Francesca Jaynes CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM Workshop London 25-26 November 2017
GARETH WILEY FILM PRODUCERS Workshop London 28-29 October 2017
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 september) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
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 13th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT MICK AUDSLEYMick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION
Introduction of the participants and the Mick Audsley, the participants will then be showed some clips of the work made by Mick Audsley , analyzing some choices and options made in some of his works. Mick will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute scene) to work on one month before the workshop, all participants will show their work at the workshop, the group will then analyze each editing, and learn from each other’s work. Mick Audsley will give his insight on each edited version of the footage. The participants should at the end be self-conscious of their editing choices, as well as aware of the other options taken by the other participants. PROFILE OF PARTICIPANT
The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing WORKSHOP LOCATION
London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (349GBP Until 18 September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT BRIAN MUIR Brian Muir began his professional sculpting career at the young age of 16 in the legendary Associated British Production Corporation (now Elstree Studios), where he was an apprentice for 4 years. From 1968 to 1976, he worked in “The Avengers” and “The Saint” TV shows, and in John Sturges’ “The Eagle has landed” (1976). In 1977, when he was 23, he received a call from the offices of Lucas Films to sculpt some pieces for a new project called Star Wars. He was asked to bring to life the face of fear, the Supreme Commander of the Imperial Forces himself: Darth Vader. What was supposedly to be a 6 weeks job, ended up becoming a 5 month incursion through the dark side of the force: besides Vader’s helmet, he sculpted the Stormtrooper’s armor and the Death Star Droid. From 1977 to 1990, his work in sculpture for film has spawned from science fiction - Ridley Scott’s “Alien” (1979); fantasy - Jim Henson and Frank Oz’s “The Dark Crystal” (1982), Ron Howard’s “Willow” (1988) all the way through adventure - Steven Spielberg’s “Raiders of the Lost Ark” (1981), Rob Reiner’s “The Princess Bride” (1987), “The Spy who loved me” (1977), “For your eyes only” (1981), Octopussy (1983) and “A View to Kill” (all 4 part of the 007 universe), amongst many others. Since 1990, he has worked on some big budget franchises like James Gunn’s “Guardians of the Galaxy” (2014), “Harry Potter and the Order of the Phoenix” (2007) and “Harry Potter and the Half-Blood Prince” (2009) both from David Yates. Also, Muir had a trip back to the Star Wars universe in “Rogue One” (2016), and to the 007 story in “GoldenEye” (1995), “Tomorrow Never Dies” (1997) and “Die Another Day” (2002). He has also encountered along the way the extravagant director Tim Burton in “Planet of the Apes” (2001), “Sleepy Hollow” (1999) and “Dark Shadows” (2012). Brian wrote his autobiography 'In The Shadow Of Vader' in 2009, where he shares his story and experience in the film industry which has been a great sales success.
WORKSHOP DESCRIPTION The Sculpting for Film workshop with Brian Muir will focus on a diversity of topics of the craft of sculpture in film art department. Also, you will be able to walk alongside his experience with visual images displaying a selection of his work. Participants will be invited on a backstage journey through some of the most memorable films that are part of Brian Muir’s credit list, learning secrets of the trade that can help them think outside the box in future productions. Future will also be discussed, namely the new technology available and its impact on the industry. You will have the chance of not only receive this knowledge from Brian Muir, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on r will work, and receiving the feedback to unblock situations in the future. DAY 1 How to become a sculptor or member of the art department How to prepare yourself for getting into the film industry Techniques and material – how to choose How to work on filling moldes with different materials and prosthetics Inspiration and references Project development: form the first concepts to the final wrap Creative process: case study Star Wars Darth Vader's helmet What kind of new technologies we can use? Pros and cons of new technology DAY 2 The role of a sculptor in the art deparment How to liaise with the production designer, prop masters and visual special effects directors Health and safety guidelines Wage structures The importance of accurate budgeting Contracts Importance of networking PROFILE OF PARTICIPANT The workshop designed for Directors, Art Directors, Production Designers, Film Students, , Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business in this area.
LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 13-14 January 2018 Location: London UK Price: 399GBP (299GBP with 25% discount until 7th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT GARRY MADISON
One might say that Garry Madison’s career started when he was a young child and received from his granddad a couple of 35mm photography cameras. Shooting b&w still photography from such an early stage, allowed him to deeply understand how film works and everything about exposure, shutter speed, aperture among other aspects of working with film. Maddison’s deep love with cinema started when he was working in a Blockbuster video rental store and at slow times he had the chance to watch every kind of film, blockbusters, foreign films to arthouse films. At the time, he was studying performance arts and media at college and started to incorporate his new interest in this performances designs, using the projectors to add flashbacks and story development. After finishing his degree, Maddison felt that film was his path and as many of his colleagues, he started his career as runner. Then, when the opportunity to work as neg developer came up, he jumped at it due to his love to film. The turning point of his career was when he was working the night shift. After developing the film, he would drop it to the dailies colourists. After a short time, he started to rack up the film on the telecine and was doing technical grades on the Davinci2K. After that, he started to work as an assistant colourist at Pepper Post where he had the opportunity to learn how to work with directors and DoPs. His next step was working as a colourist at Prime Focus, grading commercials and old archive film due to his expertise in film, whilst also assisting DI colourists Vic Parker and Tom Russel on “Age of Heroes” and “The Retreat” and with Tareg Kubaisi, a chief creative director and senior colourist, on Joe’s Wrights “Channel” film featuring Kiera Knightly. After his successful work on Ed Sheeran and Lewi Whites music videos, Garry went freelance and about two months later, Double Negative was calling him to work as a colourist on the VFX grade for Christopher Nolan’s “Dark Night Rises”. The turning point of his career was working as a DI Colour Grader in “Interstellar” directed by Christopher Nolan again, for which Double Negative received the Visual Effects academy award. After that, he worked as a VFX grading supervisor in “The Hunger Games - Mockingjay - Part 1” and “The Hunger Games: Mockingjay - Part 2” both directed by Francis Lawrence and as a VFX colourist in films such as “Assassin’s Creed” directed by Justin Kurzel and “Wonder Woman” directed by Patty Jenkins. Working again with Christopher Nolan, working as VFX Colourist in “Dunkirk”. Now working as a Freelance Colourist, Maddison is still based in London but travels round the world grading, most recently completing a Swarovski commercial in Berlin. Colour grading is one of the most important parts of the post-production process. As a Colourist, Garry Maddison will focus on quality, information and on how to get the most out of your footage to achieve the best results in the final grade through live grade examples. Maddison will also discuss the creative relationships between the Colourist, Director and DoP. Last, he will present the process of grading onset and how that can influence the look of the film at later stages, including the effect this has on the edit and VFX shots. You can check Garry's full list of credits on these links: http://www.imdb.com/name/nm3947545/ https://www.garrymaddison.com/creditlist/ WORKSHOP DESCRIPTION COLOUR GRADING WORKSHOP The Grading workshop with Garry Madison will focus on a diversity of topics of the craft of colour grading and VFX. You will have the chance of not inly receive this knowledge from Garry Madison, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on r will work, and receiving the feedback to unblock situations in the future. Day one What is grading, from a story telling perspective to a fixing tool. Examples of grading, break downs and mimic grades live. From Set to Suite, how to manage colour workflows, from onset grading, offline edit, VFX, Grade and Online edit. Workflow charts. Colour spaces, what are they and how to decide which one to use, Alexa LogC, Redgamma, Red Log. HDR grading. Live grade showing the difference between HDR grading and 2k/4k grading. Day two How to communicate with the Director and DOP, before the grade and during. The difference between grading and VFX work, problems a colourist encounters, examples and live grading. Mood boards and colour pallets, design and examples. How to grade, live grade session, the different techniques used to grade alternative formats such as Feature, Broadcast, Documentary and Commercial/Pop promos. PROFILE OF PARTICIPANT The workshop is designed for DoPs, Colourists, Colour gradings supervisors, VFX Technicians, VFX Supervisors, Film Students, Film Directors or anyone interested in entering the Film Business on the area of Colour Grading and VFX.
LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 13-14 January 2018 Location: London UK Price: 449GBP (314GBP with 30% discount until 7th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT ALLAN STARSKI
Allan Starski is one of the top Production Designers working today. He has collaborated with directors such as Roman Polanski, Steven Spielberg, Andrzej Wajda, Peter Webber, among many other notable names. Son of famed screenwriter/ songwriter Ludwik Starski, Allan graduated in Architecture in Warsaw’s Academy of Fine Arts and began his filmmaking career in Poland with Oscar and Palme d'Or-winning director Andrzej Wajda. With a wide range of successful collaborations (including Człowiek z marmuru (Man of Marble),Człowiek z żelaza (Man of Iron) and Panny z Wilka (The Maids of Wilko) and Pan Tadeusz), it was with the film Danton (1982) that Starski began being noticed by his peers around the world. In 1993 Starski received an Academy Award for his work in Steven Spielberg’s revered film Schindler’s List – starring Liam Neeson, Ben Knigsley and Ralph Fiennes - which also secured Starski a BAFTA nomination. His extensive work includes Roman Polanski’s The Pianist (starring Adrien Brody) in 2002 (for which he won a Cesar Award) and Oliver Twist in 2005; Peter Webber’s Hannibal Rising; Agnieszka Holland's Europe, Europe and Washington Square. Starski also has an impressive body of worked on stage productions, having collaborated with acclaimed professionals such as Arthur Miller, Aleksander Bardini and Andrzej Tapicki. full credits on http://www.imdb.com/name/nm0823649/ Allan Starski is one of the most versatile and accomplished Production Designers of our age – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Production Design workshop with Allan Starski will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Allan Starski, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Participants will learn what makes a strong visual, and what to expect when working as a Production Designer. The workshop will also help directors and DP's understand the importance and how to deal with the Production Designer. The topics covered on the workshop will be: Creative team, Director, DP and PD. Story Board as a visual tool for discussion. Art department Breakdown and it influence on the film budget. Period research and artistic interpretation of historical knowledge. Concept drawings, models and final drafts. Location or Studio Sets ? Color in the movie. Creating color palette according to visual concept of the movie. Case study: Washington Square by Agnieszka Holland. Split locations in historical movie. Case study: "Franz Schubert" Specifics of black and white movies. Case study: "Doctor Korczak" By Andrzej Wajda. Case study: "Schindler’s List" by Steven Spielberg How director emotional knowledge influence visual style of the movie. Schindler’s List versus Pianist. Big historical movie with sets built entirely in the Studio. Case study: "Oliver Twist" by Roman Polanski Sci- Fi and the low budget, does it go together ? Case study: “Fear of Flying” Can you make big historical movie with shooting in 3 continents and 5 countries ? Case study: "The Cut" by Fatih Akim. CGI as an additional tool for Production Designer. Extending sets by Visual FX. Rates and Agents PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, Film Students, or anyone interested in entering the Film Business on the area of Production Design LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 29th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT PAUL MILLER
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: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (375EUR Until the 1st September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT RALPH REMSTEDT
German born Assistant Director Ralph Remstedt has 20 years’ experience in the field, working as a precious right hand man to some of the most influential filmmakers in film history. Remstedt gave his first steps in the small budget productions and the TV series Lexx, before taking a giant step in the turn of the century by working with Hungarian legend István Szabó (Mephisto) in “Taking Sides” (2001). He went on to work with two immensely auteurs such as Polish superstar Malgorzata Szumowska in “Ono” (2004) and newcomer John Andreas Andersen in the forthcoming “The Quake” (2018). But it was unquestionably in his work side by side with Roman Polanski that Ralph Remstedt achieved his greatest heights so far. The collaboration began in 2001 in “The Pianist”, continuing on in productions such as “Oliver Twist” (2005), “Ghost Writer” (2010) and later in the Saïd Ben Saïd production “Carnage” (2011). Throughout his carrer Remstedt also worked closely with filmmakers such as Fatih Akin in “The Cut” (2014) and Volker Schlondorff (2006). Ralph Remstedt is a highly accomplished 1st AD – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. Full credit list at http://www.imdb.com/name/nm0719043/ WORKSHOP DESCRIPTION Workshop 1. Assistant Director In this workshop, Ralph will try to give you a detailed picture about the job of the 1st AD. Be it, that you want to become a 1st AD yourself, or to show the many people who are involved in a movie production how they can benefit the best from your AD. And how they can support him the best way. During our weekend Ralph will share with you his experiences he had in so many different productions. Together we will go the long road from the first reading of the script, the first meeting with your director to the last day of shooting, the final wrap. 1. Basics of the job of the 1st AD - The center of communication - The Brain and the Muscle of the Production - In the line of fire: The AD between Director and Producer - Keeping in touch with all Departments - Know the technologies of filming and keep updated about it - Differences in Anglo Saxon and German way of production organization 2. Working on the Breakdown - From Scratch to a Schedule - Learn to read the Script - Find the specials and the traps - Keep inquiring when you are not 100% sure about something - How to gather the informations you need 3. Creating the Shooting Schedule - Find out the parameters which rule your schedule - How a beard can rule your schedule - Give your schedule a rythm - Make your Director and your Producer accept the Schedule 4. Shooting time, in the end ! - Getting your days done, day by day - It always comes different than you thought - Don’t be afraid to adjust and change your plans - The weather !!!! - Make yourself visible and audible - Getting along with your Cast - Caught between Overtime und Turn Arounds - Safety first! No running on your set ! PROFILE OF PARTICIPANT The workshop designed for 1st Assistant Directors, 2nd Assistant Director, Directors, Film Students, or anyone serious about a career in the Film Business on the area of 1st AD. LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 29th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT EDDY JOSEPH Eddy Joseph is without a doubt on of the most successful Sound Editors of our time Eddy Joseph has been in the Film Industry for over 40 years and a Sound Editor for 30. He has collaborated with such directing luminaries as Alan Parker, Bernardo Bertolucci, Louis Malle, Jean-Jacques Annaud, Neil Jordan and Anthony Minghella. His credits include “Pink Floyd The Wall”, “Angel Heart”, “Batman”, “The Commitments”, “The Crying Game”, “Little Buddha”, “Interview with the Vampire”, “Evita”, “Enemy at the Gates”, “Harry Potter and the Philosopher’s Stone”, “Cold Mountain”, “Corpse Bride”, “United 93″, “Casino Royale” and “Quantum of Solace”. He has received 2 BAFTA Awards and 6 further Nominations and 16 MPSE Nominations. Full list of credits on www.imdb.com/name/nm0430577/ Eddy Joseph experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Sound Editing workshop will focus on a diversity of topics of the art of Editing the sound of a film, you will have the chance of not only receive this knowledge from Eddy Joseph, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on or will work, and receiving the feedback to unblock situations in the future. Session 1 THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Sound Editor – the realities of the business. DIY - low budget approaches Understanding your abilities PRE-PRODUCTION Aesthetic overview – the sound of the story Crewing up Storyboarding before track laying How to work with: Editors Producers Directors Planning for Digital VFX Session 2 POST PRODUCTION Working with the editor Digital VFX in post Guide music Working with a composer Track Laying Temp Mixing Test screenings ADR Foley Sound Design Premixing The final sound mix Home Cinema Premiere PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 3-4 March 2018 Location: London UK Price: 399GBP (299GBP with discount of 25% Until 1st of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions