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28/29.10.2017London UK
GARETH WILEY FILM PRODUCING AND FINANCING 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 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, (349GBP discount of 30% until 16th of August) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
28/29.10.2017London UK
CLIFFORD DE SPENSER VOICE SPEECH AND ACCENT IN FILM WORKSHOP

ABOUT CLIFFORD DE SPENSER Clifford De Spenser is an English born Dialect Coach, who has worked with some of the industry’s most renowned actors and directors, throughout his career of over 30 years. Clifford, who, among a wide list of credits, has worked in films such as The Constant Gardener and Saving Private Ryan, as well as TV shows like The Borgias and Tyrant, first graduated in English Language and Literature in Oxford University. Following his graduation, he spent five years teaching English as a Second Language, time during which he acquired fluency in French, German and Italian and developed skills in the areas of interpreting and classical singing. Clifford then completed the Advanced Diploma in Voice Studies at the Central School of Speech and Drama and has worked consistently due to his insight into the spoken and written language, broad cultural perspective, as well as his flexible and practical approach to working with actors, singers, directors, screenwriters and producers. Clifford teaches phonetics, voice production and the effective use of spoken English and coaches actors in English - Standard, Regional and Foreign accents - and major European languages (French, German, Italian and others) for film, television, theatre and the recording studio. The list of actors he has coached is both extensive and impressive. It includes, among many others, actors Gerard Depardieu, Willem Dafoe, Harvey Keitel, Kevin Bacon, Naomie Harris, Gong Li, Heath Ledger, Mads Mikkelsen, Ashraf Barhoum, Orlando Bloom, Dominic Cooper, Gemma Arterton, Liam Cunningham, Gaspard Ulliel, Hiroyuki Sanada and Tadanobu Asano. Throughout his career Clifford has also worked with directors such as Werner Herzog, Peter Brook, Steven Spielberg, Andy and Larry (Lana) Wachovski, Ridley Scott, Neil Jordan, Fernando Meirelles, Peter Webber, Shekhar Kapur, Matthew Vaughn, Lee Tamahori, Tom Tykwer, Justin Theroux, Tom Hooper, Steve Coogan, Louis Leterrier, Denys de La Patelliere, James McTeigue, Ole Bornedaal, Coky Giedroyc, Vincent de Brus, David L. Cunningham, Alexandre Aja and Jon Amiel.

WORKSHOP DESCRIPTION VOICE SPEECH AND ACCENT IN FILM The Voice Speech and Accent in Film workshop will focus on a diversity of topics of the art of Voice Speech and Accent, you will have the chance of not only receive this knowledge from Clifford de Spenser, 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. Day 1 A day of interactive coaching, where the participants will experience something similar to what an actor experiences working with a dialogue coach for a specific project with a script. Topics depending on participants’ background, their questions and individual needs. ● introduction to the situation that exists on an international movie and preparation for the work the dialogue coach (face to face or via Skype). ● what's involved in the voice training? The role of relaxation, posture, breath, movement of the body, etc. ● interpreting scripts – understanding and exploring the text; ● deciphering characters, directing yourself and delivering believable performances - how to use voice to project outward emotion, matching it with body movements to interpret text and present a story. ● methods of accent reduction - posture and breathing; increasing clarity of diction; understanding of rhythm, tempo, pace, intonation and pitch range, increasing confidence. ● practice texts Day 2 Professional aspects of working in the industry. ● the role of a voice coach on set ● the position of a coach as a specialist consultant and not an integral crew member on all films ● a walk through a typical day on set ● hierarchies, relationships with actors, directors, ● set etiquette ● tools to take away and apply to audition pages – simple tricks and a check list of tasks PROFILE OF PARTICIPANT The workshop designed for, Actors, Directors, 1stAD, Producers, Film Students, Acting Students, Acting Coaches, or anyone with an interest in Voice Speech and Accent in Film

LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 28th-29th of October 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until 19th July) 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 25th of August) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

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 13th of August) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI

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 18th of August) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

03/04.03.2018London UK
SOUND EDITING WORKSHOP WITH EDDY JOSEPH

ABOUT EDDY JOSEPH Eddy Joseph is without a doubt on of the most successful Sound Editors of our time Eddy Joseph has been in the Film Industry for over 40 years and a Sound Editor for 30. He has collaborated with such directing luminaries as Alan Parker, Bernardo Bertolucci, Louis Malle, Jean-Jacques Annaud, Neil Jordan and Anthony Minghella. His credits include “Pink Floyd The Wall”, “Angel Heart”, “Batman”, “The Commitments”, “The Crying Game”, “Little Buddha”, “Interview with the Vampire”, “Evita”, “Enemy at the Gates”, “Harry Potter and the Philosopher’s Stone”, “Cold Mountain”, “Corpse Bride”, “United 93″, “Casino Royale” and “Quantum of Solace”. He has received 2 BAFTA Awards and 6 further Nominations and 16 MPSE Nominations. Full list of credits on www.imdb.com/name/nm0430577/ Eddy Joseph experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Sound Editing workshop will focus on a diversity of topics of the art of Editing the sound of a film, you will have the chance of not only receive this knowledge from Eddy Joseph, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on or will work, and receiving the feedback to unblock situations in the future. Session 1 THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Sound Editor – the realities of the business. DIY - low budget approaches Understanding your abilities PRE-PRODUCTION Aesthetic overview – the sound of the story Crewing up Storyboarding before track laying How to work with: Editors Producers Directors Planning for Digital VFX Session 2 POST PRODUCTION Working with the editor Digital VFX in post Guide music Working with a composer Track Laying Temp Mixing Test screenings ADR Foley Sound Design Premixing The final sound mix Home Cinema Premiere PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 3-4 March 2018 Location: London UK Price: 399GBP (299GBP with discount of 25% Until 23 August) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions