and requirements from all partners (incl. funds, distributors, private funds, etc.). It means for producers and funds a lot of paperwork and sometimes hard negotiations (mainly recoupment). What are the minimum essential requirements that funds could ask to producers? Could the fund that finances the majority producer be the leader in terms of approval.
16.15 — 17.30 MODULE 4 — Distribution: coproduction opens the access to other countries, does the audience follow?
Coproduction Treaties allow projects to have different nationality and to have access to public funds in each country including distribution subsidies. What are the audience results for those projects in the coproduction countries? At what stage of the production to require a local distributor on board? For what market? Given the difficulty to access audience for national films, how are those films promoted and released? How to attract audience? Could other distribution platforms be allowed in this context?
17.30 — 19.45 Open Space
20.00 — 22.00 Dinner
Thursday 1 October 2015
Development, Gender/Quotas Issue
9.00 — 10.45 MODULE 5 — Development, an underestimated stage in the production process?
Guest speaker: Claud Ladegaard, Danish Film Institute
Most of the projects applying for production subsidy are considered by evaluation committee members or commissioners as not ready for production. There are few reasons, like: the necessity for producers to produce in order to "earn" money for their company, the access to feedback that they can communicate to their director and scriptwriter, the pressure from their director to go into production as soon as possible, etc. What is the level of money dedicated by funds for development? What do funds consider as development expenses? Are coproductions eligible to those funds? What about co-development fund initiatives?
11.00 — 12.45 MODULE 6 — Gender / Quotas issue
Update on funds strategies: Anna Serner, Swedish Film Institute and Isabel Castro, Eurimages
During the Second MEDICI Workshop, the last module was devoted to "gender". Since then, various funds set up working groups or, may even be, specific programmes to allow women to be more supported and present in the film industry. This module will provide an opportunity to share statistics, views and steps already performed by the funds. Does this mean that "quotas" should be implemented to achieve the objectives? These quotas would apply only the gender issue?
13.00 — 14.00 Lunch
14.30 — 17.00 MODULE 7 — What to foresee in the next ten years based on what’s going on now?
Why not spend some time to look to what is happening within the funds? Are they new initiatives, issue of funding, future changes that would be useful to share with their colleagues? How do funds see their role evolving in the next ten years?
17.00 — 17.30 Departure to airport

Sixth Workshop — 27 to 29 September 2016 — Warth (Switzerland)
The Development of Content: Challenges and Opportunities – Public Funds as Pawns or Players? [Show/Hide the programme]

Tuesday 27 September 2016
Evening Welcome and networking dinner
Presentation of Newcomers, review of the agenda, presentation of the Moderators and Guests
Wednesday 28 September 2016
9.00 — 11.00 MODULE 1 — Evaluation of funds' portfolio
The main goal of the funds is to support projects through different funding schemes covering the value chain. The decisions taken depend on different factors: objectives of the fund (political, cultural, and economic), volume of projects, sustainability of the audiovisual industry, diversity and, above all, the quality of the submitted projects.
If the funds had the opportunity to estimate their portfolio in terms of quality of the projects only, what would their appreciation, their “personal” evaluation be? Satisfactory? Unsatisfactory? What would they like to improve (schemes, skills …)? What would they do if they had the possibility to redesign their project supporting processes?
How to define quality?
11.15 — 12.45 MODULE 2 — Scriptwriting and Development Support: funding landscape, co-development initiatives and development strategies, successful or unsuccessful stories
Almost all funds have schemes dedicated to the development of projects. Some of them have a specific scriptwriting support scheme dedicated to script development. There are also more and more co-development initiatives between funds from different countries to favor an earlier cooperation between coproduction partners.
What do funds expect as outcomes of those schemes? What do they consider as the most important activities to be achieved during this stage of production? Do they consider themselves as a development partner? What experiences and practices give good results?
13.00 — 14.00 Lunch
14.30 — 16.15 MODULE 3 — Automatic schemes: more to sustain production companies than develop quality projects?
Funds have implemented automatic schemes to emphasize on success and/or return on investment. The money generated by the producer through those schemes can be used to finance the development and production of future projects without going through the selective process. Do those schemes meet the funds' expectations? Do they contribute to the reinforcement of production companies? Does this contribute to the financing of quality films?
16.30 — 18.15 MODULE 4 — VoD platforms as commissioners and distributors of original content. For good or for bad?
VoD platforms have started to commission content (TV series and feature films) they tend to distribute exclusively on their networks. They position themselves also as distributors by buying worldwide rights and ask to “premiere” the film before theatrical release.
Those strategies raise many questions: what will be the impact of those new players on content? How will new business models challenge public funds not only in terms of financing but also on distribution strategy?
18.30 — 19.45 Open Space
20.00 — 22.00 Dinner
Thursday 29 September 2016
Other Types of Projects to Support
9.30 — 11.00 MODULE 5 — Talent development initiatives (support to experimental films, micro-budget, wild card, genre projects, etc.)
The digital era gives to filmmakers new tools for low costs production. The competition among young and experienced filmmakers for access to public funds becomes fiercer and fiercer. Short films support is an option but there is a time when long feature corresponds to the development of a filmmaker's career.
How to encourage talents to develop themselves? How could funds take more risk at a lower price?
11.15 — 12.30 MODULE 6 — Hybrid contents: the mix of different artistic disciplines
There are new ways for artistic content creators to develop, finance and distribute their audiovisual works and to engage with audiences in both classic screenings and exhibition environments and beyond. How to support professionals of media and art industries creating content in the borderland between art and film? How do the production and the institutional contexts influence the creative process? What is the future of artistic cinema? Does it lie in the hands of the film industry or in the hands of the art world – or in between? How can best practices from the art world be adapted by the independent film world, or vice versa?
13.00 — 14.30 Lunch
14.30 — 16.30 MODULE 7 — Is Training part of funds professional development strategy?
Professional training has become part of the industry's tools and plays a role in the maintenance and growth of an economically and culturally valuable audiovisual sector in Europe. It nurtures creativity and innovation in the development and production processes, critical reflection, collaboration and networking among professionals, activity based research, etc. It is time to compare and share experiences to reinforce this segment for the good of the industry.
Have funds identified gaps in the actual training offers? Do they have a training strategy and consistent financial resources? What is the dynamic between funds and training organizations? What are the successful and unsuccessful initiatives in terms of impact on the industry?
16.30 — 17.30 End of the Workshop – Departure for airport
Partners Contact