FERNANDO TRUEBA - Film Directing Workshop 20-21 May 2017 Porto, Portugal
Temple Clark STORYBOARDING IN FILM Workshop London 8-9 July
ABOUT TEMPLE CLARK
Temple Clark is one of the most in demand Storyboard artists in the film industry. with more than 100 feature films, including "Spectre", "The Imitation Game", "Gravity", "Children of Men", "Cold Montain", “Harry Potter and the Prisoner of Azkaban” and many others. After studying Painting and Mixed Media at Glasgow School of Art, Temple came to London and started working at Cucumber Studios on pop videos, commercials and TV graphics, learning about animation and storyboarding. In 1996 he was asked to provide large scale illustrations for the film “Mary Reilly” (dir. Stephen Frears), followed by VFX storyboards for Luc Besson’s “Fifth Element”, where Temple discovered, to his amazement, concept illustrations. Since then he has provided storyboards and illustrations for over 100 feature films, from John Maybury’s “Love is the Devil” and Ralph Feinnes’s “Coriolanus” to “Harry Potter and the Prisoner of Azkaban”, “Gravity” (dir. Alfonso Cuaron) and more recently “Spectre” (dir. Sam Mendes). In addition to film work, over the past two years Temple has been drawing and painting dancers from life and was the set designer for “Inala”, produced by Sisters Grimm, a collaboration between the Ladysmith Black Mombazo choir and dancers from the Royal Ballet and Ballet Rambert. He is currently designing the new ballet being created by Sisters Grimm. full credits on http://www.imdb.com/name/nm0164547/ Temple Clark experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Storyboarding workshop with Temple Clark will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Temple Clark, 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 storyboard, and what to expect when working as a storyboard artist. The workshop will also help directors understand the importance and how to deal with storyboards. The topics covered on the workshop will be: Requirements for storyboarding. Why storyboards are a helpful tool. What is required of a storyboard artist. Ways of working with a director. Working with different departments – Art/ Camera/ VFX/ Stunts etc Steps for drawing your storyboard Getting your story straight Establishing if a storyboard is the best way to tell your story Being clear about your message Working out your story structure How to present your storyboard Character\Script\Scene\Plot Making the story powerful and enduring, Storyboarding styles and techniques Rates and Agents Portfolio review PROFILE OF PARTICIPANT The workshop designed for Storyboard Artists, Directors, Art Directors, Production Designers, Artists, Film Students, or anyone interested in entering the Film Business on the area of Storyboarding LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 8-9 July 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until the 3rd of July) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT MARK SANGER
With extensive experience in the industry, it was from a very young age that Sanger wanted to make films. He started as an assistant editor in the mid-90s, coming into the industry just as the change from analogue to digital happened. Under this title Sanger worked on Tomorrow Never Dies (1997), The World is Not Enough (1999), and The Mummy (1999). As a visual effects editor, he collaborated extensively with Tim Burton, editing Charlie and the Chocolate Factory (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Alice in Wonderland (2010). Also as a VFX artist he worked on 007: Die Another Die (2002), Troy (2004), and on Alfonso Cuarón’s highly acclaimed Children of Men (2006). Sanger and Cuarón worked together yet again, in 2013’s hit movie Gravity (2013), with Sanger working as a Picture Editor. This successful collaboration earned them, as co-editors, the Oscar for Best Editing, a BAFTA nomination, amongst a very wide list of various awards. Currently, Sanger has been working on the new Transformers movie, which is already in post-production and will be released later in the year. Mark Sanger experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION It is important to note that this will not be a workshop to teach you editing 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. DAY 1 ● Introduction of the participants and Mark Sanger. 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 of editing in the industry / as well as getting into on what was behind of some of his editing. ● Film editing vs. visual effects editing - the specification of the VFX editor job; links beetween film editing, animation editing and visual effects editing ● Traditional editing vs. digital editing - how has digital technology changed the process; how knowledge and experience in traditional editing can be useful in digital editing ● When does the editing process really start? the importance of preparations prior to shooting; editing with storyboards and pre-vis ● 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. ● Eye for details - how to avoid mistakes DAY 2 ● Technical aspects of the job - looking at recent project showing workflow. ● How to get and improve your professional skills - technical courses at film schools vs. practical experience. What to take into account when choosing a course from the wide range that different film schools, art schools and technical schools provide? ● An overview of available tools / software; advantages and disadvantages; which one to choose? ● Space for creativity - relations between technical skills and thinking outside of the box, 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 relationship with the director, DOP, producer and other members of the film crew; visual effects editor as a bridge between the editorial and visual effects departments, communicating both creative and technical information between the two; the importance of having a broad understanding of all departments ● 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. Mark Sanger 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 market reality for editors, agents, rates, and finding your own work PROFILE OF PARTICIPANTThe workshop designed for Editors, Directors, VFX Editors, VFX Technicians, VFX Supervisors, Film Students, or anyone interested in entering the Film Business on the area of Editing and VFX LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 8-9 July 2017 Location: London UK Price: 399GBP (299GBP with 25% discount until the 4th of July) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
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: 30 September and 1st October 2017 Location: London UK Price: 399GBP (279GBP with 30% discount until 1st of June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
ABOUT CLIFFORD DE SPENSER Clifford De Spencer 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. Spencer, 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. Spencer 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. Spencer 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 Spencer 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 (299GBP with 25% discount until 5th June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions