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24/02.05.2021Online
MUSIC COMPOSING FOR FILM WORKSHOP WITH GARY YERSHON

ABOUT GARY YERSHON Garyʼs career composing music for drama spans 40 years and encompasses scores for the leading UK theater companies, West End and Broadway productions, radio, television and film. Gary was born in London in 1954. After graduating from Hull University, where he read Music and Drama, he sustained a career as an actor-musician until 1991, when he gave up the limelight to focus primarily on composing. His theater scores include many for the Royal Shakespeare Company (where he is an Associate Artist), the National Theater, West End (including the English-language premieres of Yasmina Reza’s plays Art, The Unexpected Man, Life x 3 and God of Carnage) and Broadway (2009 Drama Desk nomination for The Norman Conquests). In 2016 he became an Associate Artist of the Old Vic Theater Company. His is a regular collaborator of Mike Leigh. Their collaboration began with Topsy-Turvy (1999), on which Gary was musical director. Then came the scores for Happy-Go-Lucky (2008), Another Year (2010, gaining Gary a nomination as European Film Award Best Composer), the short film A Running Jump (2012), and Mr Turner (2014), for which Gary was nominated for an Academy Award for Best Original Score, Ivor Novello Award, and an ASCAP Composer’s Choice award. In 2018 he finished "Peterloo". He is currently working on Mr Leigh’s latest film. Gary has written for BBC radio since 1979, his first appearances being as a singer-songwriter. Since then he has composed for many plays, including The Odyssey, Gawain and the Green Knight, The Theban Plays, The Winter’s Tale, The Eve of St Agnes, Three Men in a Boat, as well as the 2002 Sony-award winning Autumn Journal. For Radio 3 he translated and dramatised Pushkin’s Ruslan and Lyudmila, and contributed a new work, Orwell on Kipling, for the arts magazine programme The Verb. TV work ranges from detective drama (Trial and Retribution IX & X) through theme music (The Heritage Game, The Good Neighbour Show) to children’s cartoon series (James the Cat, Painted Tails, Ebb and Flo). For dance, his work includes Get A Move On (1994), choreographed by Jonathan Lunn at the New Performance Gallery, San Francisco; and Ma Vie En Rose (2007) choreographed by Ayse Tashkiran, directed by Pete Harris, at the Young Vic theatre, London; and The Boy in the Striped Pyjamas (2017) for Northern Ballet, choreographed by Daniel de Andrade. Gary curates and presents OscarⓇ Scores at the Barbican Arts Centre in London. He also works as a writer, translator, musical director and teacher.

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

LOCATION OF THE WORKSHOP The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. In the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you have come to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the workshops' sessions, which will take place in 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. Duration: 4 days Dates: 24, 25th April and 1, 2nd of May 2021 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 12PM EST (New York) 6AM - 10AM PST (Los Angeles) 6PM - 10PM Gulf Standard Time (Dubai) 10PM - 2AM CST (Beijing) 7:30PM - 11:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 13th of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.

10/13.05.2021Online
PENCIL TO PIXEL - FILM TITLE DESIGN WORKSHOP WITH RICHARD MORRISON AND DEAN WARES

ABOUT RICHARD MORRISON

Richard Morrison is one of the most prolific designers of TV and film title sequences and channel branding in the world. His professional experiance spans more than 30 years with more than 170 credits for feature film and TV title sequences. He worked with directors such as Franc Roddam, Terry Gilliam, Ridley Scott, Jean-Jacques Annaud, Tim Burton, David Mamet, and The Wachowski's, amongst many others. He begun his career in advertising and worked on film trailers under the guidance of Maurice Binder, creator of the early Bond sequences. By the late '70s Morrison had formed Plume, a design and production company for film and TV media specialising in the title sequences, branding, and commercials. He started off with working on such films as Gandhi, Moonlighting, and Quadrophenia, and shortly after that he was creating title sequences for The Killing Fields, The Mission, Brazil and Batman (1989). Morrison has also created award-winning designs for major UK and European TV channels and by the mid-'90s he was shortlisted for ID Magazine's Top 40 of World Creatives. In 1998, he reformed as Fig and continued to produce title sequences for films such as The Constant Gardener, The Dreamers, Girl with a Pearl Earring and Two Brothers. Today, now founder and creative director at The Morrison Studio, he and his team have been responsible for film and TV title sequences such as Sweeney Todd: The Demon Barber of Fleet Street, Scott Pilgrim vs. the World, Frankenweenie, Calvary, Howl, and most recently Jupiter Ascending, Denial, Tommy's Honour, The Snowman, Nocturnal Animals and soon to be released Damascus Cover ond Ophelia. In 2001 his first book CUT was published, and he is currently in production for release this year of his second book, entitled Seen London, a collection of urban photography - streets, people, places. Which director Stephen Frears (The Queen) has written the foreword for. full credits on http://www.imdb.com/name/nm0607290/ ABOUT DEAN WARES

An adopted Spaniard, Dean lives with his family in Valencia, and has many creative skills which make him an indispensable asset to The Morrison Studio and the tv and film business. He has long perfected the art of working remotely, while delivering top-end material to film studios and edit suites in the UK and the US. With a career that began in print and media, Dean is a passionate master of typography who has created special original fonts for brands and projects, which he then translates onto screen. Always on top of the fast-changing world of graphic design, visual effects and industry delivery needs, he is solution oriented and a technological whizz, with tireless patience and attention to detail. His great colour and aesthetic sense contributed greatly to the success of Showtime and Sky Atlantic’s Patrick Melrose sequence, nominated for an Emmy for Outstanding Main Title Design. With his editing skills and rhythm, and great communication talent, Dean works across all aspects of design, production planning and delivery as the long-term creative partner and art director in the Studio. Some recent credits include The Undoing, Run, Avenue 5, Riviera and Dublin Murders alongside classic titles such as Enemy at the Gates and High Fidelity. Richard Morrison and Dean Wares experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION Pencil to Pixel. Skills and execution in creating a Title Sequence for Movies & TV with Richard Morrison. Covering Research, Design, Art Direction, Production, Music and Post Production. The workshop will focus on a diversity of topics of the craft. You will have the chance of not only receive this knowledge from Richard Morrison, 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 and 2 Introduction of the participants and Richard Morrison. 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 and getting into on what was behind them. The purpose and the importance of an opening sequence; how this short form piece can set the tone for what the audience is about to see, hear and experience (with examples) The creative starting point; how to approach and generate the concept; how and what to draw out of a given script. The process in researching ideas and content; where to look for the inspiration; how to apply the craft in different genres; the impact of genre on style. Stimulate and grow ideas with in your team; Stages of design ideas before storyboarding - the project workflow; when does the process of designing really start; the important preparaions before putting your ideas on paper. How to best visualise and storyboard; space for creativity - relations between technical skills and thinking outside of the box. DAY 3 and 4 The strength of good typography with a sequence; technical aspects of the job. What skills and tools are needed (computers or pencils?), choosing the right software in advance to Production - an overview of available tools; their advantages, disadvantages and which one to choose. How and when is music included; communicate your idea to a composer. Preparing for a client pitch of your chosen ideas; what is important from the client’s point of view; how to present your ideas in the most efficient way. What is needed before going into Production and Post Production. The ever-changing technologies and their impact; big screen versus small screen and the future trends within marketing/branding. PROFILE OF PARTICIPANT The workshop designed for Title Designers, Designers, Directors, Art Directors, Production Designers, Artists, Film Students, or anyone interested in entering the Film Business on the area of Title Design for Film. LOCATION OF THE WORKSHOP The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. In the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you have come to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the workshops' sessions, which will take place in 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. Duration: 4 days Dates: 10th, 11th, 12th, 13th, of May 2021 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 12PM EST (New York) 6AM - 10AM PST (Los Angeles) 5PM - 9PM Gulf Standard Time (Dubai) 9PM - 1AM CST (Beijing) 6:30PM - 10:30PM IST (New Delhi) Location: Online Price: 499EUR (249EUR with 50% Discount until the 22nd of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

24/27.05.2021Online
EDITING SOCIAL REALISM COURSE WITH JONATHAN MORRIS AND KEN LOACH

ABOUT JONATHAN MORRIS

Jonathan Morris first worked as a child actor, appearing in the original stage production of “Oliver” in London’s West End. Soon after, he sang with Judy Garland in her final film. Deciding against the uncertainties of life as an actor, he took a job in 1966 as a trainee second assistant film editor at Elstree Studios, then worked on television series, including “The Saint” and “The Champions”, and several feature-length films, including the cult classic “Witchfinder General”. In 1972, he took a position at ATV and in 1976 was promoted to Editor. There, he edited many documentaries and dramas, and worked with well-known directors including Adrian Cowell, Ken Loach, David Monro and Anthony Thomas, and went to the United States to cut an Emmy Award-winning episode “Vietnam – An American History”. In 1982, Morris formed a post-production company in London and edited numerous award-winning films. In 1992, he was nominated for a BAFTA for the documentary “Hellfighters of Kuwait”. Director Ken Loach's prolific output as a feature film-maker since the early 1990s owes a lot to the regular group of collaborators who have worked with him during this period. One of these is Jonathan Morris. Having worked with Loach in over 30 films, Morris brings to the table a sense of aesthetics that he has matured while working with the director and, generally being the first viewer of the films, the editor is well accustomed to the constrictions that social realism entails. Loach’s use of regional dialects and very closed accents, his faithful mise-en-scène, and his movies naturalistic cutting techniques lead to some restrictions when it comes to editing. When the work is passed on to Morris, so he can edit it, he has to take the genre of the film into consideration. This means that every editing decision he makes has to tie the film together, making it look and feel as real as possible, which can be a challenge. Jonathan has worked on 12 films selected for the Official Competition at the Festival de Cannes, two of which took the Palme d’Or, as well as three films in competition at the Venice Film Festival and the Berlinale. Recently, Morris edited the award-winning docudrama series “The Great War – The People’s Story” for ITV. Full list of credits on https://www.imdb.com/name/nm0606682/ ABOUT KEN LOACH

Ken Loach is a British film and television director, and the UK's foremost political filmmaker. Born in 1936 in Nuneaton, Ken Loach studied law at Oxford, but branched into a repertory stage career (at one point understudying Kenneth Williams in Leicester). Shifting into television, he forged an alliance with producer Tony Garnett and developed the docudrama format via a series of hard-hitting ‘plays’ such as Cathy Come Home. Loach made his feature debut Poor Cow in 1967 and with Kes, two years later, he directed what is now acclaimed as one of the finest films ever made in Britain. His socially combative work over the next decade or two was often kept off the radar by a combination of poor distribution and broadcasting censorship. Loach's star rose again in the 1990s as award followed award for feature work no less engaged, and he came to be regarded as one of Europe's premier filmmakers. COURSE 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 Jonathan Morris and Ken Loach, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely 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 have four session, Jonathan Morris will be present in al sessions, and Ken Loach will be present on the second session. The topics covered on the workshop will be: Getting the job. Reading the script. Liaising with director, producer , cameraperson and crew during the shoot. Editing during filming. Editing with the director. Re editing with the director Liaising with the sound editor. Deciding where music is needed. Discussing with the composer where we feel music is required. Recording music and ADR. Grading and picture FX. Dubbing Viewing completed film before finalising. Recutting , regrading, redubbing . Viewing final version. 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 The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. In the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you have come to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the workshops' sessions, which will take place in 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. Duration: 4 days Dates: 24-27 May 2021 9AM - 1PM CET (London) 10AM - 2PM CET (Brussels) 12PM - 4PM Gulf Standard Time (Dubai) 6PM - 10PM EST (Sydney) 4PM - 8PM CST (Beijing) Location: Online Price: 499EUR - 325EUR with 35% discount until the 18th March Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam.

12/15.07.2021Online
DIRECTING ACTORS FOR FILM WORKSHOP WITH PETE TRAVIS

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 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 and "Project Blue Book" with Aidan Gillen and Michael Malarkey WORKSHOP DESCRIPTION

The Directing Actors for Film workshop will focus on a diversity of topics of the art of directing actors, 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 The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking, on the next few months we will be hosting the workshops online, however we will maintain not only the standard of quality you came to expect with the best experts available, but also the networking and interactivity of the workshops: -The workshop group will have a limited number of participants, we will not host more than 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the session of the workshop that will take place on 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to absorb the content. PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing Actors 16 hours Duration: 4 days Dates: 12th to the 15th of July 2021 9:30AM - 1:30PM CET (London) 10:30AM - 2:30PM CET (Brussels) 12:30PM - 4:30PM Gulf Standard Time (Dubai) 6:30PM - 10:30PM EST (Sydney) 4:30PM - 8:30PM CST (Beijing) Location: Online Price: 499GBP (299GBP with 40% Discount Until 20th April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam