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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 week 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

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

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:

08/09.07.2017London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK LAST 4 PLACES!

ABOUT TEMPLE CLARK

Temple Clark is one of the most in demand Storyboard artists in the film industry. with more than 100 feature films, including "Spectre", "The Imitation Game", "Gravity", "Children of Men", "Cold Montain", “Harry Potter and the Prisoner of Azkaban” and many others. After studying Painting and Mixed Media at Glasgow School of Art, Temple came to London and started working at Cucumber Studios on pop videos, commercials and TV graphics, learning about animation and storyboarding. In 1996 he was asked to provide large scale illustrations for the film “Mary Reilly” (dir. Stephen Frears), followed by VFX storyboards for Luc Besson’s “Fifth Element”, where Temple discovered, to his amazement, concept illustrations. Since then he has provided storyboards and illustrations for over 100 feature films, from John Maybury’s “Love is the Devil” and Ralph Feinnes’s “Coriolanus” to “Harry Potter and the Prisoner of Azkaban”, “Gravity” (dir. Alfonso Cuaron) and more recently “Spectre” (dir. Sam Mendes). In addition to film work, over the past two years Temple has been drawing and painting dancers from life and was the set designer for “Inala”, produced by Sisters Grimm, a collaboration between the Ladysmith Black Mombazo choir and dancers from the Royal Ballet and Ballet Rambert. He is currently designing the new ballet being created by Sisters Grimm. full credits on http://www.imdb.com/name/nm0164547/ Temple Clark experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Storyboarding workshop with Temple Clark will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Temple Clark, 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 storyboard, and what to expect when working as a storyboard artist. The workshop will also help directors understand the importance and how to deal with storyboards. The topics covered on the workshop will be: Requirements for storyboarding. Why storyboards are a helpful tool. What is required of a storyboard artist. Ways of working with a director. Working with different departments – Art/ Camera/ VFX/ Stunts etc Steps for drawing your storyboard Getting your story straight Establishing if a storyboard is the best way to tell your story Being clear about your message Working out your story structure How to present your storyboard Character\Script\Scene\Plot Making the story powerful and enduring, Storyboarding styles and techniques Rates and Agents Portfolio review PROFILE OF PARTICIPANT The workshop designed for Storyboard Artists, Directors, Art Directors, Production Designers, Artists, Film Students, or anyone interested in entering the Film Business on the area of Storyboarding LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 8-9 July 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until the 3rd of July) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

08/09.07.2017London UK
EDITING AND VFX EDITING WORKSHOP WITH MARK SANGER

ABOUT MARK SANGER

With extensive experience in the industry, it was from a very young age that Sanger wanted to make films. He started as an assistant editor in the mid-90s, coming into the industry just as the change from analogue to digital happened. Under this title Sanger worked on Tomorrow Never Dies (1997), The World is Not Enough (1999), and The Mummy (1999). As a visual effects editor, he collaborated extensively with Tim Burton, editing Charlie and the Chocolate Factory (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Alice in Wonderland (2010). Also as a VFX artist he worked on 007: Die Another Die (2002), Troy (2004), and on Alfonso Cuarón’s highly acclaimed Children of Men (2006). Sanger and Cuarón worked together yet again, in 2013’s hit movie Gravity (2013), with Sanger working as a Picture Editor. This successful collaboration earned them, as co-editors, the Oscar for Best Editing, a BAFTA nomination, amongst a very wide list of various awards. Currently, Sanger has been working on the new Transformers movie, which is already in post-production and will be released later in the year. Mark Sanger experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION It is important to note that this will not be a workshop to teach you editing with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor. DAY 1 ● Introduction of the participants and Mark Sanger. The participants will then be showed some clips of the work made by him, analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry / as well as getting into on what was behind of some of his editing. ● Film editing vs. visual effects editing - the specification of the VFX editor job; links beetween film editing, animation editing and visual effects editing ● Traditional editing vs. digital editing - how has digital technology changed the process; how knowledge and experience in traditional editing can be useful in digital editing ● When does the editing process really start? the importance of preparations prior to shooting; editing with storyboards and pre-vis ● How to help the story flow through the editing and best processes; how to serve the narrative through effective editing; how to employ narrative techniques to create tension; how to edit your characters/actors and performance (practical examples of problem solving and good decisions) ● How to apply the craft in different genres, the impact of genre on editing styles. ● Influence of great films, film history to help work. ● Eye for details - how to avoid mistakes DAY 2 ● Technical aspects of the job - looking at recent project showing workflow. ● How to get and improve your professional skills - technical courses at film schools vs. practical experience. What to take into account when choosing a course from the wide range that different film schools, art schools and technical schools provide? ● An overview of available tools / software; advantages and disadvantages; which one to choose? ● Space for creativity - relations between technical skills and thinking outside of the box, how to be a part of the whole process of film and television production and not merely as the final stage, becoming collaborators, not just efficient technicians. ● The relationship with the director, DOP, producer and other members of the film crew; visual effects editor as a bridge between the editorial and visual effects departments, communicating both creative and technical information between the two; the importance of having a broad understanding of all departments ● Practical exercise. The participants will be given footage (a small scene) to work two weeks 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. Mark Sanger 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. ● The market reality for editors, agents, rates, and finding your own work PROFILE OF PARTICIPANT

The workshop designed for Editors, Directors, VFX Editors, VFX Technicians, VFX Supervisors, Film Students, or anyone interested in entering the Film Business on the area of Editing and VFX LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 8-9 July 2017 Location: London UK Price: 399GBP (299GBP with 25% discount until the 4th of July) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
20/21.05.2017Porto, Portugal
EDITING WORKSHOP

This workshop is organized in partnership with UPTEC PINC LAST 2 PLACES ABOUT TARIQ ANWAR

Tariq Anwar is an Indian born British editor that in the last 30 years built up an impressive career that led him to no less than two Oscar Nominations, two BAFTA prizes and one European film award. We can safely say Tariq Anwar is one of the greatest film editors in activity. He started out in television in the editing department of the legendary Dr. Who series in the seventies. Since then he achieved some of his highest moments working alongside Sam Mendes in films such as American Beauty (where his amazing edit awarded with an Oscar Nomination) and Revolutionary Road. Tariq is well known for his great work in Tom Hooper´s The Kings Speech (where he was awarded with an Oscar Nomination) , Nicholas Hytner´s Madness of King George, Robert De Niro´sThe Good Shepperd and Franco Zefirelli´s Tea with Mussolini. Tariq has more than 65 editing credits, such as “The Crucible” by Nicholas Hyter starring Daniel Day-Lewis and Winona Rider, Under Suspicion starring Liam Neeson, Ian Softly’s “The Wings of Dove” and “The Object of My Affection”, Jessica Lange “Cousin Bette”, “Focus” with William H Macy and Laura Dern, Christine Jeffs “Sylvia” with Gwyneth Paltrow and Daniel Craig, F Gary Gray’s “Law Abiding Citizen” with Gerard Butler and Jamie Foxx. Most recently he achieved great success in Mike Newell´s Great Expectations. Anwar´s filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. SCHEDULE AND WORKSHOP DESCRIPTION

It is important to note that this will not be a workshop to teach you edit with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor. Saturday Introduction of the participants and Tariq, the participants will then be showed some clips of the work made by Tariq , analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry. Topics include the following: Focus on how to help the story flow through the editing, and best processes. How to serve the narrative through effective editing. How to employ narrative techniques to create tension. How to edit your characters/ actors and performance (practical examples of problem solving and good decisions) How to apply the craft in different genres. The impact of genre on editing styles Influence of great films, film history to help work. ( musicals, horror, thriller, shakespeare, study ) Sunday Technical aspects of the job - looking at recent project showing workflow. Low budget, high budget? How to work with sound, music and special effects. Practical exercise. The participants will be given footage (a small scene) to work two weeks 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. Tariq 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. The relationship with the Director, DOP, Producer and other members of the film crew. How to be a part of the whole process of film and television production and not merely as the final stage, becoming collaborators, not just efficient technicians. The market reality for Editors, Agents, Rates, and finding your own work 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

Porto Portugal 16 hours Duration: 2 days Dates: 20-21 May 2017 Location: Porto, Portugal Price: 449 EUR (425EUR Until 10th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
20/21.05.2017Porto, Portugal
FILM DIRECTING WORKSHOP WITH FERNANDO TRUEBA

This workshop is organized in partnership with UPTEC PINC ABOUT FERNANDO TRUEBA The Spanish director, born 18 January 1955, started off his career as a film critic - first for the Spain's leading daily newspaper El País and La Guía del Ocio, then for monthly film magazine Casablanca, which he founded and directed during its first two years. At the same time he also wrote and directed several short films. His first feature “Opera Prima” was released in 1980 and became successful on both sides of the Atlantic, bringing him Best First Feature award at Chicago IFF and AGIS Award at Venice Film Festival. Since then he dedicated himself to screenwriting and directing career, releasing a new film almost every year, including such titles as “The Mad Monkey” (6 Goya awards) or “Year of Enlightenment” (Chicago IFF Best Feature award). He became a major figure in the early nineties after the premiere of “Belle Epoque” which won over 20 awards worldwide, including an Oscar, a BAFTA, a Goya and a nomination at the Berlinale. In 1998 he also scored a major hit with “The Girl of Your Dreams” winning another Goya award among many other prizes. He has managed to conciliate his work with his love for music, in particular Latin Jazz, by dedicating himself to projects where both aspects merge together, such as in the acclaim documentary “Calle 54” and the European Film Award winner animation feature “Chico and Rita”, which was also nominated for Oscar. His latest great success was black and white film “The artist and the model”, awarded at San Sebastian Film Festival and nominated for 25 other awards. His most recent work was “The Queen of Spain” with Penélope Cruz, also nominated for several prizes. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Fernando Trueba, 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 receive the feedback to unblock situations in the future. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History as an ally Auteur versus Industry DIY - the low budget approache The writer/director The genius myth Understanding your abilities GETTING THERE The steps before you go into production The development process Getting Financing Agents/managers/lawyers Producers and writers Hollywood vs. Europe PREPPING Aesthetic overview: look and story The crew Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera ADs SHOOTING The politics Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy The Master shot trap The second unit POST PRODUCTION Working with the editor Digital VFX Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION Porto Portugal PROFILE OF PARTICIPANT The workshop is designed for Directors, Film Producers, ADs, Film Students, or anyone serious about a career in the Film Business on the area of Directing. Duration: 2 days Dates: 20-21 May 2017 Location: Porto, Portugal Price: 499€ (399€ Until 15th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

08/09.04.2017Porto | Portugal
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH

This workshop is organized in partnership with UPTEC PINC ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he helped create the distinctive look in films such as "The Piano". In recent years Dryburgh shot the films "Lone Star", "Bridget Jones's Diary", and HBO series "Boardwalk Empire". Stuart is also developing several projects at the moment, including cinematography in Yimou Zhang's "The Great Wall" Starring Matt Damon, Pedro Pscal and Willem Defoe, and James Bobin's sequel to "Alice in Wonderland": "Alice Through the Looking Glass" starring Johnny Depp, Anne Hathaway, Mia Wasikowska and Helena Bonham Carter . Dryburgh started on the job as a gaffer. As a result he found himself working and learning alongside many major cinematographers, in the process gaining a reputation as a skilled lighting specialist. After six years as a gaffer Dryburgh moved into the cinematographer's role shooting his first feature "The Leading Edge". Dryburgh was given the chance to shoot "An Angel at my Table" by Jane Campion, the film won accolades, and standing ovations. In 1992 Dryburgh reunited with Jane Campion in "The Piano", his work on the film won him the Oscar, ASC and BAFTA nominations, but was beaten by Schindler's List. Dryburgh followed "The Piano" with impressive work on "Once Were Warriors". After working on John Sayles' acclaimed border drama "Lone Star", Dryburgh reunited with Jane Campion, to shoot Henry James adaptation "The Portrait of a Lady". A long series of projects has followed, including hits "Analyze This", "Bridget Jones's Diary" "Kate and Leopold" and the pilot episode of "Sex and the City". Dryburgh went back to New Zealand to shoot "In My Father's Den", shot wildly out of sequence in an effort to capture different seasons on film. In 2007 he shot "The Painted Veil" Dryburgh's projects also include the pilot for acclaimed Prohibition-era drama "Boardwalk Empire". Martin Scorsese directed, with Dryburgh describing it as in many ways "a dream job". Variety later argued that Dryburgh's cinematography on Ben Stiller's remake of "The Secret Life of Walter Mitty" was "reason enough to see the film on the bigscreen". He followed it with Michael Mann cyber-crime tale "Blackhat". In 2012 he returned to New Zealand as director of photography on Japanese-set drama "Emperor", directed by Peter Webber. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Stuart Dryburgh, 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. The over all theme of the workshop will be: How Stuart applies 30 years of shooting on film to shooting in the digital age, and what younger cinematographers can gain by ‘thinking film, shooting digital’ The workshop will also cover the following structure: ESSENCE OF THE CRAFT Auteur versus Industry – the realities of the business. DIY - low budget approaches Understanding your abilities Overview and “Case Study” clips of my work GETTING THERE Hollywood versus Europe Agents/managers/lawyers PREPPING Script break down Aesthetic overview – the look and the story - Stylistic Approach Crewing up Location hunting Rehearsing before the shoot Storyboard How to work with: Art department Costume Camera Planning for Digital VFX Camera systems, Lens selection Grip equipment Originating materials (film stock/tape) Relationship between the DP and the director Tradicional Vs. Digital How to properly tech scout a location How I design master shots and coverage SHOOTING Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Camera - Movement - How / When / Why laboratory procedures Exposure - Zone System of Exposure - Film and Video LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors WORKSHOP LOCATION Porto, Portugal PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 2 days Dates: 8-9 April 2016 Location: PORTO, PORTUGAL Price: 499EUR (399EUR until 31 March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.03.2017London UK
PRODUCTION SOUND MIXING WORKSHOP LAST FEW PLACES

ABOUT CHRIS MUNRO

Oscar and BAFTA-winning production sound mixer Chris Munro has worked on more than 80 films, including Alfonso's Cuaron's “Gravity” and Ridley Scott's “Black Hawk Down”. Munro began to work in films when he was 16 years old as a trainee at Elstree Studios. His first steps were on some of the most influential cult classics, such as the "infamous" Hammer production “The Satanic Rites of Dracula” by Alan Gibson. He continued to work as a freelancer on a TV series at Pinewood and on a number of films including “The Rocky Horror Picture Show". He worked as a sound maintenance engineer and a boom operator when he had his breakthrough moment – he was invited to mix the second unit 2nd unit on a Sam Peckinpah film called "Cross of Iron", when he was 25. He made a name for himself in the 1990's, with credits in some of the decade's most successful films, such as “Robin Hood The Prince of Thieves” by Kevin Reynolds “The Fourth Protocol” by John Mackenzie, “The Russia House” by Fred Schepisi and “Emma” by Douglas McGrath. He was also a key crew player in John Cleese's comedy features, such as the hits “A Fish Called Wanda”, “Fierce Creature” and the now cult classic “Clockwise”. More recently he has credits in major blockbusters such as 5 episodes of the “007” series (“Tommorow Never Dies”,"Die Another Day”, “The World Is Not Enough” , “Casino Royale” and “Quantum of Solace"). Throughout his career he has worked with top film-makers such as Ridley Scott (“Black Hawk Down”), Paul Greengrass (“United 93”), Ron Howard (“In The Heart of the Sea”),Barry Levinson (“Rock the Kasbah”),M. Night Shyamalan (“Lady In The Water” and “The Last Airbender”), Anton Corbijn (“The American”), Bille August (“Smilla's Sense of Snow”), Bryan Singer (“Valkyre”), Guy Ritchie (“Sherlock Holmes”), Lasse Hallstrom (“Chocolat”), Ian Softley (“Backbeat”) and Mike Figgis (“The Browning Version”). He is currently working on Steven Spielberg's latest film “Ready Player One”. Munro has been Oscar Nominated 4 times, winning twice for his performance on "Gravity" and "Black Hawk Down”, nominated 5 times for BAFTA winning for “Casino Royale” and “Gravity”. Full list of credits on: http://www.imdb.com/name/nm0613101/ WORKSHOP DESCRIPTION

The Production Sound MixingWorkshop with Chris Munro will focus on a diversity of topics of the art of mixing sound of a film, you will have the chance of not only receive this knowledge from Chris Munro, 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. The purpose of this workshop is to understand the power of good sound, and the processes necessary to realize this. Chris will talk about his work, his recording philosophy, his methodology and show examples from his previous films. He will discuss how the film business has changed, how recording has to deal with a new set of factors, like multiple cameras with various lens sizes, the use of multi track recording and the limited shooting schedules with consequences for all departments. Participants will look at different types of recorders, RF mikes and mixers available for location recording. The different boom mikes available and when to use them will also be a topic Other topics will be: Pre-production planning and budgeting for sound. Recording Priorties of the Mixer Teaming up The importance of inter-departmental communication Set etiquette. Rates and Agents How to wire actors Methods used to hide transmitters and mikes How to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and the multi challenges we face in our efforts to get good usable sound. Chris will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate sound problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus. PROFILE OF PARTICIPANT

The workshop designed for Directors, Sound Mixers, Sound Recordists, Boom Operators, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION

London UK Duration: 2 days Dates: 11th - 12th of March 2017 Location: London UK Price: 499GBP, (349GBP discount of 30% until 1st of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

25/26.02.2017London 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: 25-26 February 2017 Location: LONDON UK Price: 399EUR (319GBP Until 27th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.01.2017London UK
CINEMATOGRAPHY WORKSHOP WITH MICHAEL COULTER

ABOUT MICHAEL COULTER

Oscar nominated DOP Mick Coulter was born in Scotland in 1952. He was introduced to the local film business by his director brother-in-law, the late Charles Gormley. He started as a gopher for local production companies making 'industrial films', before moving on to load the b&w stock into camera magazines at football matches. He went freelance in 1975 and soon became acquainted with writer/director Bill Forsyth and, having recently purchased a 16mm camera, was invited to use it as the DOP on Forsyth's first feature 'That Sinking Feeling'. During 1982-83 Coulter operated for Chris Menges on Forsyth's next pictures, 'Local Hero' and 'Comfort and Joy', which Coulter describes as 'unmissable opportunities to work with a man I admired tremendously.' During the early '80s he also worked on many documentaries. After working as an assistant in France, for cinematographer Pierre-William Glenn, he returned to the UK where he truly flourished. He got a head start as DOP in 'No Surrender', when the original DOP had to pull out. It was all uphill from there on and today Mick Coulter is well recognized for his range: he does comedy, period and action with ease. He worked in films comedies like “Four Weddings and a Funeral”, “Love Actually”, “Notting Hill”; in the period piece “Sense and Senbility” (starring Emma Thompson and Kate Winslet, which earned him an Oscar nomination); and in the action-packed “The Bank Job”, starring Jason Statham. He also works in commercials regularly, earning accolades for his work for brands such as British Airlines, Burberry, Mercedez, The New York Times, Dupont, among many others. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Mick Coulter, 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. The over all theme of the workshop will be: How Mick Coulter applies 30 years of shooting on film to shooting in the digital age, and what cinematographers can gain by ‘thinking film, shooting digital’ The workshop will also cover the following structure: ESSENCE OF THE CRAFT Auteur versus Industry – the realities of the business. DIY - low budget approaches Understanding your abilities Overview and “Case Study” clips of my work GETTING THERE Hollywood versus Europe Agents/managers/lawyers PREPPING Script break down Aesthetic overview – the look and the story - Stylistic Approach Crewing up Location hunting Rehearsing before the shoot Storyboard How to work with: Art department Costume Camera Planning for Digital VFX Camera systems, Lens selection Grip equipment Originating materials (film stock/tape) Relationship between the DP and the director Tradicional Vs. Digital How to properly tech scout a location How I design master shots and coverage SHOOTING Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Camera - Movement - How / When / Why laboratory procedures Exposure - Zone System of Exposure - Film and Video LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors WORKSHOP LOCATION London UK PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. Duration: 2 days Dates: 28-29 January 2017 Location: LONDON UK Price: 449GBP (337GBP with 25% Discount Until 17th January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.01.2017London UK
FILM DIRECTING WORKSHOP WITH PETE TRAVIS SOLD OUT FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt

ABOUT PETE TRAVIS

Established director and BAFTA winner Pete Travis actually had a late start in his filmmaking career: before becoming a director, Pete Travis was a social worker. However, inspired by Alan Clarke and Costa-Cravas, he decided to take a post-graduate course in filmmaking. Soon after graduation he acquired the rights of “Faith” (short story written by Nick Hornby) and presented his first short film at the London TV Festival (1997). Later, he directed episodes of “Cold Feet” (1999) and the TV series “Other People's Children” (2000), as well as “The Jury” (2002) mini-series and the TV movie “Henry VIII” (2003), featuring Helena Bonham-Carter and Mark Strong. Impressed with his work, Paul Greengrass, “Captain Phillips´” director, sent Travis a script that he co-wrote with Guy Hibbert – “Omagh”. The film premiered in 2004 at the Toronto International Film Festival, where it won the Discovery Award. The film also won the 2005 BAFTA Award for “Best Single Drama”. “Vantage Point”, was his first major motion film, starring Dennis Quaid and Matthew Fox. It was released in the USA, in 2008. Just one year later, in January of 2009, Pete Travis took to Sundance to premiere “Endgame”, which dramatizes the last days of Apartheid in South Africa and stars Chiwetel Ejiofor, William Hurt, Jonny Lee Miller and Mark Strong. Later, Travis directed a film adaptation of the popular UK comic book series, “Dredd” (2012). In Travis' feature film, Karl Urban takes on the role of judge Dredd with Olivia Thirlby playing his young accomplice. The film quickly gathered a cult following. Pete Travis most recent work stars Riz Ahmed and Billie Piper: “City of Tiny Lights” (2016) - a crime thriller film, written by Patrick Neate and based on his own novel of the same name. WORKSHOP DESCRIPTION

The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Pete Travis, 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. The workshop will also cover the following structure: PRE-PRODUCTION Introduction to “acting” / How to actors work? The Actor/Director relationship Letting the actors to build their own characters The Actor’s tools and methodologies The director in a casting What is a character? The importance of the story through the eyes of the character Planning Rehearsal - What to Rehearse and Why. Rehearsal Tools Directing The Character ON SET How to communicate with actors Staging the Scene and Blocking the Action How the camera affects performance. Business and endowment Keeping performances dynamic and the actors engaged. Keeping the set as a creative environment. What to ask for in a new take. Maintaining Continuity - Emotional and Physical WORKSHOP LOCATION London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing 16 hours Duration: 2 days Dates: 28-29 January 2017 Location: LONDON UK Price: 449GBP (314GBP with 30% Discount Until 8th January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

07/08.01.2017Berlin
Film Financing in an Entrepreneurial Age ONLY ONE PLACE LEFT!

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

Berin, Germany 16 hours Duration: 2 days Dates: 7-8 January 2017 Location: Berlin, Germany Price: 499EUR (375EUR Until the 23rd of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

07/08.01.2017Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI ONLY 1 PLACE LEFT!

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: 7-8 January 2017 Location: Berlin, Germany Price: 499EUR (399EUR with 20% discount until the 27th of December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.11.2016London UK
GARETH WILEY FILM PRODUCERS WORKSHOP SOLD OUT

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 November 2016 Location: London UK Price: 399GBP, (319GBP discount of 20% until 4th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
04/05.11.2016Abu DHabi
SOUND EDITING WORKSHOP WITH EDDY JOSEPH This workshop is organized in partnership with NYU Abu Dhabi

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 NYU Abu Dhabi, Saadiyat Marina District - Abu Dhabi - United Arab Emirates 16 hours Duration: 2 days Dates: 4th 5th November 2016 Location: Abu Dhabi, UAE Price: 599USD (449USD with discount of 25% Until 26 October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

17/18.09.2016London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES WORKSHOP FULL

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: 17-18 September 2016 Location: London UK Price: 399GBP (299GBP with 25% discount until 12th September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

09/10.07.2016London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK LAST PLACES

ABOUT TEMPLE CLARK

Temple Clark is one of the most in demand Storyboard artists in the film industry. with more than 100 feature films, including "Spectre", "The Imitation Game", "Gravity", "Children of Men", "Cold Montain", “Harry Potter and the Prisoner of Azkaban” and many others. After studying Painting and Mixed Media at Glasgow School of Art, Temple came to London and started working at Cucumber Studios on pop videos, commercials and TV graphics, learning about animation and storyboarding. In 1996 he was asked to provide large scale illustrations for the film “Mary Reilly” (dir. Stephen Frears), followed by VFX storyboards for Luc Besson’s “Fifth Element”, where Temple discovered, to his amazement, concept illustrations. Since then he has provided storyboards and illustrations for over 100 feature films, from John Maybury’s “Love is the Devil” and Ralph Feinnes’s “Coriolanus” to “Harry Potter and the Prisoner of Azkaban”, “Gravity” (dir. Alfonso Cuaron) and more recently “Spectre” (dir. Sam Mendes). In addition to film work, over the past two years Temple has been drawing and painting dancers from life and was the set designer for “Inala”, produced by Sisters Grimm, a collaboration between the Ladysmith Black Mombazo choir and dancers from the Royal Ballet and Ballet Rambert. He is currently designing the new ballet being created by Sisters Grimm. full credits on http://www.imdb.com/name/nm0164547/ Temple Clark experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Storyboarding workshop with Temple Clark will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Temple Clark, 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 storyboard, and what to expect when working as a storyboard artist. The workshop will also help directors understand the importance and how to deal with storyboards. The topics covered on the workshop will be: Requirements for storyboarding. Why storyboards are a helpful tool. What is required of a storyboard artist. Ways of working with a director. Working with different departments – Art/ Camera/ VFX/ Stunts etc Steps for drawing your storyboard Getting your story straight Establishing if a storyboard is the best way to tell your story Being clear about your message Working out your story structure How to present your storyboard Character\Script\Scene\Plot Making the story powerful and enduring, Storyboarding styles and techniques Rates and Agents Portfolio review PROFILE OF PARTICIPANT The workshop designed for Storyboard Artists, Directors, Art Directors, Production Designers, Artists, Film Students, or anyone interested in entering the Film Business on the area of Storyboarding LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 9-10 July 2016 Location: London UK Price: 399GBP (279GBP with 30% discount until the 25th of June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.05.2016London UK
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI

ONLY 5 PLACES LEFT 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 University of West London, London UK Duration: 2 days Dates: 28-29 May 2016 Location: London UK Price: 399GBP (299GBP with 25% Early Bird discount until the 15th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.05.2016Barcelona Spain
EDITING WORKSHOP WITH CHRIS DICKENS ONLY 2 PLACES LEFT

ABOUT CHRIS DICKENS

In 1990, Chris Dickens graduated from the Bournemouth Film School. He began his filmmaking career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC. During this time he began to cut comedies and later he crossed over to cutting dramas. While working on the TV series Spaced, Dickens developed a relationship with writer-director Edgar Wright and went on to edit his first feature film, the cult hit SHAUN OF THE DEAD. Other features edited by Chris Dickens include GONE, HOT FUZZ, GOAL! THE DREAM BEGINS, and SEED OF CHUCKY. It was his work on the Best Picture Oscar®-winner and globally recognized SLUMDOG MILLIONAIRE that truly stamped Chris Dickens’ signature in the world of editing. He’s the recipient of a “triple crown” of editing awards—the Academy Award® for Film Editing, BAFTA Award for Best Editing, and the American Cinema Editors Award for Best Edited Feature Film (Dramatic)—for his work on SLUMDOG MILLIONAIRE. During over 20 years in the industry, the British editor has worked in such different titles as Richard Ayoade’s debut feature film “Submarine” (2010), Greg Mottola’s “Paul” (2011), and Tom Hooper’s “Les Misérables”. Being one of the most innovative and original editors in film today Chris Dickens’ Workshop is sure to be a unique experience. Full list of credits on http://www.imdb.com/name/nm0225323/ Chris Dickens experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Editing workshop will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Chris Dickens, 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. The topics covered on the workshop will be: Introduction of the participants and Chris, the participants will then be showed some clips of the work made by Chris , analyzing some choices and options made in some of his works. Chris 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 scene) to work two weeks 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. Chris 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 LOCATION OF THE WORKSHOP ECIB Barcelona Spain ECIB is the venue partner for this workshop Duration: 2 days Dates: 21-22 May 2016 Location: ECIB Spain Barcelona Price: 499EUR 399EUR with 25% discount until the 18th of May 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

SOLD OUT for waiting list please email filmlab@fest.pt 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 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 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 6th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
27/28.02.2016London UK
FILM LAW DEVELOPMENT PRODUCTION AND EXPLOITATION DEALS

ABOUT KAMI NAGHDI SOLD OUT email filmlab@fest.pt for waiting list

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 25th of February) 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

23/23.01.2016London 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

University of West London, London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (319GBP Until 16 December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

24/25.10.2015Hong Kong
Film Financing in an Entrepreneurial Age

The workshop will take place at CYBERPORT HONG KONG the venue sponsor of the workshop.

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

The workshop will take place at CYBERPORT HONG KONG the venue sponsor of the workshop. 16 hours Duration: 2 days Dates: 24-25 October Location: CYBERPORT HONG KONG Price: 4500HKD (3150HKD discount of 30% Until 19th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.09.2015Lisbon | Portugal
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH SOLD OUT

ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he helped create the distinctive look in films such as "The Piano". In recent years Dryburgh shot the films "Lone Star", "Bridget Jones's Diary", and HBO series "Boardwalk Empire". Stuart is also developing several projects at the moment, including cinematography in Yimou Zhang's "The Great Wall" Starring Matt Damon, Pedro Pscal and Willem Defoe, and James Bobin's sequel to "Alice in Wonderland": "Alice Through the Looking Glass" starring Johnny Depp, Anne Hathaway, Mia Wasikowska and Helena Bonham Carter . Dryburgh started on the job as a gaffer. As a result he found himself working and learning alongside many major cinematographers, in the process gaining a reputation as a skilled lighting specialist. After six years as a gaffer Dryburgh moved into the cinematographer's role shooting his first feature "The Leading Edge". Dryburgh was given the chance to shoot "An Angel at my Table" by Jane Campion, the film won accolades, and standing ovations. In 1992 Dryburgh reunited with Jane Campion in "The Piano", his work on the film won him the Oscar, ASC and BAFTA nominations, but was beaten by Schindler's List. Dryburgh followed "The Piano" with impressive work on "Once Were Warriors". After working on John Sayles' acclaimed border drama "Lone Star", Dryburgh reunited with Jane Campion, to shoot Henry James adaptation "The Portrait of a Lady". A long series of projects has followed, including hits "Analyze This", "Bridget Jones's Diary" "Kate and Leopold" and the pilot episode of "Sex and the City". Dryburgh went back to New Zealand to shoot "In My Father's Den", shot wildly out of sequence in an effort to capture different seasons on film. In 2007 he shot "The Painted Veil" Dryburgh's projects also include the pilot for acclaimed Prohibition-era drama "Boardwalk Empire". Martin Scorsese directed, with Dryburgh describing it as in many ways "a dream job". Variety later argued that Dryburgh's cinematography on Ben Stiller's remake of "The Secret Life of Walter Mitty" was "reason enough to see the film on the bigscreen". He followed it with Michael Mann cyber-crime tale "Blackhat". In 2012 he returned to New Zealand as director of photography on Japanese-set drama "Emperor", directed by Peter Webber. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Stuart Dryburgh, 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. The over all theme of the workshop will be: How Stuart applies 30 years of shooting on film to shooting in the digital age, and what younger cinematographers can gain by ‘thinking film, shooting digital’ The workshop will also cover the following structure: ESSENCE OF THE CRAFT Auteur versus Industry – the realities of the business. DIY - low budget approaches Understanding your abilities Overview and “Case Study” clips of my work GETTING THERE Hollywood versus Europe Agents/managers/lawyers PREPPING Script break down Aesthetic overview – the look and the story - Stylistic Approach Crewing up Location hunting Rehearsing before the shoot Storyboard How to work with: Art department Costume Camera Planning for Digital VFX Camera systems, Lens selection Grip equipment Originating materials (film stock/tape) Relationship between the DP and the director Tradicional Vs. Digital How to properly tech scout a location How I design master shots and coverage SHOOTING Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Camera - Movement - How / When / Why laboratory procedures Exposure - Zone System of Exposure - Film and Video LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors WORKSHOP LOCATION Lisbon, Portugal PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 2 days Dates: 12-13 September 2015 Location: LISBON, PORTUGAL Price: 499EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.09.2015Lisbon | Portugal
EDITING WORKSHOP

About Hervé Schneid: Hervé Schneid is a French editor that in the last 38 years built up an impressive career. We can safely say Hervé Schneid is one of the greatest film editors in activity. Hervé Schneid has cut more than fifty films of different genres but he has become best known for his long-lasting collaboration with French director Jean-Pierre Jeunet on films Delicatessen (1991), Alien: Resurrection (1997), Amélie (2001), A Very Long Engagement (2004), The Young and Prodigious Spivet (2013). Apart from work with Jeunet Hervé Schneid edited Lars von Trier's Europa (1991), an adaptation of Virginia Woolf's Orlando (1992) made by Sally Porter, experimental poems Kinogamma One and Kinogamma Two (2008), crime thriller Mesrine: Public Enemy No. 1 (2008), he has also edited Michel Vaillant(2003) and Zidane, un portrait du 21e siècle (2006) he his currently editing the directional début film of Natalie Portman "A Tale of Love and Darkness" Hervé Schneid filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Editing workshop will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Hervé Schneid, 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. The topics covered on the workshop will be: Introduction of the participants and Hervé, the participants will then be showed some clips of the work made by Hervé , analyzing some choices and options made in some of his works. Hervé 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 two weeks 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. Hervé 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 16 hours Duration: 2 days Dates: 12-13 September 2015 Location: Lisbon, Portugal Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
30/31.05.2015344 West 38th New York USA
ACTING WORKSHOP

Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most awarded actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, more recently premier the film “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. WORKSHOP DESCRIPTION This 2 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this two-day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script Participants should also bring one scene, and one monologue to work on specific. In this small group interaction is done on a great level, real life problems of actors will be addressed by Melissa Leo, at the end of the last day you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. WORKSHOP LOCATION Penny Templeton Studio 344 West 38th St., Suite 204, New York PROFILE OF PARTICIPANT The workshop is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 2 days Dates: 30-31 May 2015 Location: Penny Templeton Studio 344 West 38th St., Suite 204, New York Price: 699USD Maximum number of participants: 20 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
23/24.05.2015LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER PETER WEBBER is one of the most interesting British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Webers experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 23-24 May 2015 Location: London UK Price: 399GBP (319GBP Until 21st of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

09/10.05.2015BARCELONA | SPAIN
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 ECIB Escola de Cinema de Barcelona 16 hours Duration: 2 days Dates: 9th and 10th May 2015 Location: Barcelona Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Conditions

09/10.05.2015BARCELONA | SPAIN
EDITING WORKSHOP

This workshop is organized in partnership with ECIB Barcelona

ABOUT TARIQ ANWAR

Tariq Anwar is an Indian born British editor that in the last 30 years built up an impressive career that led him to no less than two Oscar Nominations, two BAFTA prizes and one European film award. We can safely say Tariq Anwar is one of the greatest film editors in activity. He started out in television in the editing department of the legendary Dr. Who series in the seventies. Since then he achieved some of his highest moments working alongside Sam Mendes in films such as American Beauty (where his amazing edit awarded with an Oscar Nomination) and Revolutionary Road. Tariq is well known for his great work in Tom Hooper´s The Kings Speech (where he was awarded with an Oscar Nomination) , Nicholas Hytner´s Madness of King George, Robert De Niro´sThe Good Shepperd and Franco Zefirelli´s Tea with Mussolini. Tariq has more than 65 editing credits, such as “The Crucible” by Nicholas Hyter starring Daniel Day-Lewis and Winona Rider, Under Suspicion starring Liam Neeson, Ian Softly’s “The Wings of Dove” and “The Object of My Affection”, Jessica Lange “Cousin Bette”, “Focus” with William H Macy and Laura Dern, Christine Jeffs “Sylvia” with Gwyneth Paltrow and Daniel Craig, F Gary Gray’s “Law Abiding Citizen” with Gerard Butler and Jamie Foxx. Most recently he achieved great success in Mike Newell´s Great Expectations. Anwar´s filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. SCHEDULE AND WORKSHOP DESCRIPTION

It is important to note that this will not be a workshop to teach you edit with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor. Saturday Introduction of the participants and Tariq, the participants will then be showed some clips of the work made by Tariq , analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry. Topics include the following: Focus on how to help the story flow through the editing, and best processes. How to serve the narrative through effective editing. How to employ narrative techniques to create tension. How to edit your characters/ actors and performance (practical examples of problem solving and good decisions) How to apply the craft in different genres. The impact of genre on editing styles Influence of great films, film history to help work. ( musicals, horror, thriller, shakespeare, study ) Sunday Technical aspects of the job - looking at recent project showing workflow. Low budget, high budget? How to work with sound, music and special effects. Practical exercise. The participants will be given footage (a small scene) to work two weeks 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. Tariq 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. The relationship with the Director, DOP, Producer and other members of the film crew. How to be a part of the whole process of film and television production and not merely as the final stage, becoming collaborators, not just efficient technicians. The market reality for Editors, Agents, Rates, and finding your own work 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

ECIB C/ Girona, 54, 08009 Barcelona Spain 16 hours Duration: 2 days Dates: 9-10 May 2015 Location: BECIB C/ Girona, 54, 08009 Barcelona Spain Price: 449 EUR (359 Until 6th May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
10/11.04.2015Abu Dhabi UAE
FILM PRODUCERS WORKSHOP. SOLD OUT

This workshop is organized in partnership with NYU Abu Dhabi

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

NYU Abu Dhabi, Saadiyat Marina District - Abu Dhabi - United Arab Emirates 16 hours Duration: 2 days Dates: 10th to 11th of April Location: Abu Dhabi UAE Price: 625USD, (469USD discount of 25% until 8th April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
21/22.03.2015LONDON / UNITED KINGDOM
MUSIC COMPOSING FOR FILM

LAST PLACES

ABOUT ALEX HEFFES

Alex Heffes was born in the UK. He had an unorthodox education at a small specialist music school in London where he was immersed in music every day from an early age. After graduating from Oxford with a first-class degree he first worked as an arranger, then writer on projects covering the musical spectrum from steel band to symphony orchestra with artists such as Elton John and members of Blur. It was his scores to Kevin Macdonald's Academy Award-winning films ONE DAY IN SEPTEMBER, THE LAST KING OF SCOTLAND and BAFTA-winning TOUCHING THE VOID that brought him to international attention. His reputation as a composer who is truly at home with the orchestra as well as electronics has given him a unique and unusually varied output. He received his first BAFTA nomination for his score to the HBO drama TSUNAMI: THE AFTERMATH and has gone on to score across an incredible variety of genres including Charles Ferguson's Academy Award-winning INSIDE JOB, the US No.1 box office movie THE RITE starring Anthony Hopkins, Catherine Hardwicke's fantasy thriller RED RIDING HOOD, Peter Webber’s World War II drama EMPEROR starring Tommy Lee Jones and ESCAPE PLAN starring Silvester Stallone and Arnold Schwarzenegger. He collaborated with director Tim Burton on his screen adaptation of SWEENEY TODD starring Johnny Depp and Helena Bonham Carter. His score to STATE OF PLAY starring Russell Crowe and Ben Affleck featured a collaboration with classic British rock producer Flood and during the scoring of THE LAST KING OF SCOTLAND Alex traveled to Uganda to record and produce many of the bands featured on the soundtrack. His score to the short film BOY was featured at the opening ceremony of the Olympic velodrome at the 2012 London Olympics. Alex’s score to MANDELA: THE LONG WALK TO FREEDOM features vocals from South African legend Caiphus Semenya. His scores have met wide critical acclaim. The Los Angeles Daily news said of THE LAST KING OF SCOTLAND it has “the best and weirdest soundtrack I've heard all year” while his score to EMPEROR was described as “phenomenal, recalling the days of Patton, or Tora! Tora! Tora! by Jerry Goldsmith” (Presspass LA), “stunningly beautiful yet strikingly simple” (Film Music Media) and “an epic score brilliantly mastered by Heffes” (JMH Digital). His solo album project FACE TO FACE featured collaborations with artists such as Ryuichi Sakamoto, Regina Spektor and Matthew Barley. His music has appeared in concert performed by the City of Birmingham Symphony Orchestra, the Brussels Philharmonic, the Oman Symphony Orchestra and at the London Jazz Festival. In 2013 Alex's score to Mandela: Long Walk to Freedom was nominated for a Golden Globe. Other scores scores have been nominated for BAFTA, Ivor Novello, European Film Academy, NAACP, Black Reel and ASCAP awards. In 2011 he was awarded discovery of the year by the World Soundtrack Academy and in 2012 was awarded best film score of the year at the Ivor Novello Awards in London. 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 not only receive this knowledge from Alex Heffes, 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 work, and receiving the feedback to unblock situations in the future. The topics covered on the workshop will be: HOW DO I BECOME A FILM COMPOSER? Introduction to Alex 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: Alex 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? 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 Film Composers, Film Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Music Composing for Film. 16 hours Duration: 2 days Dates: 21.22 March 2015 Location: London UK Price: 399GBP (319GBP discount of 20% Until 17th March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
14/15.02.2015Berlin, Germany
TECHNIQUES OF DIRECTING 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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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. In these workshops, the participants didn’t learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened – the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Producers, Film Students. 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. 16 hours Dates: 14-15 February 2015 Location: Berlin Germany Price: 449.99 EUR (359 until 9th February, or while places last) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
31/01.02.2015Amsterdam
Film Financing in an Entrepreneurial Age

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

Amsterdam Film School, Herengracht 425 1017 BR Amsterdam, Netherlands 16 hours Duration: 2 days Dates: 31st of January and 1st of February Location: Amsterdam Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

10/11.01.2015LONDON / UNITED KINGDOM
EDITING WORKSHOP WITH CHRIS DICKENS

Workshop full, for waiting list please email filmlab@fest.pt

ABOUT CHRIS DICKENS In 1990, Chris Dickens graduated from the Bournemouth Film School. He began his filmmaking career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC. During this time he began to cut comedies and later he crossed over to cutting dramas. While working on the TV series Spaced, Dickens developed a relationship with writer-director Edgar Wright and went on to edit his first feature film, the cult hit SHAUN OF THE DEAD. Other features edited by Chris Dickens include GONE, HOT FUZZ, GOAL! THE DREAM BEGINS, and SEED OF CHUCKY. It was his work on the Best Picture Oscar®-winner and globally recognized SLUMDOG MILLIONAIRE that truly stamped Chris Dickens’ signature in the world of editing. He’s the recipient of a “triple crown” of editing awards—the Academy Award® for Film Editing, BAFTA Award for Best Editing, and the American Cinema Editors Award for Best Edited Feature Film (Dramatic)—for his work on SLUMDOG MILLIONAIRE. During over 20 years in the industry, the British editor has worked in such different titles as Richard Ayoade’s debut feature film “Submarine” (2010), Greg Mottola’s “Paul” (2011), and Tom Hooper’s “Les Misérables”. Being one of the most innovative and original editors in film today Chris Dickens’ Workshop is sure to be a unique experience. Full list of credits on http://www.imdb.com/name/nm0225323/ Chris Dickens experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Editing workshop will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Chris Dickens, 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. The topics covered on the workshop will be: Introduction of the participants and Chris, the participants will then be showed some clips of the work made by Chris , analyzing some choices and options made in some of his works. Chris 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 scene) to work two weeks 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. Chris 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 LOCATION OF THE WORKSHOP Craven Street, WC2N 5PE London United Kingdom Timetable: 09:00-18:00 Duration: 2 days \ 16 hours Dates: 10-11 January 2015 Location: London UK Price: 399GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

10/11.01.2015LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH NIGEL COLE

ABOUT NIGEL COLE Nigel Cole is a Long Established British Film Director. The movie hit Calendar Girls is among many of his achievements. Nigel has directed in his films actors such as Helen Mirren (Calendar Girls) Ashton Kutcher (A Lot Like Love) Bob Hoskins and Sally Hawkins (Made In Dagenham) among many others. His work as an independent film director has garnered him an award in the Sundance Film Festival, as well as nominations for the BAFTAs, the British Independent Film Awards and the Satellite Awards. Nigel Cole began his career in the 1980s, directing current affairs shows and documentaries for Central Independent Television. Into the 1990s, Cole co-wrote the play “Sod” with Arthur Smith, which he also directed and presented at the Pleasance during the 1993 Edinburgh Festival. For television Cole has directed episodes of the shows “Peak Practice”, “Cold Feet” and more recently “Doc Martin”. Among his work for television are also episodes of the TV Series Documentaries “In the Wild” and “Nature”. In film he has directed acclaimed films such as “Saving Grace”, “A Lot Like Love”, “Made in Dagenham”, with Sally Hawkins and more recently “The Wedding Video” which was released in 2012. “Saving Grace” won the World Cinema Audience Award at the 2000 Sundance Film Festival and gained him a nomination for Best Director at that year's British Independent Film Awards. “Made in Dagenham” received a BAFTA nomination as Best British Film and a nomination for the Satellite Award for Best Film – Musical or Comedy. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Nigel Cole, 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. The work-frame of the workshop will be: Day One: 10 January 1.The job of a director, getting work. What producers want. How to get started. Finding a niche. Agents. Managers. Producers. How to understand them. Role play exercises. How to take a meeting. 2.Finding a story. Finding material. Finding characters. Taking them on a journey. Working with writers. 3. Development Telling a story. Shaping a script. Analysis of selected scenes from Made In Dagenham and Calendar Girls from various stages of development. 4. Getting it set up First cast. Attracting stars. Persuading them to do it. Getting your script read. How films are financed. DAY TWO 11 JANUARY 1. Prepping a film. Breaking down a script. Planning the look. Casting. Finding out about actors. Working with them in casting sessions. Role play. How to audition. Locations. Art department. Designers. What they do. Preparing shot lists. Why storyboards are you enemy. Workshop : how to stage a scene. Using scenes from made in Dagenham and others we block and plan coverage for a scene. Then compare with finished film. 2. Shooting a film. How to manage a crew. Working with actors on set. What to do when it gets difficult. Workshop. Rehearsing actors and how to give notes. Role play with selected scenes. Working with a schedule. How to make it work for you. Focusing on the story. How to know what's important. 3. Editing How it works. What editors actually do. Shaping the scene. With examples from several films. Including a comparison of a rough cut and a final cut of a scene. Shaping the story. Pace and structure. Testing. Showing it to an audience. What to listen to and what to ignore. Music. The directors best friend. How to work with a composer. 4.Selling What it's like to have a film released. How to deal with criticism. The press. The internet. Why you need to have another job before the last has finished. PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 10th and 11th of January Location: Raindance Film Centre 10 Craven Street WC2N 5PE London UK Price: 399GBP (279GBP with discount of 30% Until 8th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

01/02.11.2014LONDON UK
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, Directors, Film Students, or anyone interested in entering the Film Business on the area of Film Production. 16 hours Duration: 2 days Dates: 1st and 2nd of November Location: London Price: 399GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
25/26.10.2014PARIS / FRANCE
EDITING WORKSHOP

About Hervé Schneid: Hervé Schneid is a French editor that in the last 38 years built up an impressive career. We can safely say Hervé Schneid is one of the greatest film editors in activity. Hervé Schneid has cut more than fifty films of different genres but he has become best known for his long-lasting collaboration with French director Jean-Pierre Jeunet on films Delicatessen (1991), Alien: Resurrection (1997), Amélie (2001), A Very Long Engagement (2004), The Young and Prodigious Spivet (2013). Apart from work with Jeunet Hervé Schneid edited Lars von Trier's Europa (1991), an adaptation of Virginia Woolf's Orlando (1992) made by Sally Porter, experimental poems Kinogamma One and Kinogamma Two (2008), crime thriller Mesrine: Public Enemy No. 1 (2008), he has also edited Michel Vaillant(2003) and Zidane, un portrait du 21e siècle (2006) he his currently editing the directional début film of Natalie Portman "A Tale of Love and Darkness" Hervé Schneid filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Editing workshop will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Hervé Schneid, 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. The topics covered on the workshop will be: Introduction of the participants and Hervé, the participants will then be showed some clips of the work made by Hervé , analyzing some choices and options made in some of his works. Hervé 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 two weeks 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. Hervé 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 16 hours Duration: 2 days Dates: 25-26 October 2014 Location: Paris France Maximum number of participants: 25 WORKSHOP FULL By registering to the workshop you agree with FFL terms and Conditions
18/19.10.2014LONDON / UNITED KINGDOM
SOUND EDITING WORKSHOP WITH EDDY JOSEPH

LAST 2 PLACES! 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 Roehampton University, London 16 hours Duration: 2 days Dates: 18th and 19th of October Location: London Price: 399GBP ((299GBP discount of 25% Until 15th October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.10.2014LONDON / UNITED KINGDOM
TRICKS OF THE SOUND TRADE

About David Macmillan David is one of the most important sound mixers in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description: Film makers have always understood the power that Sound and Music have to enhance story telling. Silent films had no dialogue or sound effects, but used organists and occasionally live orchestras along with effects created by in theatre specialists to strengthen the emotional effect of the film. We will take an overview of how film has changed from silents to todays multi speaker systems like Dolby Atmos. The road to recognition for film makers is in submitting their films to festivals and competitions etc. but the jury will immediately reject them if the sound is bad. The purpose of this workshop is to understand the power of good sound, and the pocesses necessary to realize this. David will talk about his work, his recording philosophy, his methodology and show examples from his previous films. He will discuss how the film business has changed,the growing power of television and with the budgets being squeezed, how recording has to deal with a new set of factors, like multiple cameras with various lens sizes, the use of multi track recording and the limited shooting schedules with consequences for all departments. Participants will look at different types of recorders, RF mikes and mixers available for location recording. The different boom mikes available and when to use them will also be a topic. Boom mikes always preferred, they should always be available and open on the set. We will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and mikes, and how to work around noisy cloathing, skimpy women’s wear/or none, noisy atmosphere and the multi challenges we face in our efforts to get good usable sound. He will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate sound problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus. We will see how dialogue, sound effects, musical score, songs and post sound mixing all come together to create 50% of the film experience. Profile of Participant The workshop designed for Directors, Sound Mixers, Sound Recordists, Boom Operators, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Sound. Workshop Venue Roehampton University 16 hours Duration: 2 days Dates: 11-12 October 2014 Location: London Price: 399GBP, Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
20/21.09.2014Amsterdam
FILM DIRECTING WORKSHOP WITH PETER WEBBER

