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27/28.02.2016London UK
FILM LAW DEVELOPMENT PRODUCTION AND EXPLOITATION DEALS

ABOUT KAMI NAGHDI

Kami has been listed in the legal directories for his expertise in both Media and Entertainment and Media Finance as top-tier ranked and has been described as "knowledgeable, thorough and fast". Kami's practice focuses on development, finance, production, exploitation and acquisition of audiovisual content across all media platforms. His clients include leading film-makers, brands, financiers, content creators, production companies, sales agents, distributors and agencies. Across 2005-2011 he moved into the film industry itself to work in film finance, production and distribution. He has produced nine international feature films with leading filmmakers including legendary directors Werner Herzog and Bille August and leading cast such as Christian Bale, Tom Wilkinson, Steve Buscemi, Stellan Skarsgard, Amanda Seyfried, Vera Farmiga and Michelle Williams. He has recently executive produced two documentaries. His films have launched at Sundance, DocFest, Berlin International Film Festival and Toronto International Film Festival and have been distributed by Warner Bros, Paramount, Pathe, Twentieth Century Fox, MGM, Universal Pictures, Buena Vista, Sony Pictures, Image Entertainment, Vertigo, Entertainment One, Optimum Releasing (now StudioCanal), Magnolia and IFC. As a lawyer, his experience in the film industry is unrivalled. Kami heads the head the film & television practice at Clintons, a tier-one media and entertainment law firm in London. WORKSHOP DESCRIPTION

FILM LAW, DEVELOPMENT, PRODUCTION AND EXPLOITATION DEALS A. GENESIS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors Partnering with another producer / Creative and Financial Co-productions B. KEY STEPS AND NEXT STEPS Assembling a Creative Team and making a few Key Decisions: Commissioning a Writer Choosing a Director Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming / Subsidies * The Value Chain / Copyright / Chain of Title / Screenplay Rights Option/Purchase Agreements Underlying rights: articles, books, life rights, etc. Creative Team Agreements: Short Form/Long-form Contract Director Agreement / Director Development Agreement Producer Agreement Writer Agreement Co-production Agreements Development Finance Agreement * Casting: Casting Directors / Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net Guilds residuals Composer Agreement Music and Music Rights: Sync and Master Use Licenses Rights Clearance (artwork, brands, pictures) Location Agreements C. THE MARKET Distributors and Sales Agents The Revenue Waterfall Estimating Revenue: the highs and lows Sales Agency Agreement Marketing and Distribution Plan Distribution Agreements / Financier’s Notices of Assignment D. FINANCING Budget/Financing - Financing Sources: Equity, Pre-sales, Gap Financing, Debt and Subsidies Equity Investment Agreement Loan Agreement Security Agreement Interparty / Intercreditor Agreement Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections Collection Agreement E. EXPLOITATION P & A Funding Clearing Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals / Film Markets Theatrical Distributor or Alternative / Ancillary Media PROFILE OF PARTICIPANT

The workshop designed for Film Producers, Film Financiers, Directors, Junior legal and business affairs executives Film Students, or anyone interested in entering the Business of Film Production, Film Law, Film Finance or Exploitation. WORKSHOP LOCATION

London UK 16 hours Duration: 2 days Dates: 27-28 February 2016 Location: LONDON UK Price: 399EUR (299GBP Until 4th of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.03.2016London UK
SOUND EDITING WORKSHOP WITH GLENN FREEMANTLE

ONLY 2 PLACES LEFT ABOUT GLENN FREEMANTLE Glenn Fremantle began work in the cutting rooms at the age of 16 and has since become one of the UK’s most experienced sound designers, with more than 100 films to his credit. Over the past 40 years he has produced soundtracks for films from all over the world, working with some of the industries best known directors and producers, including Danny Boyle and Richard Curtis. He picked up a Best Sound Editing Oscar and Best Sound BAFTA for Gravity – about which he said in Sound and Picture: “We wanted to do something different that pushed boundaries. Director Alfonso Cuarón wanted to make the kind of film with the biggest picture and the best sound.” – as well as a Best Sound BAFTA and an Oscar nomination for Slumdog Millionaire. He also received an award nomination for 28 Days Later from Motion Picture Sound Editor and a CONCH award for Sunshine, and recognition for his work on 127 Hours, An Education, Backbeat, The Golden Compass, Bruc. La llegenda and Agora, Recent credits include A Theory of Everything, Ex Machina, Paddington and Steve Jobs. Currently he is working on a number of new projects, including Long Live the King, which relates the rapturous effect of Elvis on a group of deprived teenagers in the 1950s, and a new Tarzan film. Full list of credits on http://www.imdb.com/name/nm0293634/ Glenn Freemantle experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Sound Editing workshop will focus on a diversity of topics of the art of Editing the sound of a film, you will have the chance of not only receive this knowledge from Glenn Freemantle, 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. Session 1 THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Sound Editor – the realities of the business. DIY - low budget approaches Understanding your abilities PRE-PRODUCTION Aesthetic overview – the sound of the story Crewing up Storyboarding before track laying How to work with: Editors Producers Directors Planning for Digital VFX Session 2 POST PRODUCTION Working with the editor Digital VFX in post Guide music Working with a composer Track Laying Temp Mixing Test screenings ADR Foley Sound Design Premixing The final sound mix Home Cinema Premiere PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. LOCATION OF THE WORKSHOP University of West London, Ealing, London UK 16 hours Duration: 2 days Dates: 12th - 13th March 2016 Location: London UK Price: 399GBP (319GBP with 20% Discount Until 9th of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Conditions

12/13.03.2016London UK
GARETH WILEY FILM PRODUCERS WORKSHOP

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 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: 12th - 13th of March 2016 Location: London UK Price: 399GBP, (319GBP discount of 20% until 28th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
23/24.01.2016London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES

SOLD OUT. FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt 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: 23-24th January 2016 Location: London UK Price: 349GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

23/24.01.2016London UK
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY SOLD OUT. FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt 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

University of West London, London, UK 16 hours Duration: 2 days Dates: 23-24 January 2016 Location: LONDON UK Price: 399EUR (319GBP Until 16 December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions