The week after the festival, volunteer co-ordinator Katy Starr dipped into the raffle ticket box to draw out our winners. Were you one of the lucky ones? All winners have been notified by phone, and thank you to our kind benefactors who donated prizes including Blu-Ray and DVD copies of films shown during the festival, a voucher from the Olive Tree restaurant, a weekend in a country cottage and hampers from Dorset Cereals and Clipper Teas.

Hard to believe but true, the final day of FPTS has dawned. The committee, including Francine (her first experience of an actual real life FPTS meeting), assemble feeling “sunday morning-ish” as Nic puts it (horribly hungover) for early morning podcasting. Kendyl Bryant has been with us all week, recording the events and grabbing our speakers for brief discussions for her podcast Adaptation. Kendyl has been a great addition to the team and we’re all very excited about the fantastic archive she has amassed (and well done to her for keeping a lid on her excitement when Simon Beaufoy announced he will be writing the script for the second Hunger Games!). We discuss the aims and ideas of the festival, as well as looking back over our own highlights from the week… Small Back Room seems to have been a surprise hit for many of us…

Then, it’s on to the day – Rashomon, followed by the Film Buffs Brunch and a babble of film chat over the Denhay Bacon Rolls. Very welcome too.

A bevvy of film makers are arriving in the BAC in advance of the Flash Film event at which the winner will be announced. We have three of the film makers here, as well as one of the original story writers, the author of Filament, John Paris-Kent. Nic reads the stories, followed by a screening of all the shortlisted entries. Then Polly leads a discussion about the motivations and considerations of the film makers in their approach to the competition. It’s really brilliant to have this element at FPTS - it really brings the whole process of adaptation to life to hear amateur film makers discuss what may be their first attempt at adaptation, as well as on this occasion to hear the author’s reactions to seeing his story brought to the screen in all these very different interpretations. “It’s amazing” he says “all I could think to do if I was making this film would be go out and buy a kettle…”. Then the moment of truth! Francine awards the prize – to Ian Robins for Filament and Esmerelda Voegele-Downing in the youth category. Here they both are and very many congratulations to them!

 A brief pause before Resistance at 4, after which Owen Sheers is on stage in discussion with Nic Jeune. We had hoped to have director Amit Gupta here too for the elusive screenwriter/author/director combo after which we quest - sadly Amit is tied up with making his new movie and can’t make it – but Owen more than holds the floor, discussing the writing and making of Resistance as well as fielding questions on his artist in residence position at the Welsh Rugby Union. “I think it may turn into a book of poems about rugby” he says “a sentence I never thought I would utter”.

After Resistance, it really is time for Francine to make her bid for freedom. Nic, Polly and I gather about her in the foyer of the BAC as she tries to make a dignified exit, but our tired and emotional levels prolong our thanks and goodbyes to a slightly ridiculous point. Apologies for that. It feels like the end of the holidays – or the end of term – whichever is worse – but eventually we have to let Francine go with our pleas for her speedy return reverberating around the BAC.

Then it’s our final event, and one I have been really looking to – Andrew Dickson’s live and improvised accompaniment to the 1922 version of Oliver Twist. The Palace is transformed into a smokey cinema nook with cosy sofas and tassled lamps in the front. It’s an amazing experience to see the band (piano, cello and percussion) improvise to the action on the screen – this is definitely one of my highlights of the festival.

Then we head, as always, to the bar for drinks and thanks to the surprise appearance of a new honorary committee member, one Alexia Tucker, a party springs from nowhere. Wherever she goes, mayhem (and enormous boxes of olives) follows. My last memory is of Polly Gifford shouting across a crowded bar at 3 in the morning “From Page to Screen – to Nic’s house for the after party!” Never before has the festival ended in such a blaze of… glory.

The swan that is FPTS 2012, as described by Francine (gliding gracefully along the surface, while underneath there is feverish paddling) is plucked, roasted and in the oven. There will be plenty of time for further post-mortem in the future (the blog does not end here) but let me say again what an absolute honour it has been – I have loved working as part of a brilliant team, from committee, to stewards, to guests, to friends, supporters and helpers. Thanks to everyone for pulling together to make this such a fun week, full of hilarity and brilliance. I truly have laughed and cried. And – of course, most importantly - seen some incredible films that will stick with me for a long time.

And thanks to all of you! Did you enjoy it too?

It’s the penulitimate day. The committee are looking thin and battered, but this is another day of great films (of course) and we don’t want the festival to end! Today we have two of the busiest screen-writers working in Britain today, Moira Buffini and Simon Beaufoy, as well as the involvement of Bafta so it’s an exciting day for FPTS.

Arrietty to begin at 11am, followed by our Shorts event at 2 – each individually introduced by Francine. We are very excited about the introduccion of Shorts at FPTS and everyone has agreed that this is something we want to make sure we include in the future. Today it’s The Lost Thing, A Morning Stroll, and a surprise film - the beautiful Hoedown from Rodeo by Eleanor Stewart.

At 3, our Bafta masterclass with Moira Buffini – in conversation with Francine at the BAC, about her career thus far, and particularly about Jane Eyre which we go on to screen. Moira gave an exemplorary masterclass on what she sees as her role as screenwriter.

I’m rushing to and fro picking up guests at stations and trying to grab something to eat that is more substantial than the Leakers Cheese straws I have been living off. Volunteer co-ordinator Katy Star here eyes up hungrily the last few remaining snacks – it was she who instructed the volunteers not to eat them but can she resist….

The Electric Palace is packed for Salmon Fishing in the Yemen - quite possibly our biggest sell-out ever (it often seems in The Palace that even if you can’t imagine where another few people will fit, they can be squeezed in somewhere). There’s a brilliant atmosphere, and in the committee seats in the balcony, there is very much a celebratory air. Nic leaps up onto stage to make his welcome and this time avoids any of the gaffs which the audience have come to love (“Welcome to Battersea Arts Centre” is probably the highlight so far). The reminder that this a PREVIEW SCREENING (Salmon Fishing isn’t out on general release for another few weeks) gets a well-deserved round of applause. After the film, Nic and Simon Beaufoy’s discussion ranges over the differing process of adaptating a loved book, and how difficult it can be if it really seems unavoidable to make vast changes from page to screen (as Simon has done here with Paul Torday’s novel). Simon talked about the process of adapting and it was very interesting to see this in relation to what Moira Buffini had said earlier in the day; she likes to be involved at every stage of the film process; Simon hands in his script and then takes a clear step away. As Nic Jeune points out, every screen-writer has a very different approach to the process.

After their conversation, Nic calls Francine Stock up on stage to present her with a token from us all as a huge thank you for everything that she has done. She has been a quite sensational guest director and as we have all said time and time again, not only passionate about the aims of the festival, but fantastically fun to work with. So thank you from us all.

Then a mass stumble to the bar and a knocking back of drinks, very generously provided for us by festival founder and ex-committee member Steven Horner, who is ideally situated to know the exact moment in the festival when we all most need a drink!

One day to go….

Don’t forget to follow the festival on twitter and facebook for minute by minute excitements.

Day 3 and some sore heads from the previous late night, but the festival is well and truly in it’s swing and the comments in the foyer are hugely enthusiastic. 5 films back-to-back – what Francine describes as ”the long Friday” – Is anyone going to make the lot? There may be some sort of prize…

Before the films we are running titles for the festival, trailers for forthcoming films at the festival and one of our flash film entries. Spike Golding’s beautiful titles set the mood – here they are for anyone who hasn’t made it to a film yet….

I’m up early to return James Watkins to the station; as we arrive I think I see a mysterious woman dressed in black and veiled in mist at the end of the platform…. but I don’t like to draw James’ attention to it and dispatch him safely.

On my return, I’m just in time for Went the Day Well? at the BAC, introduced by Francine and tailed by Dr Jeremy Strong from the Centre of Adaptations at De Montford, who talks a little about Graham Greene and the process of adapting this short story. We have always managed to have a Graham Greene film at the festival and this is a cracker of English Villagers protecting their own – again, Kazuo Ishiguro picking out his highlights from the programme - “David Farrar – bizarrely Germans speak in perfect Home Counties accents while pretending to be English, then revert to vee-vant-you-over-zer accents once they drop their disguises!”

Diary of a Wimpy Kid is running parallel at the Stables at the Bull Hotel and we hear reports back that their is a frenzied audience of excited kids and particularly special Leakers gingerbread…

At 2, the quite sensational Bunny Lake is Missing, one of Francine’s highlights for the festival. It achieves satisfying gasps as the story unravels, and coming out blinking into the afternoon sunshine, we are all feeling a little shaken.

Wuthering Heights at 4 – “thank you for coming out of the sun into this dark cinema” says Olivia Hetreed, screenwriter, friend of the festival and member of our advisory panel as she introduces the film ”let me warn you, you’re about to go to an even darker place….”. The film is followed by her and Nic Jeune in conversation. 

Next, our huge sell-out event, Loneliness of the Long Distance Runner with Tom Courtenay. The BAC is packed to the gunnels and Sir Tom is a triumph – in conversation with Francine and full of brilliant anecdotes and things to look out for in the film – only those who were there will know why he is suddenly without his socks halfway through his long distance run… The film itself gets a great response and a round of applause, which is great to hear.

Then for the really hardy – our 11pm showing of Masque of the Red Death. There’s a brilliant turn out and a huge effort has been made with the masks. We pull ourselves away from the party atmosphere of the Palace bar to settle into the suitably trippy and mad horror of the film.

And who on the committee made all five films? One guess…. Mr Nic Jeune! Many congratulations.

 Day 2 and we kick off with our first film in the loosely titled “Britain under the Jackboot” strand (to be continued with Went the Day Well? And Resistance) Small Back Room, sponsored by Bridport Old Books, because, they have a Small Back Room. Anwar Brett, author of Dorset in Film, introduces and we settle back for 106 minutes of alcoholic bomb disposal – never a good mix. As Kazuo Ishiguro, last year’s guest had warned us ”best bomb dismantling scene ever” and all filmed 10 minutes down the road on our own Chesil Beach.

Then we hear word that there is  A DOG at the screening of Red Dog at The Palace - great excitement all round. Dogs are normally not allowed in, but as it’s owner says, he’s never been to the movies before, and what better film to begin with?!

 I can’t help but remember the old joke – never more appropriate than for this festival of adaptation - a man and his dog have just watched a film. A fellow audience member jokingly asks the man what his dog made of the movie. The man replies: “He thought the characterization was strong, the story impeccably told and the atmosphere spot on.” “How remarkable!” says the fellow audience member. “I know,” says the man. “Especially since he loved the book.” We haven’t heard the dog’s views yet, but hopefully he filled out one of our surveys.

We sustain ourselves with a few dog shaped biscuits….

Singing along and loud chortles at Ten Things I Hate about you at 4.30, the second in our Shakespeare undercover strand – introduced by Francine and attended by a hardy audience of Heath Ledger fans.

Our second night brings The Woman in Black with director James Watkins and Francine Stock. Our first full house at The Palace and it’s brilliant to hear the filmy gossipy buzz. The woman in black herself makes an appearance and busts the projector (or perhaps it’s karma for my practical joke on Nic earlier…) but James and Francine take to the floor to discuss the film while it is fixed.

 And then – lights down and nerves sharpened to a sizzle – actual screams reverberate around the cinema. I think this is our first horror at FPTS and the atmosphere is truly electric. There’s nothing like terror to bond an audience.

Post film, it’s off to the Bull Hotel to calm our nerves with several large drinks.