PETER WEBBER is one of the most interesting British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Webers experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION Amsterdam Film School Herengracht 425, 1017 BR Amsterdam, Netherlands PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 20-21 September 2014 Location: Amsterdam Price: 499EUR, (425 Until 15th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.08.2014Cyberport Hong Kong
TECHNIQUES OF DIRECTING ACTORS CYBERPORT is our venue partner for this workshop We have the very last places to offer for this workshop, as we want a full class we are offering 50% discount on the last few places, grab your place while they last. 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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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. In these workshops, the participants didn’t learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened – the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Actors, Film Students. 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. 16 hours Dates: 2-3 August 2014 Location: Cyberport Hong Kong Price: 5500HKD (2750 until 28th July, or while places last) Vacancies: 25 CYBERPORT is our venue partner for this workshop REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
24/25.05.2014LISBON / PORTUGAL
FILM DIRECTING WORKSHOP WITH PETER WEBBER

PETER WEBBER is one of the great British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Webers experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION Universidade Lusofona, Campo Grande 376, 1749-024 Lisbon, Portugal PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 24-25 May 2014 Location: Campo Grande 376, 1749-024 Lisbon, Portugal Price: 339,99 including 20% Discount (425 EUR original price) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

10/11.05.2014344 West 38th New York USA
ACTING WORKSHOP

Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most awarded actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she wll also soon premier the film “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. WORKSHOP DESCRIPTION This 2 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this two-day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script Participants should also bring one scene, and one monologue to work on specific. In this small group interaction is done on a great level, real life problems of actors will be addressed by Melissa Leo, at the end of the last day you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. WORKSHOP LOCATION Penny Templeton Studio 344 West 38th St., Suite 204, New York PROFILE OF PARTICIPANT The workshop is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
03/04.05.2014LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH PETER WEBBER

SOLD OUT

PETER WEBBER is without a doubt one of the greatest British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Weber\\\\\\\\\\\\\\\'s experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION UCL, University College of London, Philip Ulman Wing, London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 3-4 May 2014 Location: London Price: 349.99 GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions SOLD OUT

26/27.04.2014LISBON / PORTUGAL
EDITING WORKSHOP SOLD OUT

Tariq Anwar is an Indian born British editor that in the last 30 years built up an impressive career that led him to no less than two Oscar Nominations, two BAFTA prizes and one European film award. We can safely say Tariq Anwar is one of the greatest film editors in activity. He started out in television in the editing department of the legendary Dr. Who series in the seventies. Since then he achieved some of his highest moments working alongside Sam Mendes in films such as American Beauty (where his amazing edit awarded with an Oscar Nomination) and Revolutionary Road. Tariq is well known for his great work in Tom Hooper´s The Kings Speech (where he was awarded with an Oscar Nomination) , Nicholas Hytner´s Madness of King George, Robert De Niro´sThe Good Shepperd and Franco Zefirelli´s Tea with Mussolini. Tariq has more than 65 editing credits, such as “The Crucible” by Nicholas Hyter starring Daniel Day-Lewis and Winona Rider, Under Suspicion starring Liam Neeson, Ian Softly’s “The Wings of Dove” and “The Object of My Affection”, Jessica Lange “Cousin Bette”, “Focus” with William H Macy and Laura Dern, Christine Jeffs “Sylvia” with Gwyneth Paltrow and Daniel Craig, F Gary Gray’s “Law Abiding Citizen” with Gerard Butler and Jamie Foxx. Most recently he achieved great success in Mike Newell´s Great Expectations. Anwar´s filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. SCHEDULE AND WORKSHOP DESCRIPTION It is important to note that this will not be a workshop to teach you edit with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor. Day one Morning Introduction of the participants and the experts, the participants will then be showed some clips of the work made by Tariq Anwar, analyzing some choices and options made in some of his works, as well as getting into on what was behind of some of his editing. He will focus on how to help the story flow through the editing, and his best processes. Afternoon The participants will be given footage to work on, the footage that will consist of several shots and will be equal to all participants. After going through the footage as a group everyone will start editing by themselves, with the help of Tariq Anwar as adviser giving you insight on problems you may face. Day Two Morning The participants will continue editing the footage, with one on one advice. You can also ask advice for your own situations you faced on your professional life. Afternoon The editing should be completed, and all participants will show their work, the group will then analyze each editing, and learn from each other’s work. Tariq Anwar will give his insight on each edited version of the film. 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. In this session there will also be an insight on how the industry works and how to develop a career in the area. 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 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
08/09.02.2014BERLIN / GERMANY
LAST PLACES WITH 20% DISCOUNT 296 Euros Per Person (Old Price 369) Special Effects, Prosthetics, Make up and Mould Workshop

Colin Arthur is a living-legend of Special Effects! In the 1960’s he was to assistant Ray Harryhausen with his stop-motion model animation movies like the Sinbad films and the original Clash of the Titans! He also created Falkor and other creatures for Never Ending Story. One of the highlights of his career is without a doubt his work with Stanley Kubrick in 2001: A Space Odyssey, where he was responsible together with Stuart Freeborn for the development and production of the Ape masks in the Dawn of Man sequence. Colin also worked with John Millius in Conan, The Barbarian. More recently he and his team at Dream Factory were involved with films such as Open Your Eyes (Abre los Ojos), Sexy Beast and Talk to Her (Habla con Ella). Colin Arthur applies his knowledge of electronics, mechanical and hydraulic engineering together with sculpture and make up artistry to convey levels of creativity and emotion in fantasy as well as the more realistic. His achievements in the industry have gained Academy Awards and nominations, Goya Award, Special Mention at the Cannes Film Festival for best special effects, Emmy award for special Make-up, and recognition at the New York Producers Festival, among others. PROFILE OF PARTICIPANT The workshop is to Directors, Art Directors, Production Designers, Film Students, Make-up Artists, Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business. WORKSHOP SCHEDULE AND DESCRIPTION Day one 8 February Morning Introduction of the participants to Colin and his work, with clips from films and commercial projects. The participants will then be shown various aspects of his work throughout the decades, analysing the evolution and development of both these and some career choices that have endured and served him well. A wealth of anecdotes from the industry, the vital links between directors and the creative teams, the technicians, the actors and the broad spectrum of knowledge required to deliver SFX both creatively and technically. “The impossible we can do, miracles take a little longer”! Afternoon The participants will be given the option to work on filling moldes with different materials, prosthetics, or make-up in preparation for filming a short sequence. They will be given short tutorials on these subjects and start developing the work under supervision. The class will be divided in two teams, and get an assignment as if they were on a film production. Colin and his wife, Sarah have a wealth of experience on project development from first concepts to the final wrap. Day Two 9 February Morning The participants will continue working on their short effects clips with one to one advice when needed. Afternoon After the projects have been developed and photographed, the whole class will present and discuss their choices and learn from each other’s work. Colin will give a personal assessment. The participants should be conscious of the reasoning behind their technical and creative decisions at all levels as well as developing an understanding of options taken by their fellow participants. Colin will discuss the importance of accurate budgeting as an essential and necessary part of any work, both before commencement and retrospectively and his views on how to evaluate your own assignment in a production. By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
11/12.01.2014LONDON / UNITED KINGDOM
TECHNIQUES OF DIRECTING 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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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. In these workshops, the participants didn’t learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened – the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Actors, Film Students. 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
16/16.11.2013SANDNES / NORWAY
About David Macmillan David is one of the most important sound department experts in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description The road to recognition for filmmakers is in submitting their films to festivals/competitions etc. and the committee that reviews them will immediately cancel them out if the sound is bad. David will start with a talk about his work, his recording philosophy and examples from previous films. He will explain how film recording has changed due to a number of factors, for example, multiple cameras, shooting wide and tight, lighting that would cover the different sized lenses and the methods we choose to create the proper sound perspective. David will show how multi track recording enables mixers to isolate individual microphones and how they are always available to sound editors even when they’re not on the mixed master track. Participants will look at the different types of recorders and mixers available for location recording. David will give instructions on boom operating and how a boom operator works under difficult lighting conditions and what those conditions entail. David will also evaluate and discuss the different types of microphones and when and where and how you would use them. David will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and microphones and how to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and many other challenges faced in getting good usable sound. Participants will be given projects to see how they handle different situations themselves, and have it recorded so that we could review and critique afterwards. Students would take different roles so they would appreciate the necessity for communication with other crew members and how to get Camera, Electric, Grip and Costume departments to work together with the Sound Department. David will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus. Profile of Participant The workshop designed for Directors, Sound Mixers, Sound Recordists, Boom Operators, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Sound.
12/13.11.2013LONDON / UNITED KINGDOM
Oscar Nominated Alex Rodriguez is without a doubt one of the most talented film editors of his generation, he was the responsible of one of the best edited films of this century, âChildren of Menâ which will for many years to come still be presented in editing classes on film schools everywhere in the world. Alex Rodriguez, who was nominated for an Oscar in 2007, produced a special workshop which is a unique experience to enhance any knowledge in the area, with a top expert. Alex Rodriguez in just over a decade became a world established editor, notably known for his work with Alfonso Cuarón, working on his most successful films from which we can quote the marvelous âY tu mama tambienâ (And your mum too), âHarry Potter and the Prisoner of Azkabanâ and âChildren of Menâ which allowed him to have as Oscar nomination for Best achievement in editing in 2007. Working in these films made him edit scenes with actors such as Gael Garcia Bernal, Clive Owen, Diego Luna, Julianne Moore, Michael Caine, and many others. By the age of 42 Alex Rodriguez has managed more than 20 Features and gain a name to himself as a reference in the area in the present and in the years to come. SCHEDULE AND WORKSHOP DESCRIPTION It is important to note that this will not be a workshop to teach you edit with any specific software, but instead it will enhance your capacity to edit in your mind, before you actually use your tool. It is about your decision, your choices and your options as an editor. Day one Morning Introduction of the participants and the experts, the participants will then be showed some clips of the work made by Alex Rodriguez, analyzing some choices and options made in some of his works, as well as getting into on what was behind of some of his editing. Afternoon The participants will be given footage to work on, the footage that will consist of 5 shots will be equal to all participants and shot by Alex Rodriguez himself. After going through the footage as a group everyone will start editing by themselves, with the help of Alex Rodriguez as advisor when needed. Day Two Morning The participants will continue editing the footage, with one on one advice when needed. Afternoon The editing should be completed, and all participants will show their work, the group will then analyze each editing, and learn from each otherâs work. Alex Rodriguez will give his insight on each edited version of the film. 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
05/06.10.2013LONDON / UNITED KINGDOM
David is one of the most important sound department experts in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description The road to recognition for filmmakers is in submitting their films to festivals/competitions etc. and the committee that reviews them will immediately cancel them out if the sound is bad. David will start with a talk about his work, his recording philosophy and examples from previous films. He will explain how film recording has changed due to a number of factors, for example, multiple cameras, shooting wide and tight, lighting that would cover the different sized lenses and the methods we choose to create the proper sound perspective. David will show how multi track recording enables mixers to isolate individual microphones and how they are always available to sound editors even when they’re not on the mixed master track. Participants will look at the different types of recorders and mixers available for location recording. David will give instructions on boom operating and how a boom operator works under difficult lighting conditions and what those conditions entail. Davis will also evaluate and discuss the different types of microphones and when and where and how you would use them. David will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and microphones and how to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and many other challenges faced in getting good usable sound. Participants will be given projects to see how they handle different situations themselves, and have it recorded so that we could review and critique afterwards. Students would take different roles so they would appreciate the necessity for communication with other crew members and how to get Camera, Electric, Grip and Costume departments to work together with the Sound Department. David will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus. PROFILE OF PARTICIPANT The workshop designed for Directors, Sound Mixers, Sound Recordists, Boom Operators, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP VENUE LOCATION The workshop will be held at the Roehampton University, London
21/22.10.2013STAVANGER / NORWAY
Etgar Keret is an Israeli writer and filmmaker known for his short stories, graphic novels, and scriptwriting for film and television. Etgarâs first feature film, which he directed with his wife Shira Geffen won the Golden Camera award in the Cannes Film Festival. His books have received international acclaim and have been published in more than 22 languages. As a filmmaker, Keretâs first short film Skin Deep won prizes at several international film festivals, and was awarded an Israeli Oscar. Jellyfish , was his first feature film as a director. As well as winning the Camera DâOr at Cannes he and his partner Shira Geffen won the Best Director Award from the French Artists and Writersâ Guild. Keret has also worked in Israeli television and film. In 2006, Wristcutters: A Love Story, a dark comedy/love story based on Keretâs novella Knellerâs Happy Campers, premiered at the Sundance Film Festival. $9.99, a stop motion animated feature film, was released in 2009. Written by Keret and directed by Tatia Rosenthal and featuring the voices of Geoffrey Rush, Anthony LaPaglia. Over 40 short films have been based on his stories. In 2010 a short feature film based on Keretâs story was released. An Exclusive novella was adapted and directed by the young Polish director Krzysztof Szot. The film, also known as WyÅÄcznoÅÄ, was presented at the Cannes Film Festival. As a writer Keretâs first published work was Pipelines, His second book, Missing Kissinger, caught the attention of the general public. In 1998, Keret published Knellerâs Happy Campers. His collection The Nimrod Flipout was chosen by the L.A. Times and the Boston Phoenix as one of the best books of 2006. In 2007 he was shortlisted for âthe worldâs richest short story awardâ, for his collection Missing Kissinger. In Israel he has received the Book Publishers Associationâs Platinum Prize several times, as well as the Prime Ministerâs Prize, and the Ministry of Cultureâs Cinema Prize. In 2006 he was chosen as an outstanding artist of the prestigious Israel Cultural Excellence Foundation. In 1993 he won the first prize in the Alternative Theater Festival in Akko for Entebbe: A Musical, which he wrote with Jonathan Bar Giora. In 2010, Keret received the Chevalier (Knight) Medallion of Franceâs Ordre des Arts et des Lettres. What others have to say about Etgar: âA brilliant writerâ¦completely unlike any writer I know. The voice of the next generation.â â Salman Rushdie âKeret can do more with six . . . paragraphs than most writers can with 600 pages.â â Kyle Smith, People âOne of the most important writers alive â enchantingly wittyâ â Clive James Workshop Description Over two days the workshop will discuss the principles and methods of writing. You will be given insight of problems encountered in depiction of characters and plot. Examples from Keretâs work inprose writing and films will be presented discussed and analyzed. The workshop will stimulate story ideas, help writers develop those stories and find theirvoices. It will also pay attention to the writing process and look at methods to promote regular writing habits. A variety of exercises and explanations of different aspects of storytelling will be presented. These exercises might seed new ideas but also aim to open the participantsâ minds to new ways of thinking. It will also provide you with the concepts and practices you need to be aware of before diving in, such as Ideas generation, theme, plot, tone and character. The workshop will only be available to a small group of 25 people maximum, enabling the one on one exchange of knowledge and feedback. In the workshop Etgar will also explore and explain his 10 Commandments for writing, which are the following: 1. Make sure you enjoy writing. Writers always like to say how hard the writing process is and how much suffering it causes. Theyâre lying. People donât like to admit they make a living from something they genuinely enjoy. Writing is a way to live another life. Many other lives. The lives of countless people whom youâve never been, but who are completely you. Every time you sit down and face a page and tryâeven if you donât succeedâbe grateful for the opportunity to expand the scope of your life. Itâs fun. Itâs groovy. Itâs dandy. And donât let anyone tell you otherwise. 2. Love your characters. For a character to be real, there has to be at least one person in this world capable of loving it and understanding it, whether they like what the character does or not. Youâre the mother and the father of the characters you create. If you canât love them, nobody can. 3. When youâre writing, you donât owe anything to anyone. In real life, if you donât behave yourself, youâll wind up in jail or in an institution, but in writing, anything goes. If thereâs a character in your story who appeals to you, kiss it. If thereâs a carpet in your story that you hate, set fire to it right in the middle of the living room. When it comes to writing, you can destroy entire planets and eradicate whole civilizations with the click of a key, and an hour later, when the old lady from the floor below sees you in the hallway, sheâll still say hello. 4. Always start from the middle. The beginning is like the scorched edge of a cake thatâs touched the cake pan. You may need it just to get going, but it isnât really edible. 5. Try not to know how it ends. Curiosity is a powerful force. Donât let go of it. When youâre about to write a story or a chapter, take control of the situation and of your charactersâ motives, but always let yourself be surprised by the twists in the plot. 6. Donât use anything just because âthatâs how it always is.â Paragraphing, quotation marks, characters that still go by the same name even though youâve turned the page: all those are just conventions that exist to serve you. If they donât work, forget about them. The fact that a particular rule applies in every book youâve ever read doesnât mean it has to apply in your book too. 7. Write like yourself. If you try to write like Nabokov, there will always be at least one person (whose name is Nabokov) whoâll do it better than you. But when it comes to writing the way you do, youâll always be the world champion at being yourself. 8. Make sure youâre all alone in the room when you write. Even if writing in cafés sounds romantic, having other people around you is likely to make you conform, whether you realize it or not. When thereâs nobody around, you can talk to yourself or pick your nose without even being aware of it. Writing can be a kind of nose-picking, and when there are people around, the task may become less natural. 9. Let people who like what you write encourage you. And try to ignore all the others. Whatever youâve written is simply not for them. Never mind. There are plenty of other writers in the world. If they look hard enough, theyâre bound to find one who meets their expectations. 10. Hear what everyone has to say but donât listen to anyone (except me). Writing is the most private territory in the world. Just as nobody can really teach you how you like your coffee, so nobody can really teach you how to write. If someone gives you a piece of advice that sounds right and feels right, use it. If someone gives you a piece of advice that sounds right and feels wrong, donât waste so much as a single second on it. It may be fine for someone else, but not for you. Who is this aimed at? This course is aimed at writers who want to learn the art of screenwriting or filmmakers who want to develop their writing skills. Writers who are excited about writing for the screen, who have a background in writing for other mediums, directors who are seeking to write their own feature script and writers who wish to establish long-term mentoring relationships with development professionals. In partnership with Filmkraft Rogaland AS
04/04.05.2013LONDON / UNITED KINGDOM
Laurence Bennett is a production designer with a lifelong achievement, recognition of his work has earned him an Oscar and BAFTA Nomination, as well as winning a Cesar. Laurence Bennett’s feature production design credits include IN THE VALLEY OF ELAH, FREEDOM WRITERS, TRAITOR, THE NEXT THREE DAYS, and Academy Award Best Picture CRASH (2006 ADG nomination). For 2012 Academy Award Best Picture THE ARTIST he received Oscar, BAFTA, ADG and BFCA nominations, and was awarded the César by the Académie des arts et techniques du cinéma. In January he finished THIRD PERSON, Bennett’s fourth feature collaboration with writer/director Paul Haggis. Filmed entirely in Italy, the movie tells the stories of three relationships: in NYC, Paris, and Rome. Stars Liam Neeson, Mila Kunis, James Franco, Olivia Wilde, Adrian Brody. Laurence also worked on Director Robert Redford’s THE COMPANY YOU KEEP premiered at the Venice Film Festival, and was an official selection of the Toronto and Stockholm festivals. Sony Pictures Classics will release in US April, 2013. Stars Redford, Julie Christie, Shia LaBeouf, Nick Nolte, Susan Sarandon, Stanley Tucci, Chris Cooper, Richard Jenkins. Television pilots and series include GREY’S ANATOMY, ONCE AND AGAIN, MR. STERLING, MIRACLES, EZ STREETS, AND THIEF. Bennett was educated at Occidental College, Los Angeles and Waseda University, Tokyo. After a stint in VISTA he moved to Ireland for ten years before returning to Los Angeles to work in film. Travel continues to be an essential part of his life–he has worked on films throughout the United States and in Canada, England, France, Morocco, and Argentina. Workshop Description - Production Design Workshop CHOICES – Visualizing a narrative Every project is unique. How to approach the design of a film is the most critical and often most difficult decision. The answer is seldom discovered easily or quickly. Finding the key the way into the design of a film is essential. That essential key can inform and shape every choice, every decision throughout the art direction process. The workshop will explore approaches to finding the essential ideas, emotions, concepts and imagery that can shape the design of a film: - Finding the visual arcs within the story - Identifying thematic elements - Emotional tones - Subjective vs objective - Research - Underscoring vs contrasting - Developing and presenting ideas Working with the script for a short film, participants will begin this discovery process, putting together a very brief presentation of how the visual arc of the film will reflect, support and enrich the narrative. Individual counseling will be available as time permits. A group review/discussion will wrap up the session. Workshop Timetable Day 1 - 4th May Morning: Introduce the topic; Laurence will show short clips from my work (THE ARTIST, CRASH, ELAH) and discuss the thinking that developed the design for each movie. Discussion and Q&A. Afternoon: Participants will select a short script (I will try to bring two or three–or students could work with one they have brought)–and will begin working on the film’s art direction. I will be available to counsel, ask and answer questions, bounce ideas off. Day 2 - 5th May Morning: Participants will continue work on the presentation of their projects. Afternoon: Brief presentations, followed by critique/group discussion WORKSHOP VENUE LOCATION The workshop will be held on The King’s College “The Strand Campus”, Strand, London, WC2R 2LS, UK.
27/28.04.2013LONDON / UNITED KINGDOM
Colin Arthur is a living-legend of Special Effects! In the 1960âs he was to assistant Ray Harryhausen with his stop-motion model animation movies like the Sinbad films and the original Clash of the Titans! He also created Falkor and other creatures for Never Ending Story. One of the highlights of his career is without a doubt his work with Stanley Kubrick in 2001: A Space Odyssey, where he was responsible together with Stuart Freeborn for the development and production of the Ape masks in the Dawn of Man sequence. Colin also worked with John Millius in Conan, The Barbarian. More recently he and his team at Dream Factory were involved with films such as Open Your Eyes (Abre los Ojos), Sexy Beast and Talk to Her (Habla con Ella). Colin Arthur applies his knowledge of electronics, mechanical and hydraulic engineering together with sculpture and make up artistry to convey levels of creativity and emotion in fantasy as well as the more realistic. His achievements in the industry have gained Academy Awards and nominations, Goya Award, Special Mention at the Cannes Film Festival for best special effects, Emmy award for special Make-up, and recognition at the New York Producers Festival, among others. PROFILE OF PARTICIPANT The workshop is to Directors, Art Directors, Production Designers, Film Students, Make-up Artists, Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business. WORKSHOP SCHEDULE AND DESCRIPTION Day one 27 April Morning Introduction of the participants to Colin and his work, with clips from films and commercial projects. The participants will then be shown various aspects of his work throughout the decades, analysing the evolution and development of both these and some career choices that have endured and served him well. A wealth of anecdotes from the industry, the vital links between directors and the creative teams, the technicians, the actors and the broad spectrum of knowledge required to deliver SFX both creatively and technically. âThe impossible we can do, miracles take a little longerâ! Afternoon The participants will be given the option to work on filling moldes with different materials, prosthetics, or make-up in preparation for filming a short sequence. They will be given short tutorials on these subjects and start developing the work under supervision. The class will be divided in two teams, and get an assignment as if they were on a film production. Colin and his wife, Sarah have a wealth of experience on project development from first concepts to the final wrap. Day Two 28 April Morning The participants will continue working on their short effects clips with one to one advice when needed. Afternoon After the projects have been developed and photographed, the whole class will present and discuss their choices and learn from each otherâs work. Colin will give a personal assessment. The participants should be conscious of the reasoning behind their technical and creative decisions at all levels as well as developing an understanding of options taken by their fellow participants. Colin will discuss the importance of accurate budgeting as an essential and necessary part of any work, both before commencement and retrospectively and his views on how to evaluate your own assignment in a production. WORKSHOP VENUE LOCATION The workshop will be held on The Kingâs College âThe Strand Campusâ, Strand, London, WC2R 2LS, UK.
20/21.04.2013STAVANGER / NORWAY
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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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 ârealâ people acting in situations that are orchestrated by the directors, but very ârealâ 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 characterâs emotional and psychological state as written in the script. In these workshops, the participants didnât learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened â the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Actors, Film Students. ABOUT SCANDAR COPTI Copti is an Oscar-nominated Palestinian filmmaker born and raised in Yafa. In 2009, his first full-length feature film âAjamiâ won the Camera dâOr 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 DFIâs education department until November 2011. Currently Copti is developing his next feature film project.
08/09.09.2013STAVANGER / NORWAY
Oscar Nominated Alex Rodriguez is without a doubt one of the most talented film editors of his generation, he was the responsible of one of the best edited films of this century, âChildren of Menâ which will for many years to come still be presented in editing classes on film schools everywhere in the world. Alex Rodriguez, who was nominated for an Oscar in 2007, produced a special workshop which is a unique experience to enhance any knowledge in the area, with a top expert. Alex Rodriguez in just over a decade became a world established editor, notably known for his work with Alfonso Cuarón, working on his most successful films from which we can quote the marvelous âY tu mama tambienâ (And your mum too), âHarry Potter and the Prisoner of Azkabanâ and âChildren of Menâ which allowed him to have as Oscar nomination for Best achievement in editing in 2007. Working in these films made him edit scenes with actors such as Gael Garcia Bernal, Clive Owen, Diego Luna, Jullianne Moore, Michael Caine, and many others. By the age of 37 Alex Rodriguez has managed to edit close to 20 Features and gain a name to himself as a reference in the area in the present and in the years to come. SCHEDULE Day one Morning Introduction of the participants and the experts, the participants will then be showed some clips of the work made by Alex Rodriguez, analyzing some choices and options made in some of his works, as well as getting into on what was behind of some of his editing. Afternoon The participants will be given footage to work on, the footage that will consist of 5 shots will be equal to all participants and shot by Alex Rodriguez himself. After going through the footage as a group everyone will start editing by themselves, with the help of Alex Rodriguez as advisor when needed. Day Two Morning The participants will continue editing the footage, with one on one advice when needed. Afternoon The editing should be completed, and all participants will show their work, the group will then analyze each editing, and learn from each otherâs work. Alex Rodriguez will give his insight on each edited version of the film. 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.
21/22.01.2013PORTO / PORTUGAL
One of the most sought for workshops will return to FEST FILM LAB. After his September workshop Philip Bloom will return to Portugal for a new workshop in January directed to all of those who wish to elevate their knowledge on DSLRâs and Digital Video. Due to the great number of people interested we are sure the workshop will be sold out very quickly therefore we advise to register timely (the link is on the end of the page) to avoid any disappointments. Workshop description: In this intimate session, Philip Bloom will guide you through a number of topics, providing hands-on advice throughout. Basic beginners knowledge of HD-DLSRs and Digital Video will be assumed. The themes and subject approached in the workshop will be the following: Pros and cons of the cameras and how to work around them. Techniques of sound recording & Dual system sound. Camera movement: When to and when not to. Lighting with DSLRs. Documentary filmmaking: Interview techniques and working with DSLRs in this field. Large chip camcorders. In depth time-lapse lessons including motion controlled and HDR. Post workflow, conversion and grading. There will be a shooting excercise set on the afternoon of Day 1. About Philip Bloom Philip Bloom is an icon in the independent filmmaking arena and is at the cutting edge of using the latest affordable cameras. His blog at www.philipbloom.net has to date received over 20 million hits. Philip spends much of his year shooting commercials, documentaries and short films all over the globe. In 2010 he worked with George Lucas on the World War 2 movie âRed Tailsâ for Lucasfilm using Canon DSLRs. The rest of the time is spent lecturing and sharing his incredible wealth of knowledge with interested filmmakers. This two day intermediate workshop is designed to take your HD-DSLR and Digital Video shooting skills to the next level.
01/02.10.2011PORTO / PORTUGAL
Nancy Bishop, C.S.A., is an Emmy-nominated casting director, author, acting coach, and head of the Film Acting Department at the Prague Film School. Her most recent credits include Mission: Impossible â Ghost Protocol, starring Tom Cruise, Jeremy Renner, and Paula Patton, and written by J.J. Abrams and directed by Brad Bird. With more than 60 major feature film and television projects among her credits, Nancy has cast and instructed literally hundreds of actors throughout Europe, the United Kingdom and the U.S. Nancy has been retained as casting director by dozens of major feature film and television producers and directors, including George Lucas, âRed Tailsâ, Joel Schumacher âBad Companyâ and Roman Polanskiâs âOliver Twistâ. She also was nominated for an Emmy Award for her casting work on âAnne Frank: The Whole Storyâ, ABC/Disney Studios. Now in addition to a busy casting schedule, Nancy continues to guest lecture internationally, offering on-camera master classes and seminars to develop an actorâs on-camera skills and career marketing. In 2009 she founded the Acting For Film Program at the Prague Film School, which offers an intensive, conservatory style training (half year or full year) program for actors in English. She is also very active on the International Film Festival Circuit, where she regularly produces seminars and partakes in panel discussions and symposiums on the casting process. She is a member of the Casting Society of America and the International Network of Casting Directors. Although based in Prague, Czech Republic, she works throughout Europe and the U.S Day 1 â Screen Acting Technique Actors will watch and critique actual film castings of successful actors and discuss the techniques they used. Actors then participate in a series of exercises that develop effective methods that work on camera. Material covered will include close-up vs. wide shot techniques, playing an inner monologue and playing in the eyes. At the end of class, actors will be assigned two scenes to prepare for mock castings the next day. Day 2 â Strategies for Screen Casting Actors will apply the techniques they learned on Day One to perform two casting sessions in front of camera, followed by a critique. The scenes, chosen from actual film scripts from projects that Nancy has cast, will include a variety of genres ranging from historical drama, to action/thriller to sci-fi. Each participant will get one-on-one coaching in front of the camera with Nancy.