25/26.02.2017London UK


Kami has been listed in the legal directories for his expertise in both Media and Entertainment and Media Finance as top-tier ranked and has been described as "knowledgeable, thorough and fast". Kami's practice focuses on development, finance, production, exploitation and acquisition of audiovisual content across all media platforms. His clients include leading film-makers, brands, financiers, content creators, production companies, sales agents, distributors and agencies. Across 2005-2011 he moved into the film industry itself to work in film finance, production and distribution. He has produced nine international feature films with leading filmmakers including legendary directors Werner Herzog and Bille August and leading cast such as Christian Bale, Tom Wilkinson, Steve Buscemi, Stellan Skarsgard, Amanda Seyfried, Vera Farmiga and Michelle Williams. He has recently executive produced two documentaries. His films have launched at Sundance, DocFest, Berlin International Film Festival and Toronto International Film Festival and have been distributed by Warner Bros, Paramount, Pathe, Twentieth Century Fox, MGM, Universal Pictures, Buena Vista, Sony Pictures, Image Entertainment, Vertigo, Entertainment One, Optimum Releasing (now StudioCanal), Magnolia and IFC. As a lawyer, his experience in the film industry is unrivalled. Kami heads the head the film & television practice at Clintons, a tier-one media and entertainment law firm in London. WORKSHOP DESCRIPTION

FILM LAW, DEVELOPMENT, PRODUCTION AND EXPLOITATION DEALS A. GENESIS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors Partnering with another producer / Creative and Financial Co-productions B. KEY STEPS AND NEXT STEPS Assembling a Creative Team and making a few Key Decisions: Commissioning a Writer Choosing a Director Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming / Subsidies * The Value Chain / Copyright / Chain of Title / Screenplay Rights Option/Purchase Agreements Underlying rights: articles, books, life rights, etc. Creative Team Agreements: Short Form/Long-form Contract Director Agreement / Director Development Agreement Producer Agreement Writer Agreement Co-production Agreements Development Finance Agreement * Casting: Casting Directors / Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net Guilds residuals Composer Agreement Music and Music Rights: Sync and Master Use Licenses Rights Clearance (artwork, brands, pictures) Location Agreements C. THE MARKET Distributors and Sales Agents The Revenue Waterfall Estimating Revenue: the highs and lows Sales Agency Agreement Marketing and Distribution Plan Distribution Agreements / Financier’s Notices of Assignment D. FINANCING Budget/Financing - Financing Sources: Equity, Pre-sales, Gap Financing, Debt and Subsidies Equity Investment Agreement Loan Agreement Security Agreement Interparty / Intercreditor Agreement Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections Collection Agreement E. EXPLOITATION P & A Funding Clearing Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals / Film Markets Theatrical Distributor or Alternative / Ancillary Media PROFILE OF PARTICIPANT

The workshop designed for Film Producers, Film Financiers, Directors, Junior legal and business affairs executives Film Students, or anyone interested in entering the Business of Film Production, Film Law, Film Finance or Exploitation. WORKSHOP LOCATION

London UK 16 hours Duration: 2 days Dates: 25-26 February 2017 Location: LONDON UK Price: 399EUR (319GBP Until 27th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.03.2017London UK


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

The Production Sound MixingWorkshop with Chris Munro will focus on a diversity of topics of the art of mixing sound of a film, you will have the chance of not only receive this knowledge from Chris Munro, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your own work and the projects you have worked on or will work, and receiving the feedback to unblock situations in the future. The purpose of this workshop is to understand the power of good sound, and the processes necessary to realize this. Chris will talk about his work, his recording philosophy, his methodology and show examples from his previous films. He will discuss how the film business has changed, how recording has to deal with a new set of factors, like multiple cameras with various lens sizes, the use of multi track recording and the limited shooting schedules with consequences for all departments. Participants will look at different types of recorders, RF mikes and mixers available for location recording. The different boom mikes available and when to use them will also be a topic Other topics will be: Pre-production planning and budgeting for sound. Recording Priorties of the Mixer Teaming up The importance of inter-departmental communication Set etiquette. Rates and Agents How to wire actors Methods used to hide transmitters and mikes How to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and the multi challenges we face in our efforts to get good usable sound. Chris will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate sound problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus. PROFILE OF PARTICIPANT

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

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

08/09.04.2017Porto | Portugal


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

The workshop will focus on a diversity of topics of the art of cinematography, you will have the chance of not only receive this knowledge from Stuart Dryburgh, but also interact in a very strong way, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receiving the feedback to unblock situations in the future. The over all theme of the workshop will be: How Stuart applies 30 years of shooting on film to shooting in the digital age, and what younger cinematographers can gain by ‘thinking film, shooting digital’ The workshop will also cover the following structure: ESSENCE OF THE CRAFT Auteur versus Industry – the realities of the business. DIY - low budget approaches Understanding your abilities Overview and “Case Study” clips of my work GETTING THERE Hollywood versus Europe Agents/managers/lawyers PREPPING Script break down Aesthetic overview – the look and the story - Stylistic Approach Crewing up Location hunting Rehearsing before the shoot Storyboard How to work with: Art department Costume Camera Planning for Digital VFX Camera systems, Lens selection Grip equipment Originating materials (film stock/tape) Relationship between the DP and the director Tradicional Vs. Digital How to properly tech scout a location How I design master shots and coverage SHOOTING Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Camera - Movement - How / When / Why laboratory procedures Exposure - Zone System of Exposure - Film and Video LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors WORKSHOP LOCATION Porto, Portugal PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 2 days Dates: 8-9 April 2016 Location: PORTO, PORTUGAL Price: 499EUR (399EUR until 10 Februry) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.05.2017Porto, Portugal


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

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

The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing WORKSHOP LOCATION

Porto Portugal 16 hours Duration: 2 days Dates: 20-21 May 2017 Location: Porto, Portugal Price: 449 EUR (375EUR Until 1st of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW: