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OUR NEXT WORKSHOPS
26/12.03.2018Portugal
BELA TARR 2 WEEK FILM DIRECTING WORKSHOP 26th of February to 11th of March 2018 WORKSHOP DESCRIPTION Hungarian filmmaker Bela Tarr will lead a practical two weeks Film Directing workshop in Espinho, Portugal. The workshop will give the opportunity to 12 participants to write and develop scripts in work groups of 4 participants who will work together to produce a short-film in these two weeks. The workshop will follow the logic of transmitting knowledge by practical work, being extremely practical. Béla Tarr will share his knowledge and experience with the participants while, at the same time, will respond to each participant’s personal history and artistIc practice, in order to guide them throughout the whole process of filmmaking. The workshop will not attend a right\wrong logic, but rather will be an insight on Bela Tarr's point of view of filmmaking and his personal process. The participants will be chosen directly by Béla Tarr. There is an application fee of 50EUR which will be reimburse to those who are selected. To make the application, you need to fill the application form and send us your portfolio and a motivation letter. “This is what I can say to young filmmakers: Go and be more radical, be more revolutionary than I was.” Béla Tarr ABOUT BELA TARR Béla Tarr (Pécs, 21 July 1955) is a Hungarian film director, widely regarded as one of the most influential film authors of the past thirty years. Béla Tarr began making amateur films at the age of 16. His amateur work brought him to the attention of the Bela Balazs Studios (named in honour of the Hungarian cinema theorist), which helped fund Tarr's 1979 feature debut “Family Nest”. The 1981 work “The Outsider” and the following year's “The Prefab People” continued in much the same vein, but with a 1982 television adaptation of Macbeth, his work began to change dramatically; comprised of only two shots, the first shot (before the main title) was five minutes long, with the second 67 minutes in length. After 1984's “Almanac of Fall”, Tarr (who had written his first four features alone) began collaborating with Hungarian novelist Laszlo Krasznahorkai for 1987's “Damnation”. A planned adaptation of Krasznahorkai's epic novel “Satantango” took over seven years to realize. The film, a 415-minute masterpiece, finally appeared to international acclaim in 1994. His 7 and a half hour masterpiece, won the Berlin International Film Festival Caligari Award, the Prix de l’Age d’Or award, and the National Society of Film Critics Award (USA) for experimental film. “The Man From London” (2007) was nominated for the Palme d’or at Cannes Film Festival. “Werckmeister Harmonies” (2000) was nominated for the Chicago Film Critics Association Award for Best Foreign Language Film and won two Hungarian Film Critics Awards. His last film “The Turin Horse” won the Berlin International Film Festival’s Silver Bear and FIPRESCI Awards, and the FIPRESCI Best Foreign Film Award at the Palm Springs International Film Festival. In January 2011, Bela Tarr joined the Board of Directors of the recently formed cinema foundation and NGO for human rights Cine Foundation International and in September of the next year, he received the BIAFF special award for lifetime achievement. LOCATION OF THE WORKSHOP ESPINHO, PORTUGAL Link for application form Until when I can apply? The call for applicantions will close on the 15th of December 2017. How can I apply? To make the application, you need to fill this Link and send us your portfolio and a motivation letter. There will also be an application fee which will be reimburse to those who were accepted. How many people will attend the workshop? Only 12 applicants will be selected. Who will make the official selection? The selection will be made by Béla Tarr and the portfolio and motivation will be taken into consideration. Since we accept only 12 applicants for the Bela Tarr program, we reserve the right to replace an unpaid applicant with someone from a waiting list of applicants. When do I know if I was selected? The official selection will be announced on the 8th of January 2018. How much does it cost? The application has an administrative fee of 50Eur. After the selection, the selected applicants will have to pay 1599€ to attend the workshop. The application fee will be reimbursed to those who are selected. What payment options do you accept? The payment must be done by PayPal. If you’re from a country which has not access to PayPal, please, contact us to filmlab@fest.pt and we will give you our bank details, so you can do the payment by bank transfer. How long will be the workshop? The workshop will occur during from the 26th of February to 11th of March 2018. It will start every day at 9:30am and it will end at 5:30pm with a break for lunch. Will the workshop be theoretical? No, the workshop will be essentially practical. What equipment will be provided? FEST FILM LAB organisation will provide shooting material. Where we can find accommodation? FEST FILM LAB organisation will help you finding the best accommodation option. Duration: 2 weeks Dates: 26th of February to 11th of March 2018 Location: Espinho, Portugal Price: 1599€ Maximum number of participants: 12 Timeline for the workshop Deadline for applications - 15th of December Selection announcement – 8th of January Workshop – 26th of February to 11th of March By registering to the workshop you agree with FFL terms and Conditions
03/04.03.2018London UK
SOUND EDITING WORKSHOP WITH EDDY JOSEPH

