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25/26.11.2017London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES

ABOUT FRANCESCA JAYNES Francesca Jaynes has been a Choreographer and Movement Director in the film industry for over 25 years. Her work is incredibly diverse, ranging from movement in “A.I. Artificial Intelligence” and “Gravity” to musical films such as “De-Lovely” and “Muppets Most Wanted”. She has worked with top directors on both sides of the Atlantic, including Mike Leigh, Steven Spielberg, Tim Burton, Joss Whedon, Ron Howard, Michael Winterbottom, and Mike Newell, and with a host of stars such as Judi Dench, Dustin Hoffman, Sandra Bullock, Andy Serkis, Christoph Waltz, Tina Fey, Jude Law, Keira Knightley, and Kevin Kline. In addition to a wide-ranging CV in film, she works regularly in the theatre in musicals, opera, and plays, and also in television drama. For a complete look at her career to date, please visit www.francescajaynes.com .

WORKSHOP DESCRIPTION CHOREOGRAPHY AND MOVEMENT IN FILM Work in dance and movement in film can be an ever-changing and diverse experience. This is what makes it exciting! But it’s also what makes it extremely challenging. The top people in the industry have a vast range of skills (ballet, tap, historical dance, contemporary social dance, etc) and must always be ready to adapt and change to best serve their director and the film. Within this two-day exploration of the discipline, we’ll look at the complete process of working in dance/movement on a film production, from initial meetings with producers and directors, to casting, rehearsals, and ultimately filming. There are a host of details and elements that need to be considered at each stage of the process, in addition to the actual creation of the work. With discussions, Q and A’s, and practical ‘on your feet’ workshops, we’ll explore the myriad of fun and challenging scenarios that can present themselves on a variety of job assignments. Topics will include: Different approaches for different films, Genres, and directors; How does the dance/movement fit into the narrative of the film and/or scene; Relationships with other departments (Directors, Assistant Directors, Costume Departments, Sound Departments, Art and Props Departments); Practical sessions in creating and filming the work (historical dance, etc); Actors, dancers, and Muppets - working with differing levels of skills, abilities, and comfort zones. PROFILE OF PARTICIPANT The workshop designed for, choreographers, dancers, Actors, and Directors, who can directly benefit from the knowledge and know how presented on this workshop. The workshop is also suited to different profiles, such as cinematographers, Art Directors, who will directly work with Choreographers and Movement Directors, and can improve their work by knowing how to interact with this department in a more effective way. The workshop is also suitable for anyone interested in entering the Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 25-26 November 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until 14th November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.12.2017London UK
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Introduction of the participants and the Mick Audsley, the participants will then be showed some clips of the work made by Mick Audsley , analyzing some choices and options made in some of his works. Mick will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute scene) to work on one month before the workshop, all participants will show their work at the workshop, the group will then analyze each editing, and learn from each other’s work. Mick Audsley will give his insight on each edited version of the footage. The participants should at the end be self-conscious of their editing choices, as well as aware of the other options taken by the other participants. PROFILE OF PARTICIPANT

The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing WORKSHOP LOCATION

London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (349GBP Until 14 of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

13/14.01.2018London UK
SCULPTURE FOR FILM WORKSHOP WITH BRIAN MUIR

ABOUT BRIAN MUIR Brian Muir began his professional sculpting career at the young age of 16 in the legendary Associated British Production Corporation (now Elstree Studios), where he was an apprentice for 4 years. From 1968 to 1976, he worked in “The Avengers” and “The Saint” TV shows, and in John Sturges’ “The Eagle has landed” (1976). In 1977, when he was 23, he received a call from the offices of Lucas Films to sculpt some pieces for a new project called Star Wars. He was asked to bring to life the face of fear, the Supreme Commander of the Imperial Forces himself: Darth Vader. What was supposedly to be a 6 weeks job, ended up becoming a 5 month incursion through the dark side of the force: besides Vader’s helmet, he sculpted the Stormtrooper’s armor and the Death Star Droid. From 1977 to 1990, his work in sculpture for film has spawned from science fiction - Ridley Scott’s “Alien” (1979); fantasy - Jim Henson and Frank Oz’s “The Dark Crystal” (1982), Ron Howard’s “Willow” (1988) all the way through adventure - Steven Spielberg’s “Raiders of the Lost Ark” (1981), Rob Reiner’s “The Princess Bride” (1987), “The Spy who loved me” (1977), “For your eyes only” (1981), Octopussy (1983) and “A View to Kill” (all 4 part of the 007 universe), amongst many others. Since 1990, he has worked on some big budget franchises like James Gunn’s “Guardians of the Galaxy” (2014), “Harry Potter and the Order of the Phoenix” (2007) and “Harry Potter and the Half-Blood Prince” (2009) both from David Yates. Also, Muir had a trip back to the Star Wars universe in “Rogue One” (2016), and to the 007 story in “GoldenEye” (1995), “Tomorrow Never Dies” (1997) and “Die Another Day” (2002). He has also encountered along the way the extravagant director Tim Burton in “Planet of the Apes” (2001), “Sleepy Hollow” (1999) and “Dark Shadows” (2012). Brian wrote his autobiography 'In The Shadow Of Vader' in 2009, where he shares his story and experience in the film industry which has been a great sales success.

WORKSHOP DESCRIPTION The Sculpting for Film workshop with Brian Muir will focus on a diversity of topics of the craft of sculpture in film art department. Also, you will be able to walk alongside his experience with visual images displaying a selection of his work. Participants will be invited on a backstage journey through some of the most memorable films that are part of Brian Muir’s credit list, learning secrets of the trade that can help them think outside the box in future productions. Future will also be discussed, namely the new technology available and its impact on the industry. You will have the chance of not only receive this knowledge from Brian Muir, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on r will work, and receiving the feedback to unblock situations in the future. DAY 1 How to become a sculptor or member of the art department How to prepare yourself for getting into the film industry Techniques and material – how to choose How to work on filling moldes with different materials and prosthetics Inspiration and references Project development: form the first concepts to the final wrap Creative process: case study Star Wars Darth Vader's helmet What kind of new technologies we can use? Pros and cons of new technology DAY 2 The role of a sculptor in the art deparment How to liaise with the production designer, prop masters and visual special effects directors Health and safety guidelines Wage structures The importance of accurate budgeting Contracts Importance of networking PROFILE OF PARTICIPANT The workshop designed for Directors, Art Directors, Production Designers, Film Students, , Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business in this area.

LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 13-14 January 2018 Location: London UK Price: 399GBP (299GBP with 25% discount until 9th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.10.2017London UK
GARETH WILEY FILM PRODUCING AND FINANCING WORKSHOP SOLD OUT, FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt

ABOUT GARETH WILEY

Gareth has been working as a film producer & executive producer for over a decade. Since 2004, he has produced independent feature films with budgets totalling over $100 million including four with Woody Allen. Having persuaded the New Yorker to move his 2004 movie to London the collaboration grew until in January 2009 he won a Best Picture Golden Globe for Woody’s “Vicky Cristina Barcelona”. This was Gareth’s second Golden Globe nomination in four years, having been previously nominated in 2006 for his first collaboration with Woody Allen, “Match Point”. In 2013, Gareth launched a new online film finance tool, www.screenadvantage.com. This online application makes all Gareth’s proprietary film financing modelling tools available to the industry as a whole and has been widely praised. Users now include Oscar® & Golden Globe® winning producers and film students alike. Affordable and sophisticated, but easy to use, ScreenAdvantage® allows producers to present professional finance plans and allows financiers to understand at a glance the structure being proposed. Prior to moving into film full time, Gareth enjoyed fifteen years working in international banking and finance with some of the world’s leading banking institutions, including, Salomon Brothers & UBS Warburg. Gareth studied Business with Economics & Law, before starting his working life as a banker in February 1985. A fascination with the creative process resulted in an involvement in film finance and production as early as 1993. Prior to working with Woody Allen, he maintained a career in investment banking (working in London, Hong Kong and the United States) in parallel with an increasing involvement in film production and finance. In 2002 committed himself to working exclusively in film and other creative businesses (including setting up a Grammy nominated classic record label). WORKSHOP DESCRIPTION

The Film Producer and financing Workshop with Gareth Wiley will focus on a diversity of topics of the art of production of a film, you will have the chance of not only receive this knowledge from Gareth Wiley, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on or will work, and receiving the feedback to unblock situations in the future. DAY 1 THE CHRONOLOGY OF THE DEVELOPMENT PROCESS AND THE ROLE OF THE PRODUCER • Project scouting and script analysis, the producer’s role in the choice of projects • Reading, researching and assessing ideas and finished scripts • Commissioning writers or securing the rights to novels, plays or screenplays • Hiring key staff, including a director and a crew • Managing creativity/creative management • Writing a good synopsis and business plan • Making and maintaining your contacts • Supervising the progress of the project from development to post production HOW THE MONEY WORKS • The film value chain • Structure of a business plan • Preparing sales estimates and income streams • Financing Strategies. Accessing funds: Public (regional national, pan-national); Private. • Tax-efficient finance vehicles; Enterprise Investment Schemes • Targeting investors • Liaising and discussing projects with financial backers • Profit participation • Co-productions • Key negotiation points explained • Making and maintaining your contacts • Supervising the progress of the project from development to post production DAY 2 Into the world • How sales agents work • The role of film markets New tools • Using software packages to help your work as a producer PROFILE OF PARTICIPANT

The workshop designed for, Film Producers, Film Financiers, Film Investors, Directors, Film Students, or anyone interested in entering the Film Business on the area of Film Production. WORKSHOP LOCATION

London UK 16 hours Duration: 2 days Dates: 28th - 29th of October 2017 Location: London UK Price: 499GBP, (375GBP discount of 30% until 23rd of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
28/29.10.2017London UK
TECHNIQUES FOR DIRECTING NON-ACTORS WORKSHOP

WORKSHOP DESCRIPTION Techniques for directing non-actors: Singular Drama Throughout the two-day practical workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors and non actors as well as during the shooting. Participants will get hands-on insight into the process of creating drama in a film using the human capacity to respond emotionally to fictional situations. The Singular Drama method is applicable on professional actors as well as non-actors. Filmmakers often use the element of surprise to direct actors for certain scenes to get authentic emotional responses. The directors of AJAMI based their film entirely on this principle. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded specific emotional responses from its actors. The actors ended up acting out a story, without being aware that they were being directed according to a pre-written script. The film is a work of fiction which shows “real” people acting in situations that are orchestrated by the directors, but very “real” to the performers, resulting in the actors projecting emotions on camera that they actually experienced at the time. This was achieved over specialized workshops, in which the actors were brought to each character’s emotional and psychological state as written in the script. Workshop learning objectives: 1. Participants will learn techniques to liberate their non-actors from the fear of the camera. 2. Participants will learn how to prepare their actors/non-actors for filming. 3. Participants will learn and experiment with improvisation techniques. 4. Participants will experience the method as actors in order to get a better understanding of the involved processes. 5. Participants will get insights on pre-production, production and shooting techniques when applying the method. 6. Participants will learn how to direct actors and non-actors using the Singular Drama method. Participants are encouraged to bring scenes they would like to direct. ABOUT SCANDAR COPTI Copti is an Oscar-nominated Palestinian filmmaker born and raised in Yafa. In 2009, his first full-length feature film “Ajami” won the Camera d’Or Special Mention at the Cannes Film Festival. His film was also nominated for the 82nd Academy Awards in the Best Foreign Film category and won more than 15 awards worldwide. Formerly a mechanical engineer, he has also written, directed and edited several fiction, documentary and experimental short films. Copti was on the jury of the Tribeca film festival as well as at the Thessaloniki film festival in 2010 and President of the Human Rights Award in the Istanbul International film festival 2011. Copti was part of the team that launched the Doha Tribeca Film Festival and the Doha Film Institute (DFI) and he headed the DFI’s education department until November 2011. Currently Copti is developing his next feature film project. PROFILE OF PARTICIPANT The workshop is designed to Directors, 1st AD, Producers, Film Students, and anyone with the interest in directing non actors. 16 hours Dates: 28-29 October 2017 Location: London UK Price: 399.99 GBP (299GBP until 26th of October) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW: