Lana Barić, script Eva after fall
"I recommend Split Script. Although the workshop was online, Milena and Toma did everything to make the process run smoothly. Choice of mentor was a complete hit. I already knew Razvan and as it was clear to me that he was hard to get, applying for this workshop was another motive for me. My script for short fiction got a new version in just a few days, and I plan to realize it with my team."
Eva Kamčevska, script Is aunt Božana my dad?
"I would kindly recommend this great screenwriting workshop! I really feel that it pushed my screenplay in a more honest and brave direction and it benefit me a lot for future development. Razvan Radulescu is the kind of mentor who goes really deep into your story and very quickly understands your characters and your approach as a writer.
He encourages you and supports you to discover a bunch of layers, motives, and hidden meanings inside the story as well as to question well your structure and story elements. The organization of this workshop was very accomodating and professional, and the group of writers was very thoughtfully selected which even further pushed the already very high quality of the workshop. I would be glad to repeat this experience!"
Anita Čeko, script Victoria
Split Script is a unique program for film professionals in Croatia - an opportunity to work with one of the most important living European screenwriters, Razvan Radulescu.
I consider the concept of a small group and intensive individual work with a mentor to be the greatest quality of this program, which has enabled me to greatly raise the quality of the script of my debut feature film.
Filip Mojzeš, script First week of August
We worked intensively, every day, Radulescu was very dedicated, with intelligent and creative ideas. It was extremely valuable and important to get the help and support of one of the best screenwriters today.
Dubravka Turić, script Traces
Radulescu asks the right questions on the basis of which the screenwriter very quickly becomes clear to what extent he managed to express his idea, what are the weak points of the future script and how to fix them. He doesn't discuss on the basis of some model, but he is guided by the internal logic of particular story.
Jelena Paljan, script Good life