Francesca Jaynes CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM Workshop London 25-26 November 2017
GARETH WILEY FILM PRODUCERS Workshop London 28-29 October 2017
SOLD OUT For waiting list please email firstname.lastname@example.org 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 Duration: 2 days Dates: 13-14 January 2018 Location: London UK Price: 449GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
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 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 London UK 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: 2 days Dates: 13-14 January 2018 Location: LONDON UK Price: 499GBP (349GBP with 30% Discount Until 27th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
Venue Partner DBS Berlin ABOUT ALLAN STARSKI
Allan Starski is one of the top Production Designers working today. He has collaborated with directors such as Roman Polanski, Steven Spielberg, Andrzej Wajda, Peter Webber, among many other notable names. Son of famed screenwriter/ songwriter Ludwik Starski, Allan graduated in Architecture in Warsaw’s Academy of Fine Arts and began his filmmaking career in Poland with Oscar and Palme d'Or-winning director Andrzej Wajda. With a wide range of successful collaborations (including Człowiek z marmuru (Man of Marble),Człowiek z żelaza (Man of Iron) and Panny z Wilka (The Maids of Wilko) and Pan Tadeusz), it was with the film Danton (1982) that Starski began being noticed by his peers around the world. In 1993 Starski received an Academy Award for his work in Steven Spielberg’s revered film Schindler’s List – starring Liam Neeson, Ben Knigsley and Ralph Fiennes - which also secured Starski a BAFTA nomination. His extensive work includes Roman Polanski’s The Pianist (starring Adrien Brody) in 2002 (for which he won a Cesar Award) and Oliver Twist in 2005; Peter Webber’s Hannibal Rising; Agnieszka Holland's Europe, Europe and Washington Square. Starski also has an impressive body of worked on stage productions, having collaborated with acclaimed professionals such as Arthur Miller, Aleksander Bardini and Andrzej Tapicki. full credits on http://www.imdb.com/name/nm0823649/ Allan Starski is one of the most versatile and accomplished Production Designers of our age – his filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Production Design workshop with Allan Starski will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Allan Starski, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. Participants will learn what makes a strong visual, and what to expect when working as a Production Designer. The workshop will also help directors and DP's understand the importance and how to deal with the Production Designer. The topics covered on the workshop will be: Creative team, Director, DP and PD. Story Board as a visual tool for discussion. Art department Breakdown and it influence on the film budget. Period research and artistic interpretation of historical knowledge. Concept drawings, models and final drafts. Location or Studio Sets ? Color in the movie. Creating color palette according to visual concept of the movie. Case study: Washington Square by Agnieszka Holland. Split locations in historical movie. Case study: "Franz Schubert" Specifics of black and white movies. Case study: "Doctor Korczak" By Andrzej Wajda. Case study: "Schindler’s List" by Steven Spielberg How director emotional knowledge influence visual style of the movie. Schindler’s List versus Pianist. Big historical movie with sets built entirely in the Studio. Case study: "Oliver Twist" by Roman Polanski Sci- Fi and the low budget, does it go together ? Case study: “Fear of Flying” Can you make big historical movie with shooting in 3 continents and 5 countries ? Case study: "The Cut" by Fatih Akim. CGI as an additional tool for Production Designer. Extending sets by Visual FX. Rates and Agents PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, Film Students, or anyone interested in entering the Film Business on the area of Production Design LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 27th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
Venue Partner DBS Berlin
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
Venue Partner DBS Berlin Berin, Germany 16 hours Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (375EUR Until the 21st November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