ABOUT EDDY JOSEPH Eddy Joseph is without a doubt on of the most successful Sound Editors of our time Eddy Joseph has been in the Film Industry for over 40 years and a Sound Editor for 30. He has collaborated with such directing luminaries as Alan Parker, Bernardo Bertolucci, Louis Malle, Jean-Jacques Annaud, Neil Jordan and Anthony Minghella. His credits include “Pink Floyd The Wall”, “Angel Heart”, “Batman”, “The Commitments”, “The Crying Game”, “Little Buddha”, “Interview with the Vampire”, “Evita”, “Enemy at the Gates”, “Harry Potter and the Philosopher’s Stone”, “Cold Mountain”, “Corpse Bride”, “United 93″, “Casino Royale” and “Quantum of Solace”. He has received 2 BAFTA Awards and 6 further Nominations and 16 MPSE Nominations. Full list of credits on www.imdb.com/name/nm0430577/ Eddy Joseph 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 Eddy Joseph, 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 London UK 16 hours Duration: 2 days Dates: 3-4 March 2018 Location: London UK Price: 399GBP (299GBP with discount of 25% Until 12th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.04.2018London UK
MUSIC COMPOSING FOR FILM WORKSHOP WITH GARY YERSHON

ABOUT GARY YERSHON Garyʼs career composing music for drama spans 40 years and encompasses scores for the leading UK theater companies, West End and Broadway productions, radio, television and film. Gary was born in London in 1954. After graduating from Hull University, where he read Music and Drama, he sustained a career as an actor-musician until 1991, when he gave up the limelight to focus primarily on composing. His theater scores include many for the Royal Shakespeare Company (where he is an Associate Artist), the National Theater, West End (including the English-language premieres of Yasmina Reza’s plays Art, The Unexpected Man, Life x 3 and God of Carnage) and Broadway (2009 Drama Desk nomination for The Norman Conquests). In 2016 he became an Associate Artist of the Old Vic Theater Company. His is a regular collaborator of Mike Leigh. Their collaboration began with Topsy-Turvy (1999), on which Gary was musical director. Then came the scores for Happy-Go-Lucky (2008), Another Year (2010, gaining Gary a nomination as European Film Award Best Composer), the short film A Running Jump (2012), and Mr Turner (2014), for which Gary was nominated for an Academy Award for Best Original Score, Ivor Novello Award, and an ASCAP Composer’s Choice award. He is currently working on Mr Leigh’s latest film. Gary has written for BBC radio since 1979, his first appearances being as a singer-songwriter. Since then he has composed for many plays, including The Odyssey, Gawain and the Green Knight, The Theban Plays, The Winter’s Tale, The Eve of St Agnes, Three Men in a Boat, as well as the 2002 Sony-award winning Autumn Journal. For Radio 3 he translated and dramatised Pushkin’s Ruslan and Lyudmila, and contributed a new work, Orwell on Kipling, for the arts magazine programme The Verb. TV work ranges from detective drama (Trial and Retribution IX & X) through theme music (The Heritage Game, The Good Neighbour Show) to children’s cartoon series (James the Cat, Painted Tails, Ebb and Flo). For dance, his work includes Get A Move On (1994), choreographed by Jonathan Lunn at the New Performance Gallery, San Francisco; and Ma Vie En Rose (2007) choreographed by Ayse Tashkiran, directed by Pete Harris, at the Young Vic theatre, London; and The Boy in the Striped Pyjamas (2017) for Northern Ballet, choreographed by Daniel de Andrade. Gary curates and presents OscarⓇ Scores at the Barbican Arts Centre in London. He also works as a writer, translator, musical director and teacher.

WORKSHOP DESCRIPTION Workshop Description: The Music Composing for Film workshop will focus on a diversity of topics of the art of composing music for a film. You will have the chance of discussing these issues with Gary Yershon, but also to interact with up to 25 fellow participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your work, and receiving feedback to help unblock situations in the future. The topics covered on the workshop will include: HOW DO I BECOME A FILM COMPOSER? Introduction to Gary and his work. Introduction to the course students and their work/experiences and goals. Practical questions vs creative ones Practical questions: How do I get into the business? Do I need to learn it at college? The classic catch 22 - "I know I can do it but how do I get work when I have nothing to show yet?" Creative questions: What sort of composer are you? How do you know what your voice is before you've had a chance to write? Do you need your own voice? BEING A FILM COMPOSER - WHAT DOES THAT ACTUALLY MEAN? How I've done it. Does this have any relevance to anyone else's career path? WHY ARE YOU NOT TALKING ABOUT WRITING MUSIC? ARE WE EVER GOING TO GET ON TO THIS? Is the music you write the most important part of your job? Which is more useful - studying film scores or classical music? Coming back to developing your own voice... Is this important or not? Practical examples: Gary will show a few examples. Each course member will bring one cue to play which represents them best. Trends in film scoring. How this affects how you write. Should be take any notice of fashion? Examining some examples. The important stuff: Working with directors Working with producers Working with directors and producers who don't agree with each other. Your team: Contractors Orchestrators Programmers Copying Other backup Boring stuff: Money Agents Publishing & copyright Giving away your rights for opportunities and working for free. Conclusion: Spoiler alert! It's not how good you are but how good you want to be. Maybe! You probably know more about this than you think. Trust yourself. Be lucky. Make your own luck. Work hard. Be good. Be generous. Be better than you thought you could be. Be patient. But Don't wait for it to come to you. Being a composer isn't really a career choice. You don't pick it. It's chooses you. There is no escape. If you tick these boxes you already are a composer. The rest is just working out the details. 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: 21-22 April 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until 1st of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI SOLD OUT

Venue Partner DBS Berlin ABOUT ALLAN STARSKI

Allan Starski is one of the top Production Designers working today. He has collaborated with directors such as Roman Polanski, Steven Spielberg, Andrzej Wajda, Peter Webber, among many other notable names. Son of famed screenwriter/ songwriter Ludwik Starski, Allan graduated in Architecture in Warsaw’s Academy of Fine Arts and began his filmmaking career in Poland with Oscar and Palme d'Or-winning director Andrzej Wajda. With a wide range of successful collaborations (including Człowiek z marmuru (Man of Marble),Człowiek z żelaza (Man of Iron) and Panny z Wilka (The Maids of Wilko) and Pan Tadeusz), it was with the film Danton (1982) that Starski began being noticed by his peers around the world. In 1993 Starski received an Academy Award for his work in Steven Spielberg’s revered film Schindler’s List – starring Liam Neeson, Ben Knigsley and Ralph Fiennes - which also secured Starski a BAFTA nomination. His extensive work includes Roman Polanski’s The Pianist (starring Adrien Brody) in 2002 (for which he won a Cesar Award) and Oliver Twist in 2005; Peter Webber’s Hannibal Rising; Agnieszka Holland's Europe, Europe and Washington Square. Starski also has an impressive body of worked on stage productions, having collaborated with acclaimed professionals such as Arthur Miller, Aleksander Bardini and Andrzej Tapicki. full credits on http://www.imdb.com/name/nm0823649/ Allan Starski is one of the most versatile and accomplished Production Designers of our age – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Production Design workshop with Allan Starski will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Allan Starski, 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 films, and receiving the feedback to unblock situations in the future. Participants will learn what makes a strong visual, and what to expect when working as a Production Designer. The workshop will also help directors and DP's understand the importance and how to deal with the Production Designer. The topics covered on the workshop will be: Creative team, Director, DP and PD. Story Board as a visual tool for discussion. Art department Breakdown and it influence on the film budget. Period research and artistic interpretation of historical knowledge. Concept drawings, models and final drafts. Location or Studio Sets ? Color in the movie. Creating color palette according to visual concept of the movie. Case study: Washington Square by Agnieszka Holland. Split locations in historical movie. Case study: "Franz Schubert" Specifics of black and white movies. Case study: "Doctor Korczak" By Andrzej Wajda. Case study: "Schindler’s List" by Steven Spielberg How director emotional knowledge influence visual style of the movie. Schindler’s List versus Pianist. Big historical movie with sets built entirely in the Studio. Case study: "Oliver Twist" by Roman Polanski Sci- Fi and the low budget, does it go together ? Case study: “Fear of Flying” Can you make big historical movie with shooting in 3 continents and 5 countries ? Case study: "The Cut" by Fatih Akim. CGI as an additional tool for Production Designer. Extending sets by Visual FX. Rates and Agents PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, Film Students, or anyone interested in entering the Film Business on the area of Production Design LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 17th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
Film Financing in an Entrepreneurial Age 20-21 January 2018 BERLIN

Venue Partner DBS Berlin

ABOUT PAUL MILLER

Paul Miller is an independent producer working in the United States, Europe and the Middle East. From May 2012 until October 2013 Miller was Director of Film Financing at the the Doha Film Institute in Qatar. Miller oversaw a $2.5M education training programme, a $1m global grants fund and managed a $25M film financing fund. Prior to this Miller produced The Birder’s Guide to Everything directed by Rob Meyer, Babygirl, written and directed by Macdara Vallely, produced with Samson Films and the Irish Film Board. During this period Miller produced a feature length documentary, Poor Consuelo Conquers the World, with Les Films d’Ici for ARTE in 2011. Miller also Exec-Produced the feature length documentary, The Man Who Drew the Future with Una Films and ARTE. From 2002 - 2009 Miller was Head of Film Production at Crossroads Films, where he produced Snow Angels, which was released by Warner Independent Pictures in 2008. The film was written and directed by David Gordon Green and stars Sam Rockwell and Kate Becksinale and Golden Globe nominated, and A Love Song For Bobby Long starring John Travolta and Scarlett Johansson, released by Lionsgate Films in 2006. Previous films include John Sayles’ feature The Secret of Roan Inish (1994), the Academy Award nominated Lone Star (1996) and Golden Globe nominated Men with Guns (1997). Miller also produced Prozac Nation, directed by Erik Skjoldbaerg’s (“Insomnia”) and starring Chistina Ricci, Jessica Lange and Anne Heche. The film was released by Miramax. Miller was educated in England and is a graduate of the National Film and Television School in the U.K. He is a member and consultant with Paris based Ateliers du Cinéma Européen, (A.C.E.) Europe’s premiere producer’s association and a member of the Director’s Guide of America and the Producer’s Guild of America. WORKSHOP DESCRIPTION

The Film Financing workshop will focus on the art of producing a film in our entrepreneurial age, where the means of manufacture and distribution are in flux and where finding your audience is key. The workshop will look at the how to develop, finance and complete a movie from the viewpoint of a creative producer. The workshop won’t be looking so much at the making of a movie more about setting off on the right track and finishing ahead of the game. The workshop will be practical and interactive, with participants also having the opportunity to assess the issues they encountered on their own films, and receiving the feedback to help similar situations in the future. Participants should be prepared to discuss an unproduced project that has been previously developed by them to the point of a first draft screenplay. The project doesn’t have to be an active project, just an idea that the participant can use in the workshop. The scripts will not be read or shared during the workshop. If the participant doesn’t have one, then an idea that has been developed to treatment stage is also sufficient. For each film idea, the participants should also think of a director, lead cast, location and budget range. The topics covered in the workshop: A. THE BEGININGS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors, Budget/Audience Developing your Pitch: the Elevator Pitch/Longer Pitch Pitching to a writer and director, pitching to investors Partnering with another producer Logline Synopsis B. FIRST STEPS Assembling a Creative Team and making a few Key Decsions: Commissioning a Writer Choosing a Director The Filmmaking Triad: Director/Writer/Producer Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming Screenplay Rights and Collaboration Agreements: Property Rights: 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 Producer Agreement Writer Agreement Producing Partnerships Development Budget Casting: Cast Lists, Casting Directors Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net The Glory of Schedule ‘F’. C. MARKETING AND DISTRIBUTION RESEARCH AND BOX OFFICE COMPARABLES Box Office Comparables: including budget, domestic, overseas and worldwide revenue and any known ancillary revenue, year of release, distributor and maximum # of screens Marketing and Distribution Plan, Film Festivals, Distributors and Sales Agent D. FINANCING Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections ‘The Waterfall’ Estimating revenue based on Box Office: low, medium and high Budget/Financing - Financing Sources: Equity, Pre-sales, gap financing, loans and soft money E. BUSINESS PLAN How to Create a Business Plan for Your Film: Executive Summary Overview of Industry Investor Return/Deal Comparables Projections Revenue Stream ROI F. MAKING YOUR FILM BETTER AFTER THE SHOOT Post-Production Decisions: Improving the picture edit Composer, Music and Music Rights: Sync and Master Use Licenses, Rights Clearance for Publicity and Festivals, Royalty-free Music, Composer/Score, Cutting Edge) Test Screenings (friends, film professionals and NRG screenings) Deliverables G. INTO THE WORLD: MARKETING AND DISTRIBUTION Who is your audience? Precedents/Box Office Comparables Demographics: age, race, location, gender, socio-economic class, religion, education, consumer tastes, musical tastes, sports identification, hobbies, politics, occupation, exercise habits, food habits, etc. Influencers How will you reach the potential audience for your movie? Promotion: P & A Fund, Producer of Marketing and Distribution, Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals Film Markets Theatrical: Distributor or DIY Non-theatrical VOD (streaming archived content): free/Ad driven, Pay Community Screenings DVDs PROFILE OF PARTICIPANT

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

Venue Partner DBS Berlin Berin, Germany 16 hours Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (375EUR Until the 17th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions