Concept of the first ever "FIPRESCI Week" as an independent  choice of films made by the members of International Film Critics Associations. Since, "FIPRESCI Weeks" are being organized in many Festivals.

Convincing both church authorities to create together an "Ecumenical Jury" by melting the previous Catholic and Protestant juries together. Nine months later, this initiative was adopted in Cannes and thereafter by many other festivals.

First invitation to visit Beijing for a selection as the country was slowly recovering from the Cultural Revolution and restarting film production. Regular selection trips to Shanghai, Beijing and Xian were to follow in the coming years.

Using the new screening facilities built Budapester Strasse in 1979, creation of the first international film market at the Berlin International Film Festival, with an independent administration led by the Swede Aina Bellis.

As part of the Childrens' Festival section, this work shop was intended to add an animation workshop for young participants, based on Ernest Ansorge's sand animation techniques. For lack of funding the experiment was later abandoned.

Together with Manfred Salzgeber conceiving the structures and aims of the "Panorama" section to replace the old "Info Show".

Selection in Tallin, Riga and Vilnius. Soviet Goskino in Moscow authorized for the first time the selection of a program on location.

Planning the organization of the "European Film Market" as answer to the newly established "American Film Market" in LA. Beki Probst, was appointed head of this market.

Following the opening of the Berlin wall, organization of a festival in both sides of the town with the support of the East German authorities.

Officially supporting the first "Gay Teddy Bear" ceremony, initially an underground event, in a spirit of solidarity for sexual minorities.

Creation and organization of the "Venice Screenings", recognizing the need for a specialized film market as part of the Venice International Film Festival.

In days when no fax nor photocopy machine existed, and press releases had to be duplicated with a stencil machine, conception of the technical and office equipment required for the new International Documentary Festival premises and offices in Nyon,

Layout of the first ever "user friendly entry form" with pre-defined check boxes, establishing a new standard for the registration of films at a film festivals. In 1972 this layout was adopted as a model by  FIAPF.

First exhaustive "job description" document laying the requirements for the employment of personnel needed for the origination of a major film festival. It served later in Venice as a model to reorganize the festival structures.

First ever use of a computer program to manage the festival needs such as addresses, accreditations, guest invitation letters, accreditation badges, hotel vouchers, film lists, daily programs, who's where lists and the film depot administration. The first program was written in "Basic" language and the first computer was a large frame Nixdorf installed on the festival premises in early 1981.

Introduction in a festival program of the first public video projection on a large screen with the help of a Barco projector.

Creation of a new brand and corporate identity (new logo, new heading, new banners, new stationary) for the Berlin International Film Festival, after extensive interaction with Meta Design GmbH, Berlin.

Providing detailed advice and training to the "Grupo Novo" in Rio for the international promotion of Brazilian cinema and festival participation.

In a move to modernize the antiquated Venice Festival structures introduction of a credit card size pre printed accreditation badge and laying the ground for a festival internal electronic network.

Providing a detailed plan for the renewal of the Venice International Film Festival organization and of the Lido infrastructures, a plan unanimously adopted by the Biennale board in late 2003, but then rejected by Berlusconi's Ministry.

Conceiving and writing participation regulations, entry and accreditation forms and invitation model letters for a new International Film Festival in Montreal and selecting and coordinating a team responsible for the program.

As advisers to the team creating a new festival in the Douro Valley, “de Hadeln & Partners” provided extended advice on several organisation aspects, among other creating the “rules for participation”.