Venue Partner DBS Berlin 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 Venue Partner DBS Berlin Berlin, Germany Duration: 2 days Dates: 20-21 January 2018 Location: Berlin, Germany Price: 499EUR (374EUR with 25% discount until the 14th of December) 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 24th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT GARY YERSHON Garyʼs career composing music for drama spans 40 years and encompasses scores for the leading UK theater companies, West End and Broadway productions, radio, television and film. Gary was born in London in 1954. After graduating from Hull University, where he read Music and Drama, he sustained a career as an actor-musician until 1991, when he gave up the limelight to focus primarily on composing. His theater scores include many for the Royal Shakespeare Company (where he is an Associate Artist), the National Theater, West End (including the English-language premieres of Yasmina Reza’s plays Art, The Unexpected Man, Life x 3 and God of Carnage) and Broadway (2009 Drama Desk nomination for The Norman Conquests). In 2016 he became an Associate Artist of the Old Vic Theater Company. His is a regular collaborator of Mike Leigh. Their collaboration began with Topsy-Turvy (1999), on which Gary was musical director. Then came the scores for Happy-Go-Lucky (2008), Another Year (2010, gaining Gary a nomination as European Film Award Best Composer), the short film A Running Jump (2012), and Mr Turner (2014), for which Gary was nominated for an Academy Award for Best Original Score, Ivor Novello Award, and an ASCAP Composer’s Choice award. He is currently working on Mr Leigh’s latest film. Gary has written for BBC radio since 1979, his first appearances being as a singer-songwriter. Since then he has composed for many plays, including The Odyssey, Gawain and the Green Knight, The Theban Plays, The Winter’s Tale, The Eve of St Agnes, Three Men in a Boat, as well as the 2002 Sony-award winning Autumn Journal. For Radio 3 he translated and dramatised Pushkin’s Ruslan and Lyudmila, and contributed a new work, Orwell on Kipling, for the arts magazine programme The Verb. TV work ranges from detective drama (Trial and Retribution IX & X) through theme music (The Heritage Game, The Good Neighbour Show) to children’s cartoon series (James the Cat, Painted Tails, Ebb and Flo). For dance, his work includes Get A Move On (1994), choreographed by Jonathan Lunn at the New Performance Gallery, San Francisco; and Ma Vie En Rose (2007) choreographed by Ayse Tashkiran, directed by Pete Harris, at the Young Vic theatre, London; and The Boy in the Striped Pyjamas (2017) for Northern Ballet, choreographed by Daniel de Andrade. Gary curates and presents OscarⓇ Scores at the Barbican Arts Centre in London. He also works as a writer, translator, musical director and teacher.
WORKSHOP DESCRIPTION Workshop Description: The Music Composing for Film workshop will focus on a diversity of topics of the art of composing music for a film. You will have the chance of discussing these issues with Gary Yershon, but also to interact with up to 25 fellow participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your work, and receiving feedback to help unblock situations in the future. The topics covered on the workshop will include: HOW DO I BECOME A FILM COMPOSER? Introduction to Gary and his work. Introduction to the course students and their work/experiences and goals. Practical questions vs creative ones Practical questions: How do I get into the business? Do I need to learn it at college? The classic catch 22 - "I know I can do it but how do I get work when I have nothing to show yet?" Creative questions: What sort of composer are you? How do you know what your voice is before you've had a chance to write? Do you need your own voice? BEING A FILM COMPOSER - WHAT DOES THAT ACTUALLY MEAN? How I've done it. Does this have any relevance to anyone else's career path? WHY ARE YOU NOT TALKING ABOUT WRITING MUSIC? ARE WE EVER GOING TO GET ON TO THIS? Is the music you write the most important part of your job? Which is more useful - studying film scores or classical music? Coming back to developing your own voice... Is this important or not? Practical examples: Gary will show a few examples. Each course member will bring one cue to play which represents them best. Trends in film scoring. How this affects how you write. Should be take any notice of fashion? Examining some examples. The important stuff: Working with directors Working with producers Working with directors and producers who don't agree with each other. Your team: Contractors Orchestrators Programmers Copying Other backup Boring stuff: Money Agents Publishing & copyright Giving away your rights for opportunities and working for free. Conclusion: Spoiler alert! It's not how good you are but how good you want to be. Maybe! You probably know more about this than you think. Trust yourself. Be lucky. Make your own luck. Work hard. Be good. Be generous. Be better than you thought you could be. Be patient. But Don't wait for it to come to you. Being a composer isn't really a career choice. You don't pick it. It's chooses you. There is no escape. If you tick these boxes you already are a composer. The rest is just working out the details. PROFILE OF PARTICIPANT The workshop designed for Directors, Art Directors, Production Designers, Film Students, , Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business in this area.
LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 21-22 April 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until 22nd of December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions