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05/06.10.2024London UK
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 London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Assistant Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of Directing Actors Duration: 2 days 10:00 - 18:00 Dates: 5th - 6th of October 2024 Location: London UK Price: 599GBP (349GBP Until 1st of October) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

16/19.07.2024Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER LAST 2 PLACES

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. -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. 16 hours Duration: 4 days Dates: 16th to the 19th of July 1PM - 5PM (London) 2AM - 6PM (Brussels) 4PM - 8PM (Dubai) 8AM - 12PM (New York) 8PM - 12AM (Beijing) 5:30PM - 9:30PM (New Delhi) 9AM - 1PM (Rio de Janeiro) 10PM - 2AM (Sydney) Location: Online Price: 599EUR (349EUR with 40% Discount until the 15th of July) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

08/09.06.2024Berlin, Germany
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH

workshop full for waiting list please email filmlab@fest.pt ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he created the distinctive look in films such as "The Piano" , "Ben is Back", "The Painted Veil", "The Secret Life of Walter Mitty" "The Great Wall" and many other. 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. In recent years Stuart has shot films such as "Ben is Back" (directed by Peter Hedges), the Upside (directed by Neil Burger), The Only Living Boy in New York (Directed by Marc Webb), The Great Wall (directed by Yimou Zhang), Alice Through the Looking Glass (directed by James Bobin) Stuart has also just finished shooting the Men in Black 4 full list of credits on https://www.imdb.com/name/nm0238698/ 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. Day 1: Unearthing Creativity & Distinctiveness in Cinematography Introduction: Evolution of a Cinematographer Brief on how Stuart's experiences in film over the last 30 years apply to today's digital age. Advantages cinematographers can harness by "thinking film, shooting digital". ESSENCE OF THE CRAFT Auteur vs. Industry: Real-world intricacies of the film business. DIY approaches and the value of understanding one's unique capabilities. A deeper dive: clips from Stuart's oeuvre, shedding light on his approach and interpretation. Inspirations & Influences Stuart presents clips from films that have shaped his perception of light and composition. Interactive session: Participants share short clips of movies that have impacted their cinematic vision, discussing their takeaways on light, composition, and style. GETTING THERE: Navigating the Industry Contrasting the worlds of Hollywood and Europe. The crucial role of agents, managers, and lawyers in a cinematographer's journey. PREPPING: The Backbone of Cinematography The nuances of script breakdown and its role in defining the visual narrative. Crew selection, location scouting, and the pivotal pre-shoot rehearsals. The importance of storyboards and collaborating effectively with departments: Art, Costume, Camera, and VFX. The dynamic between the DP and the director: Finding common ground. An overview of camera systems, lens choices, grip equipment, and the selection of originating materials. Day 2: From Conception to Execution: The Cinematographer's Canvas SHOOTING: Bringing the Vision to Life Day planning, scene blocking, and the strategic use of shotlists. The role of storyboards on set and the art of designing master shots and coverage. Navigating the balance between traditional and digital techniques. A comprehensive guide to tech scouting a location. LIGHT: The Cinematographer's Paintbrush The science and art of exposure. The indispensability of light meters, setting the mood through lighting, and techniques for various settings: natural, location, studio, and transitions between night and day. Crafting lighting to enhance actors, and ensuring it aligns with the story's mood and tone. Interactive Lighting Exercise Participants engage in a hands-on small lighting experimenting scene under Stuart's guidance. A practical exploration of the themes discussed, utilizing simple lighting equipment. Wrap-Up: The Path Forward Reflection on the challenges and intricacies of making a movie from a cinematographer's lens. An open discussion where participants can address issues they've faced in their projects, gaining insights to navigate future challenges. Encouraging participants to continue developing their unique voice and style in cinematography. WORKSHOP LOCATION Berlin, Germany PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, Film Students, or filmmakers serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 2 days Dates: 8-9 June 2024 Location: Berlin, Germany Price: 599EUR (399EUR until the 30th 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

08/09.06.2024Berlin, Germany
POST PRODUCTION SUPERVISION AND MANAGMENT WORKSHOP WITH POLLY DUVAL

ABOUT POLLY DUVAL

Polly Duval's career as a Post Production Supervisor in the heart of London's vibrant independent film scene spans over two decades. With a portfolio of more than forty feature films, Duval's credits include Mike Leigh's multi award-winning Mr. Turner, John Crowley's Oscar nominated and BAFTA winning Brooklyn, and Emerald Fennell's 2023 hit Saltburn, all showcasing Duval’s capacity to navigate the complex demands of post-production, ensuring that each project's vision is realised to its fullest potential. Other notable projects like Peterloo, Judy, and Living further exemplify her contribution to the British film landscape. Having recently finished on Mike Leigh’s latest film Hard Truths, Polly Duval is currently engaged with several projects across leading platforms and production companies, including Netflix, A24, and the BBC. This ongoing collaboration underscores her continuing influence and sought-after expertise in the realm of post-production. Polly Duval experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the craft of Post Production Supervision, you will have the chance of not only receive this knowledge from Polly Duval, 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. Using case studies, the workshop will include the following topics: Role Clarity and Expectation Setting: An in-depth look at the post-production supervisor’s responsibilities, from the pre-production stages through to the final delivery, setting the stage for what producers, directors, and editors expect from this pivotal role. Budgeting: Detailed strategies for creating, managing, and adjusting post-production budgets. Learn to forecast potential financial pitfalls and how to navigate them without compromising the project's artistic integrity. Timeline Management: Techniques for developing a realistic and flexible post-production schedule, accommodating for editing, VFX, sound design, and grading within the project's timeline constraints. Team Dynamics and Communication: Strategies for fostering effective communication and collaboration among the post-production team, as well as with the production team and external vendors. Explore tools and methodologies for keeping everyone aligned with the project's goals. Delivery and Distribution Preparedness: Detailed guidance on preparing your film for delivery, covering various formats and specifications required for theatrical release, streaming platforms, and broadcast. Understand the nuances of international delivery standards and how to ensure your film meets them. Troubleshooting and Crisis Management: Equip yourself with the skills to handle common and unexpected challenges that arise during post-production, from technical issues to creative disagreements. Learn strategies for troubleshooting and keeping your project on track towards completion. PROFILE OF PARTICIPANT The workshop is designed for: Producers, Directors, Post Production Supervisors, Post Production coordinators, production managers, production coordinators, production assistants, Film Students, and filmmakers serious about a career in the Film Industry in the area of Post Production. LOCATION OF THE WORKSHOP Berlin, Germany Duration: 2 days Dates: 8-9 June 2024 Location: Berlin, Germany Price: 599EUR (399EUR until 4th of June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions TO REGISTER PLEASE USE THE LINK BELOW:

02/02.06.2024Online
GREENSHOOTING - SUSTAINABILITY IN FILM WORKSHOP WITH DÖRTE SCHNEIDER

ABOUT DÖRTE SCHNEIDER

Dörte Schneider has 20 years of experience as an assistant director in films and TV commercials. Dörte discovered that she could combine her passion for film with her environmental concerns, which led her to become a Green Consultant. She obtained the Green Consultant certificate at the German “Hochschule der Medien” (HdM Stuttgart) and has since been committed to making film productions greener. To achieve this goal, Dörte believes that educating and raising awareness of this issue is fundamental. Dörte is an active member of Filmmakers for Future and the German green consultant association (BVGCD), as well as an ambassador for The Pact and Green The Bid. In October 2021, she trained as a Climate Reality Leader. WORKSHOP DESCRIPTION

The workshop will look at the climate reality on planet Earth and how that should influence our every action. It will also give an understanding of sustainability as a concept. It will focus on the importance of applying “green measures” during all stages of film production. The workshop will provide tools to identify issues of environmental impact on film production, offer knowledge to better interact with a green consultant, and deliver insights to address the environmental sustainability challenges of a film production, without neglecting social and economic aspects. The workshop will be informative and interactive, with room for exchange and dialogue. The topics covered in the workshop: Understanding what a “Green Consultant” does Knowing what is happening internationally Assessing the critical points of a project Understanding what steps to take at each stage of the project PART 1 | Climate literacy. Introduction to the concept of sustainability. What is a Green Consultant? What’s happening on (and to) Planet Earth? What is “sustainability”? Theoretical and legal bases. Applicability in the audiovisual industries. Introduction to existing initiatives and platforms. What does the Green Consultant do? PART 2 | Departments I Departments and their impact: Production. Screenwriting. Directing. Catering. Scenography. Wardrobe. Make-up/Hair. What measures can we apply? PART 3 | Departments II Departments and their impact: Lighting. Sound. Post-production. Energy, Materials, Transport, Waste. How can we work in a more "green" and efficient way? PART 4 | The footprint of distribution and streaming. Introduction to carbon footprint calculations. Green storytelling. Recap. PROFILE OF PARTICIPANT Anybody working in the film industry is welcome. This workshop is addressing the industry as a whole and is committed to giving an understanding of the importance and scale of our impact and footprint. 16 hours Duration: 4 days Dates: 2nd to the 5th of June 2025 1PM - 5PM (London) 2AM - 6PM (Brussels) 4PM - 8PM (Dubai) 8AM - 12PM (New York) 8PM - 12AM (Beijing) 5:30PM - 9:30PM (New Delhi) 9AM - 1PM (Rio de Janeiro) 10PM - 2AM (Sydney) Location: Online Price: 599EUR (299EUR with 50% Discount Until 1st of November) 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 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

01/02.06.2024London UK
SOUND EDITING WORKSHOP WITH NINA HARTSTONE

ABOUT NINA HARTSTONE Nina Hartstone is an Oscar-winning Sound Editor with over 25 years of experience in the film industry. Her illustrious career includes work on feature films such as “Evita,” “The Hours,” “Gravity,” “Everest,” “Beauty and the Beast,” and “Mowgli.” Notably, her exceptional skills were instrumental in the sound editing of “Bohemian Rhapsody,” for which she received both an Oscar and a BAFTA award, highlighting her as a leading figure in her field. Recently, Hartstone has worked on “Moonage Daydream” and “I Wanna Dance with Somebody,” both of which have already been released to critical acclaim. Additionally, Nina has worked on the recently released and highly acclaimed film “Saltburn,” directed by Emerald Fennell, further cements her reputation for excellence in sound editing. Nina Hartstone has contributed her skills to an impressive array of feature films, working alongside some of the most distinguished directors in the industry such as Alan Parker, Stephen Daldry, Alfonso Cuarón, Baltasar Kormákur, Bryan Singer and many more Residing in Windsor, U.K., with her husband, three children, and two cats, Hartstone remains at the forefront of her profession, consistently demonstrating her expertise and passion for sound editing in feature films. Nina Hartstone 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 in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 1st - 2nd of June 2024 Location: London UK Price: 599GBP (349GBP Until 30th of May) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

06/14.04.2024Online
WRITING YOUR CHARACTERS - SCREENWRITING WORKSHOP

ABOUT RITESH BATRA

Ritesh Batra is widely known for his debut feature film The Lunchbox a touching portrait of the lunchbox delivery system in Mumbai, which premiered at the Cannes Film Festival. Nominated for 33 international awards, the film won the Rail d’Or at the Cannes Film Festival. Additionally, it also won the Toronto Film Critics Association Award for Best Feature Film in 2014, and a BAFTA in the category “Film Not in the English Language”, in 2015. The Lunchbox has been called the highest grossing foreign film in North America, Europe and Australia for the year of 2014 grossing over 25 Million USD. Ritesh has since directed star-studded films, such as The Sense of an Ending (2017), an adaptation of a Booker Prize-winning novel, with Jim Broadbent and Charlotte Rampling; Our Souls at Night (2017), a romantic drama starring Robert Redford and Jane Fonda; and Photograph (2019). Batra began his career by writing and directing shorts, such as Café Regular, Cairo (2012), which screened at over 40 international film festivals and won over 12 awards, including a FIPRESCI prize. In 2009, his treatment for Story of Ram was selected by the Sundance Screenwriters Lab. He was then made the Time Warner Story Telling Fellow at Sundance Film Festival, and Annenberg Fellow at Sundance Film Academy. Story of Ram would later turn into The Lunchbox. In 2014, Batra founded his own production company: PoeticLicence Motion Pictures. He is currently in pre-production of his next film, Little Bee, billed as drama-thriller about the intersecting lives of a 16-year old Nigerian orphan and a British couple, Julia Roberts is expected to be starring in the lead. WORKSHOP DESCRIPTION

The WRITING YOUR CHARACTERS - screenwriting workshop will focus specifically on the skills to create your characters while developing your script and concept. The workshop will demonstrate how films are about relationships, and how the characters arcs transform You will have the chance of not only receive this knowledge from Ritesh Batra, 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 in order to solve those problems in the future. The topics covered on the workshop will be: - character introductions - character descriptions - archetypes - protagonists, antagonists, supporting characters - likable and unlikable characters - backstory and relationships - flaws, strengths and vices - clear objectives - unresolved relationships - character arcs and transformation - outer and inner journey / external and internal conflict - wants & needs PROFILE OF PARTICIPANT

The workshop is designed for Scriptwriters, Writers, Directors, Film Students, or anyone interested in entering the Film Business in the area of scriptwriting. WORKSHOP LOCATION The workshop will take place online 16 hours Duration: 4 days Dates: 6, 7th & 13, 14th April 2024 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 1PM EST (New York) 6AM - 10AM PST (Los Angeles) 5PM - 9PM Gulf Standard Time (Dubai) 10PM - 1AM CST (Beijing) 7:30PM - 11:30PM IST (New Delhi) Location: Online Price: 599EUR (349EUR with 35% Discount until the 2nd 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

24/25.02.2024Athens, Greece
EDITING FOR FILM WORKSHOP WITH YORGOS MAVROPSARIDIS

ABOUT YORGOS MAVROPSARIDIS

Yorgos Mavropsaridis is a highly acclaimed film editor, renowned for his distinctive editing style and significant contributions to the film industry, particularly in European cinema. Born and raised in Greece, Mavropsaridis has built a career marked by a series of successful collaborations and critically acclaimed films. Yorgos Mavropsaridis early career was marked by work on various short films and independent projects, where he began to make a name for himself with his meticulous and innovative editing techniques. Mavropsaridis' breakthrough in the international film industry came with his collaboration with the celebrated Greek director Yorgos Lanthimos. Their partnership started with the critically acclaimed film "Dogtooth" (Kynodontas, 2009), which won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards. This film was notable for its unsettling atmosphere and precise editing, elements that Mavropsaridis masterfully crafted. Following the success of "Dogtooth," Mavropsaridis continued his collaboration with Lanthimos on several other projects, including "The Lobster" (2015) and "The Killing of a Sacred Deer" (2017). "The Lobster," a dystopian dark comedy, earned widespread acclaim and won the Jury Prize at the 2015 Cannes Film Festival. It was also nominated for Best Original Screenplay at the 89th Academy Awards. Perhaps his most notable work to date came with "The Favourite" (2018), again directed by Lanthimos. This historical period drama showcased Mavropsaridis' exceptional talent in handling complex narratives and multiple character arcs. The film was a critical and commercial success, receiving ten nominations at the 91st Academy Awards including Best Editing for Yorgos and winning the Grand Jury Prize at the Venice Film Festival. He has recently edited the highly acclaimed "Poor Things" one os the most expected films of the year, and once again teaming up with his collaborator Yorgos Lanthimos. Yorgos Mavropsaridis is known for his bold editing style, often characterized by its rhythmic precision and ability to create tension and dark humor through pacing and juxtaposition. His approach to editing is often seen as integral to the storytelling process, actively contributing to the narrative and thematic depth of the films he works on. Throughout his career, Mavropsaridis has collaborated with numerous notable figures in the film industry, including actors like Olivia Colman, Rachel Weisz, Emma Stone, and Colin Farrell. His work with Yorgos Lanthimos, in particular, has been a defining aspect of his career, placing him among the most innovative film editors of his generation. Yorgos Mavropsaridis continues to be a prominent figure in the world of film editing. His influence extends beyond the specific films he has worked on, inspiring a new generation of film editors and filmmakers. Mavropsaridis' career, marked by both critical acclaim and influential collaborations, establishes him as a key figure in contemporary cinema, particularly in the realm of innovative and thought-provoking film editing. full list of credits on https://www.imdb.com/name/nm0561430/ WORKSHOP DESCRIPTION

Day 1: Crafting the Narrative Getting acquainted: Participants meet Yorgos and dive into an exploration of his portfolio, unearthing the choices behind his acclaimed edits. Character Development in Editing: How to sculpt characters and performances for maximum impact, supported by tangible examples. Story Arcs & Tension Building: Techniques to craft a gripping narrative and maintain audience engagement. Editing Essentials: Achieving fluidity in storytelling and embracing optimal processes. Genre-Specific Editing: Dissecting how the craft varies across genres, and the intrinsic impact of genre on editing techniques. Cinematic Influences: A deep dive into iconic films that have shaped the art of editing, drawing insights that can be applied to contemporary projects. Day 2: Hands-on Editing & Industry Insights Analyzing Actor Performances: Gaining a comprehensive understanding of performances to make informed editing choices. The Nitty-Gritty: A walkthrough of technicalities, contrasting workflows across different budget films. Sound & VFX: Strategies to seamlessly integrate sound, music, and effects into the edit. Practical Editing Exercise: Participants present their pre-workshop edits, facilitating a constructive group critique session. Yorgos offers his seasoned perspective, enhancing participants' confidence in their choices and broadening their understanding of alternative edits. Dynamics of Film Collaboration: Unpacking the editor's relationship with other key crew members, emphasizing the collaborative essence of filmmaking. Navigating the Industry: Insights on carving a niche in the market, agent partnerships, understanding remunerations, and strategies to secure projects. Note: This workshop emphasizes the cerebral aspect of editing, prioritizing decision-making over software proficiency. WORKSHOP LOCATION Athens, Greece 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 16 hours Duration: 2 days Dates: 24-25 February 2024 Location: Athens, Greece Price: 599EUR (399EUR until 15th of February) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

24/25.02.2024Athens, Greece
Film Financing in an Entrepreneurial Age

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 regional education training programme, a global grants fund and managed an international 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, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. 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 Community Screenings Direct Selling 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. WORKSHOP LOCATION Athens, Greece 16 hours Duration: 2 days Dates: 24-25 February 2024 Location: Athens, Greece Price: 599EUR (399EUR until 23rd of February) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

20/21.01.2024Berlin, Germany
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 Scandar Copti is an Oscar-nominated filmmaker and an acclaimed visual artist. His first full-length feature film 'Ajami' won the Camera d'Or Special Mention at the Cannes Film Festival and was nominated for the 82nd Academy Awards in the Best Foreign Film category. Copti is the only Arab filmmaker ever to receive the prestigious Sutherland Trophy. He is also the recipient of the Human Rights Film Award of the Council of Europe in 2010. Copti's video art projects were exhibited worldwide at venues such as the Herzliya Museum, Nachum Gutman Museum, NYU gallery at Abu Dhabi, The Israeli Center for Digital Art, b_tour Foothold Festival, Beit Ha'Gefen, and the Oslo Kunstforening Art Gallery, among others. Copti was on the jury of dozens of film festivals, including the Tribeca film festival, Thessaloniki film festival, FEST, AFAC, ON, and many more. He also served as the President of the Human Rights Award at 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), where he headed the DFI's Education department until 2011. Scandar has been teaching at NYU Abu Dhabi since 2013, where he headed the Film and New Media program from 2014 to 2017. He is currently in production for his next feature film, 'Happy Holidays,' with the support of funds such as Eurimages (the European Council Cultural fund), Doha Film Institute, Aran Fund for Arts, and Culture (AFAC), Filmförderung Hamburg Schleswig-Holstein as well as worldwide presales and distribution deals. 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 Duration: 2 days Dates: 20-21 January 2024 Location: Catalyst - Institute for Creative Arts and Technology Nalepastraße 18, 12459 Berlin, Germany Price: 599EUR (399EUR until 15th of January) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

13/14.01.2024London UK
WRITING PICTURES - SCREENWRITING WORKSHOP WITH TONY GRISONI

ABOUT TONY GRISONI

Tony Grisoni worked in many different areas of film making before turning to screenwriting. QUEEN OF HEARTS, 1989 was his award winning first feature directed by Jon Amiel. He has worked closely with a number of directors since, including Michael Winterbottom, John Boorman, Sean Durkin and Marc Munden, and has co-written with Terry Gilliam (FEAR & LOATHING IN LAS VEGAS, 1998 TIDELAND, 2005 and that ship of fools - THE MAN WHO KILLED DON QUIXOTE, 2018.) In 2001, Tony Grisoni made the trek along the people smugglers' route from the Pakistan/Afghan border, through Iran and Turkey to Europe with the director, Michael Winterbottom. The resulting film, IN THIS WORLD, won the 2002 Berlinale Golden Bear. BROTHERS OF THE HEAD, 2005 adapted from the novella by Brian W. Aldiss. Grisoni collaborated with Simon Channing Williams of Potboiler Films, and Keith Fulton & Lou Pepe (directors of LOST IN LA MANCHA, 2002) to write and co-produce. RED RIDING, 2009 adapted from the David Peace Yorkshire Noir novels. Directed by Julian Jarrold, James Marsh and Anand Tucker, and produced by Andrew Eaton at Revolution Films for Channel 4. "Red Riding is a deeper pool than The Godfather, but it doesn't encourage swimming." - David Thomson, Murder in the North - The New York Review of Books THE UNLOVED, 2009 was Samantha Morton's directorial debut which won BAFTA - Best TV Single Drama. Produced by Kate Ogborn and Michael Elliott for Revolution Films and C4. SOUTHCLIFFE, 2013 was an original 4-part drama for Channel 4, directed by Sean Durkin and produced by Peter Carlton and Derrin Schlesinger of Warp Films. "A spellbinding and terrifying piece of television storytelling." THE YOUNG POPE, 2016 by Paolo Sorrentino starring Jude law. Co-writer and executive producer. CRAZY DIAMOND, 2017, was one of the Philip K Dick's Electric Dreams anthology directed by Marc Munden and starring Steve Buscemi, Sidse Babett Knudsen, Julia Davis & Joanna Scanlan. "...a clean, perfectly mown world, where everything's fine and nice..." THE CITY & THE CITY, 2018, is a 4 part BBC 2 drama based on the novel by China Mieville. The City and the City features David Morrissey, Mandeep Dhillon, Lara Pulver, Christian Camargo and Maria Schrader and was directed by Thomas Shankland for Mammoth Screen. VANISHED - A VIDEO SEANCE, 1999 was made in collaboration with performance artist and poet, Brian Catling. "...genre busting - an encounter between mainstream movie story telling and the art avant-garde..." - Jonathan Romney. He and Catling have gone to make other pieces for galleries and together hosted the annual celebration of the absurd, CABARET MELANCHOLIQUE (RIP). Other artists he has collaborated with include Oona Grimes, Dryden Goodwin and Marcia Farquhar. Grisoni has also written and directed a number of short films including the BAFTA nominated KINGSLAND #1 The Dreamer, 2008, SYNCING featuring Peter Capaldi, 2009, the award-winning THE PIZZA MIRACLE, 2010 and THE SANDS OF VENUS, 2019. Tony Grisoni is co-writing and co-producing MARLOW, an original TV series for BritBox developed with Simon Maxwell. MARLOW is a trippy crime epic set in the bleak and strange flatlands of the Thames Estuary and will star Claire Foy. He is also writing an adaptation of Norman Lewis’s NAPLES ’44 detailing the violence and the beauty of a city in post World War II chaos. The series is to be directed by Iain Softley and produced by Andrea Calderwood of Potboiler Films. Tony Grisoni experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics on the craft of Screenwriting. You will have the chance to not only hear from Tony Grisoni, but also interact in a very direct way, as the group will have up to 25 participants. * Tony will spend time on what Antoine le Bos of Le Groupe Ouest calls "pre-writing” - a way into your project. This is a return to basics. Storytelling does not need to involve a laptop. Storytelling is a social activity - an audience creates the story. We shall explore new ways of thinking about narrative and character using theatre games, automatic writing, the Tarot and other methods. * Tony will talk through in detail his experience of working on 4 different kinds of film: 1.The film, IN THIS WORLD, and KINGSLAND which draw from, and are guided by first hand accounts. 2. Adaptation: THE RED RIDING QUARTET, THE CITY AND THE CITY and FEAR AND LOATHING IN LAS VEGAS. Tony's specific experience of adaptation. 3. Original material: QUEEN OF HEARTS, the TV series, SOUTHCLIFFE. 4. The art film. Writing and making film on no budget. Stirring the cauldron. * Tony will discuss the history the making and the release of these films and television programmes, with clips to illustrate. He will discuss the creative act, working relationships and the business. The weekend will be - in part - a conversation where we exchange experiences and thoughts on screenwriting and filmmaking. The floor will be open at all times for participation, but there will also be sections where the participants will be very actively involved using their own material. PROFILE OF PARTICIPANT The workshop is designed to Screenwriters, Script Editors, Directors, Producers, Film Students, and anyone with the interest in screenwriting. LOCATION OF THE WORKSHOP London UK Duration: 2 days 10:00 - 18:00 Dates: 13th - 14th of January 2024 Location: London UK Price: 499GBP (349GBP Until 2nd of January) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

08/11.01.2024Online
MELISSA LEO ACTING WORKSHOP

WORKSHOP DESCRIPTION This 4 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this 4 day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. Melissa Leo will also share the works and methodologies she has doveloped during Covid lockdown, and address new methodologies of film work. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script - New ways of honing your skills and continuing practicing in contemporary days will also be addressed. Although it is an online format, it is expected that you will actively participate. The workshop will be done during 2 periods, 4 hours each day (total 16 hours). In the week between you will be asked to do that some self -filming (smartphones can be sufficient), to be shared and reviewed in the last 2 days. During that week you will be able to have feedback from Melissa Leo. Real life problems of actors will be addressed by Melissa Leo, an during the workshop you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. During the week between both workshop slots you will be able to communicate and receive feedback from Melissa ABOUT MELISSA LEO Melissa Leo is one of the most in demand actresses in the world, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she has also starred alongside Denzel Washington in “The Equalizer” and The Equalizer 2, having previously appeared in a 1985 episode of the original series. She also appeared in “The Angriest Man in Brooklyn” alongside Robin Williams. She starred in the 2015 Fox event series Wayward Pines as Nurse Pam. She then starred in the 2017 Netflix film The Most Hated Woman in America as American Atheists founder Madalyn Murray O'Hair. She has recently appeared in the miniseries I Know This Much Is True (2020), an adaptation of Wally Lamb’s 1998 novel. 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 20 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 is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 4 days Dates: 8th -11th of January 2024 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 1PM 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 (325EUR with 35% Discount until the 6th of January) Maximum number of participants: 20 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
04/05.11.2023London 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 Duration: 2 days Dates: 4th - 5th of November 2023 Location: London UK Price: 499GBP (325GBP Until 25th of October) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

30/01.10.2023London UK
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 London UK Duration: 2 days Dates: 30th September - 1st of October 2023 Location: London UK Price: 499GBP (325GBP Until 26th of September) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

26/29.09.2023Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 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 28 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. 16 hours Duration: 4 days Dates: 26th to the 29th of September 9AM - 1PM (London) 10AM - 2PM (Brussels) 12PM - 4PM (Dubai) 4AM - 8AM (New York) 4PM - 8PM (Beijing) 1:30PM - 5:30PM (New Delhi) 5AM - 9AM (Rio de Janeiro) 6PM - 10PM (Sydney) Location: Online Price: 499EUR (325EUR with 35% Discount until the 20th of September) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

06/09.06.2023Online
TELLING THE STORY WITH SOUND: A WORKSHOP WITH MARK ULANO AND PARTICIPATION OF PATRUSHKHA MIERZWA

ABOUT MARK ULANO, CAS, AMPS Mark Ulano has been recording sound for film professionally since 1976 and has mixed over 150 film and television projects. He is a four times Oscar nominee, most recently for ONCE UPON A TIME IN HOLLYWOOD, AD ASTRA and INGLORIOUS BASTERDS. His work on TITANIC won him an Academy Award for Sound Mixing as well as the Cinema Audio Society Award for Best Sound mixing for a Feature Film. Most recently, his work can be heard on WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY and in 2023 on the new Martin Scorsese spring release: KILLERS OF THE FLOWER MOON, staring Robert DeNiro and Leonardo DiCaprio. He has had a 28 year collaboration with Quentin Tarantino. With many articles published, Mark is very active in the cinema mentoring world as a teacher of workshops and speaker at sound symposiums internationally; including Academy of Motion Picture Arts and Sciences Gold Program, American Film Institute, Digital Video Expo, AES and Cinema Audio Society and many others. Mr. Ulano has long been involved in leadership within the creative film sound community. He sat 30 years as a board member for the Cinema Audio Society and served the full two terms both as President and Vice President of the CAS. He also has served five terms as president of IATSE Local 695 (the film sound union in Los Angeles) and also served nine terms on the Sound Branch Executive Committee of the Academy of Motion Pictures Arts and Sciences as well as various AMPAS subcommittees. ABOUT PATRUSHKHA MIERZWA Patrushkha Mierzwa is one of the first women boom operators in Hollywood. She has worked on 80+ movies and television shows for major directors including Robert Altman, James Gray, Quentin Tarantino, and Martin Scorsese. She has also been a judge for the Emmys and was a Director on the Board of the sound union - IATSE Local 695. Patrushkha has spoken on multiple panels and given workshops at universities in China, Ireland, Norway, England, France, Los Angeles, and New York City on the duties and responsibilities of Boom Operators and Sound Utility Technicians. She has lectured on the performance work skills necessary to succeed under a fast production schedule with A-list talent. Patrushkha wrote the multiple award-winning best-selling book on sound, “Behind the Sound Cart: A Veteran’s Guide to Sound on the Set” and has contributed to film retrospectives and books, including “Nope, Nothing Wrong Here: The Making of Cujo” and is featured in “1000 Women in Horror.” She is currently writing a book on boom operating.

WORKSHOP DESCRIPTION OVERVIEW AND OBJECTIVES-Sound for storytelling: The tools are not the artist, they are passive instruments until played by the creative practitioner. We do not come to the project with a preconceived ideology; We come to the project to discover, to learn, to interpret. We hope to create something new. This workshop is conducted primarily as a conversation and is fully interactive. We use case studies to teach a solution-based creative use of sound. Topics covered in the workshop will include: Using the sound palette for directorial intent. What is being transmitted to the audience at this specific moment? Connecting the characters to the audience Sound as a tool for emotional connection/truth/communication Character perspective, 1st person vs 3rd person, Like lenses and frame composition but not visible. Every shot is hand made by a team of artists Absence of understanding of the sound process on the set and beyond can limit the reach of the director Brief historical survey Not the Jazz Singer, but 40 years of evolving before the late 1920’s, when dialogue and sound-scape emerge. The creation of a film’s sound-scape begins in pre-production. The production sound team lays the bed of performance and most often are the primary liaison or decision maker of approach from pre-production through production. Including sound artists in the circle of trust. The production sound team performs the essential foundation in the creation of your film’s soundtrack. Capturing performance in collaboration with the artists in front of the camera in tandem with those behind the camera What is “good sound”? What does “technical” mean on a film set? Linking with the other departments PROFILE OF PARTICIPANT The workshop designed for,The workshop designed for, Sound Mixers, Sound Editors, Music Editors, Book operators, ADR Editors, Directors, Film Students, or anyone interested in entering the Film Business on the area of Sound.

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. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. Duration: 4 days Dates: 6th - 9th of June 2023 1PM - 5PM (London) 2PM - 6PM (Brussels) 8AM - 12PM (New York) 5:30PM - 9:30PM (New Delhi) 4PM - 8PM (Dubai) 8PM - 12AM (Beijing) 9PM - 1PM (Rio de Janeiro) Location: Online Price: 499EUR (299EUR Until 29th of May) 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.

05/08.06.2023Online
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: 5th to the 8th of June 2023 9AM - 1PM (London) 10AM - 2PM (Brussels) 4AM - 8AM (New York) 1:30PM - 5:30PM (New Delhi) 1:00AM - 5:00AM (Los Angeles) 12PM - 4PM (Dubai) 4PM - 8PM (Beijing) Location: Online Price: 499EUR (299EUR with 40% Discount Until 2nd of June) 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

03/04.06.2023Online
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY

Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, collaborating with directors such as Stephen Frears, Terry Gilliam, Mike Newell, Robert Zemeckis, Armando Iannucci, Kenneth Branagh and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High Fidelity" "Harry Potter and the Goblet of Fire" or more recently "The Personal History of David Copperfield". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) Everest (Baltasar Kormákur) Murder on the Orient Express (Kenneth Branagh) Allied (Robert Zemeckis), most recently, The Personal History of David Copperfield, working with Armando Iannucci. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. Marieke Audsley will be featuring alongside Mick on the topic "Understanding actors performances from the film editors point of view in order to facilitate the multiple choices presented."Marieke is a theatre director with a particular interest in comedy, literary adaptations and Shakespeare. She trained at Birkbeck on the Theatre Directing MFA after reading English at the University of Cambridge. Marieke’s directing credits include Ladies Day (New Vic & Octagon), The Massive Tragedy of Madame Bovary! (Jermyn Street Theatre), Jekyll & Hyde (Guildford Shakespeare Company), Beryl (ERT & Arcola) and a touring production of Julius Caesar for the Royal Shakespeare Company. As an assistant/associate director she has worked extensively at the RSC and in the West End. Marieke was Resident Director on Kenneth Branagh’s season at the Garrick Theatre. Marieke teaches workshops and masterclasses on directing actors for the NFTS and works with actors training at Mountview Academy of Theatre Arts. WORKSHOP DESCRIPTION

3rd of June

Introduction of the participants to Mick, the participants will then be showed some clips of the work made by Mick Audsley. How to edit your characters/ actors and performance (practical examples How to employ narrative techniques to create tension. How to serve the narrative through effective editing. Focus on how to help the story flow through the editing, and best processes. Topics include the following: analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry.(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 ) 4th of June

‘Understanding actors performances from the film editors point of view in order to facilitate the multiple choices presented.’ (Featuring Marieke Audsley) 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. Mick 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 NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. 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 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. 16 hours Duration: 2 days Dates: 3rd - 4th June 2023 9AM - 1PM and 2PM - 6PM BST (London) 10AM - 2PM and 3PM - 7PM CEST (Brussels) 4AM - 8AM and 9AM - 1PM EDT (New York) 6PM - 10PM and 11PM 3AM AEST (Sydney) 12PM - 4PM and 5PM 9PM Gulf Standard Time (Dubai) 4PM - 8PM and 9PM 1AM CST (Beijing) 1:30PM - 5:30PM and 6:30PM 10:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 24th of May) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

13/14.05.2023London UK
POST PRODUCTION SUPERVISION WORKSHOP WITH POLLY DUVAL

ABOUT POLLY DUVAL

POLLY DUVAL is a British post production supervisor. For over twenty years Polly Duval has been working in London at the heart of British independent film with some of the most highly regarded directors and producers in the industry. As Post Production Supervisor on more than forty feature films, Polly’s credits include Mr Turner, Brooklyn, Peterloo, Judy, and this year’s notable releases: Living, What’s Love Got To Do With It?, and The Son. She is currently working on Kristin Scott Thomas’s directorial debut My Mother’s Wedding, and on Saltburn, directed by Emerald Fennell (A Promising Young Woman). Polly Duval experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

WORKSHOP DESCRIPTION The workshop will focus on a diversity of topics of the craft of Post Production Supervision, you will have the chance of not only receive this knowledge from Polly Duval, 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. Using case studies, the workshop will include the following topics: - The evolving role of the Post Production Supervisor - Planning post production before post production - The post production schedule - Budgeting for post production - Guest speakers on Sound and VFX - Film Delivery, past, present and future PROFILE OF PARTICIPANT The workshop is designed for Post Production Supervisors, Directors, Producers, Editors, Sound Editors, production managers, production co-ordinators, production assistant, assistant editors, script supervisors, Film Students, and anyone with the interest in Post Production. LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 13th - 14th of May 2023 Location: London UK Price: 499GBP (325GBP Until 11th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/24.02.2023Online
CINEMATOGRAPHY WITH ELEMENTS OF VFX AND CGI WORKSHOP WITH MICHAL LUKA

ABOUT MICHAL LUKA Michał Łuka is an experienced director of photography for both commercial and cinematic projects. He specializes in advanced cinematography techniques for CGI and VFX productions. Michał worked on Netflix’s animated miniseries The Liberator (dir. Grzegorz Jonkajtys), created using the new and unique Trioscope technique. He shot the feature drama Prime Time (dir. Jakub Piątek), which premiered during World Cinema Dramatic competition at the Sundance Film Festival 2021. He's working on a new international tv series. Two of his international films premiered in 2017, including the Bollywood thriller ITTEFAQ (dir. Abhay Chopra) and the feature-length documentary, Call me Tony (dir. Klaudiusz Chrostowski). Call me Tony premiered during the DOK Leipzig Festival and was screened at the world's leading documentary film festival, the International Documentary Filmfestival Amsterdam (IDFA), where it received the ARRI Award. In 2014, Michał was nominated for the Laszlo Kovacs award at Camerimage for his short Laughter in the Dark. Michał has also served as DOP on numerous commercials and music videos. He has created content for international brands such as McDonald’s, Nike, Lovela, Ted Warsaw, and more. MIchal Luka experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. COURSE DESCRIPTION Nowadays, it is rare for a film to not use any kind of VFX, which can range from slight background changes to entire VFX shots. But when should a filmmaker start thinking about VFX? VFX, if used right, can be an important tool for the betterment of the narrative. When filmmakers think of VFX only after filming, it will often end up as a botched attempt, since VFX elements weren’t thought out, leaving the VFX team with the job of coming up with solutions and working around the mistakes made during filming. Storyboarding is a great way to put the filmmaker, and the VFX team, on the same page, allowing for a better understanding of the wanted final product, offering clear and concrete imagery of the needed VFX elements. Cinematographers must increasingly be prepared to work with VFX and similar digital environments such as Virtual Production. Increasingly these tools will become more standard in independent, small film production, therefore it is imperative for, not only producers and directors, but also cinematographers to better grasp the specifications of this. In this workshops, Michal Luka will show how to work with these tools, and how to better achieves your results The course will also cover the following topic list: 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 Documentary and feature film approach 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 Green screen / blue screen environment SHOOTING Camera angle and framing, Different aspect ratios Static vs movement camera’s personality LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Directors, DIT, VFX artists, CGI Artists, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking.The online workshop will maintain the quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. 16 hours Duration: 4 days Dates: 21st-24th of February 2023 1PM - 5PM WET (London) 2PM - 6PM CET (Brussels) 8AM - 12PM EST (New York) 5PM - 9PM Gulf Standard Time (Dubai) 9PM - 1AM CST (Beijing) 6:30PM - 10:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 16th of February) 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 spa

28/29.01.2023Online
SOUND EDITING WORKSHOP WITH NINA HARTSTONE AND JOHN WARHURST

ABOUT NINA HARTSTONE AND JOHN WARHURST Nina Hartstone and John Warhurst are heads of the Oscar and BAFTA-winning team behind the sound editing of Bohemian Rhapsody, Moonage Daydream and the upcoming I Wanna Dance with Somebody Nina Hartstone is an Oscar-winning Supervising Sound Editor, she has worked in the industry for 25 years as a Supervising Sound Editor working in feature films, specialised in Dialog and ADR Some of her credits include “Evita”, ‘“The Hours”, “Gravity”, “Everest”, “Beauty and the Beast” and Mowgli. This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats. John Warhurst is a Supervising Sound and Music Editor who has worked in the film and music industry for 25 years, specialising in musical films and currently working on the musical Cats. Amongst some of his credits are Sweeney Todd, Les Misérables, One Direction: This Is Us, The Theory of Everything and Three Billboards Outside Ebbing, Missouri. Nina Hartstone and John Warhurst 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 in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. 16 hours Duration: 2 days Dates: 28th-29th of January 2023 9AM - 6PM GMT (London) 10AM - 7PM CET (Brussels) 1PM - 10PM Gulf Standard Time (Dubai) 5PM - 2AM CST (Beijing) 8PM - 5AM AEDT (Sydney) 2:30PM - 1:30AM IST (New Delhi) 4AM - 1PM EST (New York) 1AM - 10AM PST (Los Angeles) Location: Online Price: 499EUR (299EUR with 40% Discount until the 16th of January) 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 spa

24/27.01.2023Online
Film Financing in an Entrepreneurial Age

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 regional education training programme, a global grants fund and managed an international 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, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. 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 Community Screenings Direct Selling 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. 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 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. 16 hours Duration: 4 days Dates: 24th to the 27th of January 2023 12PM - 4PM BST (London) 1PM - 5PM CEST (Brussels) 4PM - 8PM Gulf Standard Time (Dubai) 7AM - 11AM EDT (New York) 8PM - 12AM CST (Beijing) 5:30PM - 9:30PM IST (New Delhi) 9AM - 1PM BRT (Rio de Janeiro) Location: Online Price: 499EUR (299EUR with 40% Discount until the 23rd of January) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

14/22.01.2023Online
PRODUCTION DESIGN WORKSHOP WITH LAURENCE BENNETT

ABOUT LAURENCE BENNETT

Laurence Bennett’s feature production design credits include In the Valley of Elah, Freedom Writers, Traitor, The Company you Keep, and Academy Award Best Picture Crash (2006 ADG nomination). For 2012 Academy Award Best Picture The Artist he received Oscar, BAFTA, ADG, and BFCA nominations, and was awarded the César by the Académie Des Arts et Techniques du Cinéma. Recent features: The Water Man, directed by David Oyelowo, and Dog, directed by Channing Tatum and Reid Carolin. For HBO he designed the David Simon miniseries Show Me a Hero and The Wizard of Lies, directed by Barry Levinson. Television pilots and series include Grey’s Anatomy, Billions, The Deuce, Once and Again, EZ Streets, Thief, Mr. Sterling, Sneaky Pete, and The Resident. The limited series The Offer, about the making of The Godfather, is available on Paramount+. Educated at Occidental College, Los Angeles, and Waseda University, Tokyo, Bennett lived and worked in Ireland for ten years, returning to LA to work in film. In Dublin he painted, had a design practice, worked in fringe theatre, and was a lecturer at the National College of Art. Since 2015 he has taught at Escuela Internacionál de Cine y Televisión, in San Antonio de Los Baños, Cuba. Bennett and his wife live in Oregon. full credits on http://www.imdb.com/name/nm0071879/ Laurence Bennett experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

CHOICES Visualising the narrative ‘We’re building something here… We’re building it from scratch. All the pieces matter.’ Detective Lester Freamon, THE WIRE Every project is unique. But each involves a seemingly endless series of choices. Perhaps the most critical—and sometimes the most difficult—decision, is exactly how to approach its design. Seldom found easily or quickly, the key—the way into the design of a film—is essential. That essential key can inform and shape every subsequent choice throughout the art direction process. The workshop will explore approaches to identifying and working with the essential ideas, emotions, concepts, and imagery that will drive the design. Topics for discussion will include: Finding visual arcs within the story Identifying thematic elements Emotional tones Research Each individual’s distinct path in the business And very importantly, collaboration. Filmmaking is at its core an intimate and collaborative experience. We’ll look at working with others in the team—how open exchange with others enriches one’s work. With the director and DP, the Production Designer shares visual authorship of the work. Beyond that, though—in addition to directing and supervising set dec, props, construction, and paint, the PD and their art director(s) confer and make decisions with many other departments: wardrobe, SPFX, VFX, stunts, sound, etc., from prep through production. Working with the script for a short film, participants will begin this discovery process, researching and assembling (outside online course time) a brief presentation of how the visual arc of the film will reflect, support, and enrich the narrative. A group review/discussion will wrap up the session. 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

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. 16 hours Duration: 4 days Dates: 14-15 and 21-22 January 2023 4PM - 8PM GMT (London) 5PM - 9PM CET (Brussels) 11AM - 2PM EST (New York) 8AM - 12PM PST (Los Angeles) 7PM - 11PM Gulf Standard Time (Dubai) 11PM - 3AM CST (Beijing) 8:30PM - 12:30AM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 11th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

06/09.12.2022Online
MELISSA LEO ACTING WORKSHOP

WORKSHOP DESCRIPTION This 4 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this 4 day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. Melissa Leo will also share the works and methodologies she has doveloped during Covid lockdown, and address new methodologies of film work. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script - New ways of honing your skills and continuing practicing in contemporary days will also be addressed. Although it is an online format, it is expected that you will actively participate. The workshop will be done during 2 periods, 4 hours each day (total 16 hours). In the week between you will be asked to do that some self -filming (smartphones can be sufficient), to be shared and reviewed in the last 2 days. During that week you will be able to have feedback from Melissa Leo. Real life problems of actors will be addressed by Melissa Leo, an during the workshop you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. During the week between both workshop slots you will be able to communicate and receive feedback from Melissa ABOUT MELISSA LEO Melissa Leo is one of the most in demand actresses in the world, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she has also starred alongside Denzel Washington in “The Equalizer” and The Equalizer 2, having previously appeared in a 1985 episode of the original series. She also appeared in “The Angriest Man in Brooklyn” alongside Robin Williams. She starred in the 2015 Fox event series Wayward Pines as Nurse Pam. She then starred in the 2017 Netflix film The Most Hated Woman in America as American Atheists founder Madalyn Murray O'Hair. She has recently appeared in the miniseries I Know This Much Is True (2020), an adaptation of Wally Lamb’s 1998 novel. 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 20 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 is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 4 days Dates: 6th - 9th of December 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 1PM 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 5th of December) Maximum number of participants: 20 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
06/09.12.2022Online
BARRY ALEXANDER BROWN EDITING WORKSHOP

ABOUT BARRY ALEXANDER BROWN

Barry Alexander Brown (born 28 November 1960 in Warrington, Cheshire) is an English born-American film director and editor. As a film editor, he is best known for collaborations with film director Spike Lee, editing some of Lee's best known films including Do the Right Thing (1989), Malcolm X (1992), He Got Game (1998), 25th Hour (2002), Inside Man (2006), and BlacKkKlansman (2018), the latter of which earned him a nomination for the Academy Award for Best Film Editing at the 91st Academy Awards. As a film director, Brown co-directed the documentary film The War at Home (1979), for which it was nominated for an Academy Award for Best Documentary Feature and was one of the youngest nominees for the category. Some of his other film directing credits include The Who's Tommy, the Amazing Journey (1993), a documentary film about The Who's Tommy album, and the feature films Winning Girls Through Psychic Mind Control (2002), starring Bronson Pinchot and Son of the South (2020). Brown has also edited music videos for Michael Jackson, Prince, Stevie Wonder, Public Enemy and Arrested Development. Full credits on https://www.imdb.com/name/nm0113084/ Barry is one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP 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 Barry Brown, 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 topics covered on the workshop will be: Introduction of the participants and Barry, the participants will then be showed some clips of the work made by Barry , analyzing some choices and options made in some of his works. Barry will focus on how to help the story flow through the editing, and his best processes. The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work 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. Barry 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. NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. 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 The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. The online workshops 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. 16 hours Duration: 4 days Dates: 6th - 9th of December 2022 1PM - 5PM WET (London) 2PM - 6PM CET (Brussels) 8AM - 12PM EST (New York) 5PM - 9PM Gulf Standard Time (Dubai) 9PM - 1AM CST (Beijing) 6:30PM - 10:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 5th of December) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

04/07.10.2022Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 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 28 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. 16 hours Duration: 4 days Dates: 4th to the 7th of October 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 6PM - 10PM Gulf Standard Time (Dubai) 9AM - 1PM EST (New York) 10PM - 2AM CST (Beijing) 7:30PM - 11:30PM IST (New Delhi) 11AM - 3PM BRT (Rio de Janeiro) 6AM - 10AM PST (Los Angeles) Location: Online Price: 499EUR (299EUR with 40% Discount until the 28th of September) 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.

01/02.10.2022Lisbon Portugal
WORKSHOP: AUDITIONING FOR FILM AND TV WITH NANCY BISHOP CSA JO MONTEIRO CSA AND CAPRICE CRAWFORD All proceeding from the workshop will be going for the 2023 edition of FEST - New Directors New Films Festival. Participants of the workshop will also receive one FEST - PRO badge for FEST 2023 with the value of 100 euros ABOUT NANCY BISHOP CSA

Nancy Bishop is an Emmy-nominated American casting director, with offices in London and Prague: She is the recent recipient of a Casting Society of America ARTIOS Award for best casting of a comedy for Borat Subsequent Moviefilm. In her over twenty-year career, she has cast over one hundred projects, working for most of the major studios, networks and streamers. Credits include Mission Impossible IV, Snowpiercer and Amazon’s upcoming Wheel of Time. She was the founder and first president of the CSA European Branch. She has written three books on auditioning, the most recent published by Bloomsbury: “Auditioning for Film and TV,” which will be available for purchase at the class. ABOUT CAPRICE CRAWFORD Caprice Crawford is founder and CEO of Crawford Talents, which is a full-service International Actors Management Agency based in Berlin, Germany. She works with professional actors from around the globe who are fully dedicated to their craft. Crawford Talents believe that acting is a universal language. Caprice, herself is an American producer and former actor based in Berlin. She’s worked in New York, and LA, and has landed professional acting roles alongside Jamie Foxx, Don Johnson, Orlando Bloom, Burt Reynolds, in both TV and feature films. After spending much of her life in front of the camera, she became captivated with behind camera work and began working as a photographer, creating beautiful headshots for creative talents, including many celebrities, before excelling as a producer and now agent. ABOUT JO MONTEIRO CSA Jo Monteiro, CSA is casting director for international film, TV series and commercials based in Portugal. She has been working as casting director for 15 years. Her credits include productions for Canal+, Pathé, HBO and Netflix' upcoming "Glória", to be broadcasted in 190 countries. From 1992 to 1996, Jo attended Université Libre de Bruxelles (Belgium), getting a degree in Film Studies, where she learned from acclaimed directors, such as Luc Dardenne and Ettore Scola. Before being casting director, she worked as assistant director for more than 10 years. This position taught her to have a global vision of casting, from studio to set. WORKSHOP DESCRIPTION: AUDITIONING FOR FILM AND TV This two-day class will foster a fun, and informative atmosphere for actors to learn new skills to hone and develop an international career. All participants will have an opportunity to practise their skills in self-taping, which is a crucial part of the international casting process, especially post-pandemic. Actors will choose from a selection of scenes to self-tape themselves in advance. These three professionals will give feedback in class for scene work, self-tapes, demo reels, and headshots. Class will also include special exercises which Nancy has developed to hone strategies for auditioning, including cold reading techniques, and identifying choices and objectives on a new text. The class will also include a unit on “How to Get an Agent’ and a Q&A. Class will be 10:00 - 5:00, with a one hour lunch break. Schedule to be confirmed. All participants will be tested for free upon arrival to the workshop PROFILE OF PARTICIPANT The workshop designed for Actors, acting students, directors, casting directors, Film Students, or anyone interested in entering the Film Business on the area of Acting. PRACTICAL DETAILS Location: Lisbon, Portugal Dates: 1-2 October 2022 Duration: 2 days Price: 499EUR (325EUR with 35% discount until the 26th of September) Maximum number of participants: 48 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

24/25.09.2022London 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 Scandar Copti is an Oscar-nominated filmmaker and an acclaimed visual artist. His first full-length feature film 'Ajami' won the Camera d'Or Special Mention at the Cannes Film Festival and was nominated for the 82nd Academy Awards in the Best Foreign Film category. Copti is the only Arab filmmaker ever to receive the prestigious Sutherland Trophy. He is also the recipient of the Human Rights Film Award of the Council of Europe in 2010. Copti's video art projects were exhibited worldwide at venues such as the Herzliya Museum, Nachum Gutman Museum, NYU gallery at Abu Dhabi, The Israeli Center for Digital Art, b_tour Foothold Festival, Beit Ha'Gefen, and the Oslo Kunstforening Art Gallery, among others. Copti was on the jury of dozens of film festivals, including the Tribeca film festival, Thessaloniki film festival, FEST, AFAC, ON, and many more. He also served as the President of the Human Rights Award at 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), where he headed the DFI's Education department until 2011. Scandar has been teaching at NYU Abu Dhabi since 2013, where he headed the Film and New Media program from 2014 to 2017. He is currently in production for his next feature film, 'Happy Holidays,' with the support of funds such as Eurimages (the European Council Cultural fund), Doha Film Institute, Aran Fund for Arts, and Culture (AFAC), Filmförderung Hamburg Schleswig-Holstein as well as worldwide presales and distribution deals. 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: 24th-25th of September 2022 Location: London UK Price: 499.99 GBP (325GBP Until the 19th of September) Vacancies: 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

18/21.07.2022Online
GREENSHOOTING - SUSTAINABILITY IN FILM WORKSHOP WITH DÖRTE SCHNEIDER

ABOUT DÖRTE SCHNEIDER

Dörte Schneider has 20 years of experience as an assistant director in films and tv commercials, Dörte discovered that she could combine her passion for film with her environmental concerns. This is how she decided to become a Green Consultant.She obtained the Green Consultant certificate at the German “Hochschule der Medien” (HdM Stuttgart), and since then she has been committed to making film productions greener. To achieve this goal, Dörte believes that educating and raising people's awareness of this issue are fundamental. Dörte is an active member of Filmmakers for Future and of the German green consultant association (BVGCD), besides being an ambassador for The Pact and Green The Bid. In October 2021 she got trained as a Climate Reality Leader. WORKSHOP DESCRIPTION

The workshop will look at the climate reality on planet Earth, and how that should influence our every action. It is also going to give an understanding of sustainability as a concept. It will focus on the importance of the application of “green measures” during all stages of film production. The workshop will provide tools to identify issues of environmental impact on film production, provide the knowledge to better interact with a green consultant, and deliver the knowledge to better tackle the challenges of the environmental sustainability of a film production, without neglecting the social and economic ones. The workshop will be informative and interactive, with space for exchange and dialogue. The topics covered in the workshop: - Understanding what a “Green Consultant” does - Know what is happening internationally - Assess the critical points of a project - Know what steps to take at each stage of the project PART 1 | Climate literacy. Introduction to the concept of sustainability. What is a Green Consultant? What’s happening on (and to) Planet Earth? What is “sustainability”? Theoretical and legal bases. Applicability in the audio-visual industries. Introduction to existing initiatives and platforms. What does the Green Consultant do? PART 2 | Departments I Departments and their impact: Production. Screenwriting. Directing. Catering. Scenography. Wardrobe. Make-up/ Hair. What measures can we apply? PART 3 | Departments and their impact: Lighting. Sound. Post-production. Energy, Materials, Transport, Waste. How can we work in a more "green" and efficient way? PART 4 | The footprint of distribution and streaming. Introduction to carbon footprint calculations. Green storytelling. Recap. PROFILE OF PARTICIPANT Anybody working in the film industry is welcome. This workshop is addressing the industry as a whole and is committed to giving an understanding of the importance and scale of our impact and footprint. 16 hours Duration: 4 days Dates: 18th to the 21st of July 2022 9AM - 1PM (London) 10AM - 2PM (Brussels) 4AM - 8AM (New York) 1:30AM - 5:30AM (New Delhi) 12PM - 4PM (Dubai) 4PM - 10PM (Beijing) Location: Online Price: 450EUR (270EUR with 40% Discount Until 14th of July) 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

12/14.07.2022Online
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: 3 days Dates: 12th to the 14th of July 2022 9AM - 3PM (London) 10AM - 3PM (Brussels) 4AM - 9AM (New York) 1:30PM - 6:30PM (Los Angeles) 12PM - 5PM (Dubai) 4PM - 9PM (Beijing) Location: Online Price: 499EUR (299EUR with 40% Discount Until 11th of July) 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

12/15.05.2022Online
STORYBOARDING WORKSHOP WITH TEMPLE CLARK

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 WORKSHOP LOCATION 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. 16 hours Duration: 4 days Dates: 12th - 15th of May 2PM - 6PM (London) 3PM - 7PM (Brussels) 9AM - 12PM (New York) 6AM - 10AM (Los Angeles) 5PM - 9PM (Dubai) 9PM - 1AM (Beijing) 6:30PM - 10:30PM (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 11th of May) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

25/29.04.2022Online
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY

Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, collaborating with directors such as Stephen Frears, Terry Gilliam, Mike Newell, Robert Zemeckis, Armando Iannucci, Kenneth Branagh and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High Fidelity" "Harry Potter and the Goblet of Fire" or more recently "The Personal History of David Copperfield". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) Everest (Baltasar Kormákur) Murder on the Orient Express (Kenneth Branagh) Allied (Robert Zemeckis), most recently, The Personal History of David Copperfield, working with Armando Iannucci. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

25th - 26th of April

Introduction of the participants to Mick, the participants will then be showed some clips of the work made by Mick Audsley. How to edit your characters/ actors and performance (practical examples How to employ narrative techniques to create tension. How to serve the narrative through effective editing. Focus on how to help the story flow through the editing, and best processes. Topics include the following: analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry.(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 ) 28th - 29th of April

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. Mick 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 NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. 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 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. 16 hours Duration: 4 days Dates: 25th - 26th and 28th - 29th of April 11AM - 1PM and 2PM - 4PM BST (London) 12PM - 2PM and 3PM - 5PM CEST (Brussels) 6AM - 8AM and 9AM - 11AM EDT (New York) 8PM - 10PM and 11PM - 1AM AEST (Sydney) 2PM - 4PM and 5PM - 7PM Gulf Standard Time (Dubai) 6PM - 8PM and 9PM - 11PM CST (Beijing) 3:30PM - 5:30PM and 6:30PM - 8:30PM IST (New Delhi) Location: Online Price: 499EUR (325EUR with 35% Discount until the 15th 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

26/27.03.2022London UK
POST PRODUCTION SUPERVISION WORKSHOP WITH POLLY DUVAL

ABOUT POLLY DUVAL

POLLY DUVAL is a British post production supervisor. For over twenty years she has been working in London at the heart of British independent film alongside some of the most highly regarded directors and producers in the industry. Polly has worked on more than forty feature films including NOTES ON A SCANDAL, MR TURNER, BROOKLYN, PETERLOO, JUDY and OPERATION MINCEMEAT. This year she completed post production on Cannes Film Festival hit MOTHERING SUNDAY, and is currently in post on LIVING – an adaptation of the Kurosawa film Ikiru, starring Bill Nighy – and on Working Title’s WHAT’S LOVE GOT TO DO WITH IT?, starring Lily James and Emma Thompson. Polly Duval experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

WORKSHOP DESCRIPTION The workshop will focus on a diversity of topics of the craft of Post Production Supervision, you will have the chance of not only receive this knowledge from Polly Duval, 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. Using case studies, the workshop will include the following topics: - The evolving role of the Post Production Supervisor - Planning post production before post production - The post production schedule - Budgeting for post production - Guest speakers on Sound and VFX - Film Delivery, past, present and future PROFILE OF PARTICIPANT The workshop is designed for Post Production Supervisors, Directors, Producers, Editors, Sound Editors, production managers, production co-ordinators, production assistant, assistant editors, script supervisors, Film Students, and anyone with the interest in Post Production. LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 26th - 27th of March 2022 Location: London UK Price: 499GBP (325GBP Until 21st of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

26/27.03.2022London 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 Duration: 2 days Dates: 26th - 27th of March 2022 Location: London UK Price: 499GBP (325GBP Until 18th or 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.

26/27.03.2022London UK
WRITING PICTURES - SCREENWRITING WORKSHOP WITH TONY GRISONI

ABOUT TONY GRISONI

Tony Grisoni worked in many different areas of film making before turning to screenwriting. QUEEN OF HEARTS, 1989 was his award winning first feature directed by Jon Amiel. He has worked closely with a number of directors since, including Michael Winterbottom, John Boorman, Sean Durkin and Marc Munden, and has co-written with Terry Gilliam (FEAR & LOATHING IN LAS VEGAS, 1998 TIDELAND, 2005 and that ship of fools - THE MAN WHO KILLED DON QUIXOTE, 2018.) In 2001, Tony Grisoni made the trek along the people smugglers' route from the Pakistan/Afghan border, through Iran and Turkey to Europe with the director, Michael Winterbottom. The resulting film, IN THIS WORLD, won the 2002 Berlinale Golden Bear. BROTHERS OF THE HEAD, 2005 adapted from the novella by Brian W. Aldiss. Grisoni collaborated with Simon Channing Williams of Potboiler Films, and Keith Fulton & Lou Pepe (directors of LOST IN LA MANCHA, 2002) to write and co-produce. RED RIDING, 2009 adapted from the David Peace Yorkshire Noir novels. Directed by Julian Jarrold, James Marsh and Anand Tucker, and produced by Andrew Eaton at Revolution Films for Channel 4. "Red Riding is a deeper pool than The Godfather, but it doesn't encourage swimming." - David Thomson, Murder in the North - The New York Review of Books THE UNLOVED, 2009 was Samantha Morton's directorial debut which won BAFTA - Best TV Single Drama. Produced by Kate Ogborn and Michael Elliott for Revolution Films and C4. SOUTHCLIFFE, 2013 was an original 4-part drama for Channel 4, directed by Sean Durkin and produced by Peter Carlton and Derrin Schlesinger of Warp Films. "A spellbinding and terrifying piece of television storytelling." THE YOUNG POPE, 2016 by Paolo Sorrentino starring Jude law. Co-writer and executive producer. CRAZY DIAMOND, 2017, was one of the Philip K Dick's Electric Dreams anthology directed by Marc Munden and starring Steve Buscemi, Sidse Babett Knudsen, Julia Davis & Joanna Scanlan. "...a clean, perfectly mown world, where everything's fine and nice..." THE CITY & THE CITY, 2018, is a 4 part BBC 2 drama based on the novel by China Mieville. The City and the City features David Morrissey, Mandeep Dhillon, Lara Pulver, Christian Camargo and Maria Schrader and was directed by Thomas Shankland for Mammoth Screen. VANISHED - A VIDEO SEANCE, 1999 was made in collaboration with performance artist and poet, Brian Catling. "...genre busting - an encounter between mainstream movie story telling and the art avant-garde..." - Jonathan Romney. He and Catling have gone to make other pieces for galleries and together hosted the annual celebration of the absurd, CABARET MELANCHOLIQUE (RIP). Other artists he has collaborated with include Oona Grimes, Dryden Goodwin and Marcia Farquhar. Grisoni has also written and directed a number of short films including the BAFTA nominated KINGSLAND #1 The Dreamer, 2008, SYNCING featuring Peter Capaldi, 2009, the award-winning THE PIZZA MIRACLE, 2010 and THE SANDS OF VENUS, 2019. Tony Grisoni is co-writing and co-producing MARLOW, an original TV series for BritBox developed with Simon Maxwell. MARLOW is a trippy crime epic set in the bleak and strange flatlands of the Thames Estuary and will star Claire Foy. He is also writing an adaptation of Norman Lewis’s NAPLES ’44 detailing the violence and the beauty of a city in post World War II chaos. The series is to be directed by Iain Softley and produced by Andrea Calderwood of Potboiler Films. Tony Grisoni experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics on the craft of Screenwriting. You will have the chance to not only hear from Tony Grisoni, but also interact in a very direct way, as the group will have up to 25 participants. * Tony will spend time on what Antoine le Bos of Le Groupe Ouest calls "pre-writing” - a way into your project. This is a return to basics. Storytelling does not need to involve a laptop. Storytelling is a social activity - an audience creates the story. We shall explore new ways of thinking about narrative and character using theatre games, automatic writing, the Tarot and other methods. * Tony will talk through in detail his experience of working on 4 different kinds of film: 1.The film, IN THIS WORLD, and KINGSLAND which draw from, and are guided by first hand accounts. 2. Adaptation: THE RED RIDING QUARTET, THE CITY AND THE CITY and FEAR AND LOATHING IN LAS VEGAS. Tony's specific experience of adaptation. 3. Original material: QUEEN OF HEARTS, the TV series, SOUTHCLIFFE. 4. The art film. Writing and making film on no budget. Stirring the cauldron. * Tony will discuss the history the making and the release of these films and television programmes, with clips to illustrate. He will discuss the creative act, working relationships and the business. The weekend will be - in part - a conversation where we exchange experiences and thoughts on screenwriting and filmmaking. The floor will be open at all times for participation, but there will also be sections where the participants will be very actively involved using their own material. PROFILE OF PARTICIPANT The workshop is designed to Screenwriters, Script Editors, Directors, Producers, Film Students, and anyone with the interest in screenwriting. LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 26th - 27th of March 2022 Location: London UK Price: 499GBP (325GBP Until 23rd of 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

23/25.02.2022Online
METHOD, MADNESS & MINDFULNESS WORKING WITH ACTORS WITH DOMINIC MURPHY

ABOUT DOMINIC MURPHY

Dominic has directed for over thirty years at the highest level in factual television,commercials, features and experimental film. He has worked with Brad Pitt, Carrie Fisher and many other top-level actors as well as countless celebrities and sportspeople. Dominic’s commercials have won multiple awards including two Gold Lions at Cannes. He was one of Campaign magazine’s ’10 Hottest Directors in the World’. His debut feature film White Lightnin’ premiered at Sundance and won multiple awards including Best Film and Best Actor at Mumbai IFF and Best Film at Dinard. The lead in the film, Ed Hogg, was nominated for Best Actor at the British Independent Film Awards. Edinburgh IFF called it ‘jaw-dropping, a true original’, The Guardian called it ‘demented genius’. More detailshere. Dominic’s first disastrous attempts to work with a professional cast led him to study acting in order to better understand the actor’s process. He trained for three years with renowned method acting coach Jack Waltzer who developed his system at the Actor’s Studio in New York with icons Sanford Meisner and Lee Strasberg. The result revolutionised his approach to filmmaking. Dominic’s many years of meditation and mindfulness practice underpins his approach to working with actors. Actors trust Dominic and he brings out their best performances. In the world of media where well-being is often overlooked, Dominic’s mindfulness and acting training, combined with his extensive directing experience make him ideally placed to help filmmakers create a safe framework for powerful, authentic performances Dominic’s experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

WORKSHOP DESCRIPTION Whether shooting a commercial, a short film or a movie, collaborating with actors (or non-actors) to get naturalistic performances can be a daunting prospect. This will be a fun, challenging and inspiring workshop, combining mindfulness and method acting techniques. During this workshop, Dominic will share his knowledge in a very practical way. You will take part in exercises designed to give you insight into the actor’s process as well as how to stay grounded and communicate well with actors in a hectic working environment. You will have the opportunity to ask Dominic questions to assess issues you have encountered on your films and receive feedback to unblock situations in the future. Maximum number of participants is 25. You will learn about various aspects of working with actors. - Staying present. - Good communication. - How to make actors feel safe. - How not to direct actors - avoiding the biggest mistakes! - General principles of acting and the different acting traditions. - Representing versus experiencing emotions during a scene. - ‘What's my motivation’? - How to help actors connect with real emotion. - Keeping performances spontaneous. - Substitution and other useful method acting ‘tricks’. PROFILE OF PARTICIPANT This workshop is designed for directors, actors, writers and producers - anyone who wishes to expand their knowledge of the actors' process so that they can contribute to creating authentic performances in the field of commercials, features, documentary, short or experimental film. No experience required. 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. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. 16 hours Duration: 4 days Dates: 22nd-25th of February 2022 9AM - 1PM GMT (London) 10AM - 2PM CET (Brussels) 1PM - 5PM Gulf Standard Time (Dubai) 5PM - 10PM CST (Beijing) 8PM - 12AM AEDT (Sydney) 2:30PM - 6:30PM IST (New Delhi) 4AM - 8AM EST (New York) 1AM - 5AM PST (Los Angeles) Location: Online Price: 499EUR (299EUR with 40% Discount until the 18th of February) 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

15/18.02.2022Online
DIRECTING TV COMMERCIALS WORKSHOP WITH DOMINIC MURPHY

ABOUT DOMINIC MURPHY

Dominic has directed hundreds of commercials - from low-fi realism to glossy beauty spots to cinematic epics. His first ever campaign won the coveted D&AD pencil, and further work for VW, Heinz, Sony, Virgin, Adidas and many others won countless awards including the Andy’s Grand Prix and two Gold Lions at Cannes. He was named in Campaign magazine’s ’10 Hottest Directors in the World’. He worked with BBH, AMV, Ogivy and Mather, McCann, Pubilcis, Wieden+Kennedy, Fallen, Saatchi and Saatchi and more or less all the major international agencies. Dominic’s work was renowned for combining expert storytelling with a level of authentic performance rarely seen in commercials. He worked with Brad Pitt, Carrie Fisher, David Beckham, Kate Moss and countless other top-level actors, celebrities and sportspeople. Among many exploits on location, he’s filmed with tigers in downtown Joburg, elephants up a Thai mountain, the Morocco army in the scorching desert heat and bikini-clad models in the Icelandic winter. In the studio he’s created submarines at Pinewood, cruise ships in Mexico City, an arctic ice station in North London and dangled actors upside down in a replica of the Mir Space Station. Dominic’s debut feature film White Lightnin’ premiered at Sundance and won multiple awards including Best Film and Best Actor at Mumbai IFF and Best Film at Dinard. Edinburgh IFF called it ‘jaw-dropping, a true original’, The Guardian called it ‘demented genius’. More details here. Dominic’s experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

WORKSHOP DESCRIPTION How do you break into the industry? What's the difference between directing a scene for a drama and a scene for a commercial? How do you deal with agency and client input? How do you tell a detailed and engaging story in such a tiny timeframe? - Getting noticed - Reading scripts - Initial chat with agency - Pitching - treatments and moodboards - When the agency want to be more creative than the client - Storyboarding - The dreaded Pre Production Meeting (explaining your plans to the client) - Prep - including the ‘It’s the wrong plane’ moment - Shoot - high pressure decision making, shooting story beats, acting for commercials - Director blind spots - Editing - Sound design PROFILE OF PARTICIPANT This workshop is designed for (actual or potential) directors, creatives and producers - anyone who wishes to expand their knowledge of the commercials director’s process in order to help them develop their skills and become successful in the industry. 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. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. 16 hours Duration: 4 days Dates: 15th-18th of February 2022 9AM - 1PM GMT (London) 10AM - 2PM CET (Brussels) 1PM - 5PM Gulf Standard Time (Dubai) 5PM - 10PM CST (Beijing) 8PM - 12AM AEDT (Sydney) 2:30PM - 6:30PM IST (New Delhi) 4AM - 8AM EST (New York) 1AM - 5AM PST (Los Angeles) Location: Online Price: 499EUR (299EUR with 40% Discount until the 11th of February) 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

24/24.01.2022Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 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 28 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. 16 hours Duration: 4 days Dates: 24th to the 27th of January 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 6PM - 10PM Gulf Standard Time (Dubai) 9AM - 1PM EST (New York) 10PM - 2AM CST (Beijing) 7:30PM - 11:30PM IST (New Delhi) 11AM - 3PM BRT (Rio de Janeiro) 6AM - 10AM PST (Los Angeles) Location: Online Price: 499EUR (325EUR with 35% Discount until the 21st of January) 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.

18/21.01.2022Online
SOUND EDITING WORKSHOP WITH NINA HARTSTONE AND JOHN WARHURST ONLY 3 PLACES LEFT

ABOUT NINA HARTSTONE AND JOHN WARHURST Nina Hartstone and John Warhurst are heads of the Oscar and BAFTA-winning team behind the sound editing of Bohemian Rhapsody. Nina Hartstone is an Oscar-winning Supervising Sound Editor, she has worked in the industry for 25 years as a Supervising Sound Editor working in feature films, specialised in Dialog and ADR Some of her credits include “Evita”, ‘“The Hours”, “Gravity”, “Everest”, “Beauty and the Beast” and Mowgli. This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats. John Warhurst is a Supervising Sound and Music Editor who has worked in the film and music industry for 25 years, specialising in musical films and currently working on the musical Cats. Amongst some of his credits are Sweeney Todd, Les Misérables, One Direction: This Is Us, The Theory of Everything and Three Billboards Outside Ebbing, Missouri. Nina Hartstone and John Warhurst 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 in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. We will be hosting the workshops online in the near future, however we will maintain the standard of quality expected with the best experts available, and also the networking and interactivity of the workshops: -The workshop group will have a limited number of 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. 16 hours Duration: 4 days Dates: 18th-21st of January 2022 9AM - 1PM GMT (London) 10AM - 2PM CET (Brussels) 1PM - 5PM Gulf Standard Time (Dubai) 5PM - 10PM CST (Beijing) 8PM - 12AM AEDT (Sydney) 2:30PM - 6:30PM IST (New Delhi) 4AM - 8AM EST (New York) 1AM - 5AM PST (Los Angeles) Location: Online Price: 499EUR (325EUR with 35% Discount until the 14th of January) 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 spa

11/14.01.2022Online
MELISSA LEO ACTING WORKSHOP

WORKSHOP DESCRIPTION This 4 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this 4 day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. Melissa Leo will also share the works she has done during Covid lockdown, and address new methodologies of film work in isolation and social distancing times. New ways of honing your skills and continuing practicing in this atypical contemporary days will also be addressed. Although it is an online format, it is expected that you will actively participate. The workshop will be done during 2 periods, 4 hours each day (total 16 hours). In the week between you will be asked to do that some self -filming (smartphones can be sufficient), to be shared and reviewed in the last 2 days. During that week you will be able to have feedback from Melissa Leo. Real life problems of actors will be addressed by Melissa Leo, an during the workshop you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. During the week between both workshop slots you will be able to communicate and receive feedback from Melissa ABOUT MELISSA LEO Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most revered actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she has also starred in “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. 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 20 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 is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 4 days Dates: 11th - 14th of January 2PM - 6PM GMT (London) 3PM - 7PM CET (Brussels) 9AM - 1PM 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 (325EUR with 35% Discount until the 9th of January) Maximum number of participants: 20 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
19/22.10.2021Online
Film Financing in an Entrepreneurial Age

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 regional education training programme, a global grants fund and managed an international 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, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. 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 Community Screenings Direct Selling 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. 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 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. 16 hours Duration: 4 days Dates: 19th to the 22nd October 12PM - 4PM BST (London) 1PM - 5PM CEST (Brussels) 3PM - 7PM Gulf Standard Time (Dubai) 7AM - 11AM EDT (New York) 7PM - 11PM CST (Beijing) 4:30PM - 8:30PM IST (New Delhi) 8AM - 12PM BRT (Rio de Janeiro) Location: Online Price: 499EUR (299EUR with 40% Discount until the 17th of October) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

18/21.10.2021Online
CINEMATOGRAPHY WORKSHOP WITH CHRISTIAN BERGER SOLD OUT

ABOUT CHRISTIAN BERGER

Christian Berger is an Austrian Cinematographer, director, producer, and writer of numerous documentaries, TV films and features. He is mostly known for his work on The White Ribbon with Michael Haneke, which brought him an Oscar Nomination for Best Cinematography at the 82nd Academy Awards. He was the winner at the American Society of Cinematographers Awards for Outstanding Achievement in Cinematography in 2010 and a big number of other awards, both national and international. Born 1945, he started his career working mostly as a documentary filmmaker. in 1973 founded own production company TTV Film an a few years later built experimental video studio. In late 70’s / early 80’s he increased his work in TV plays and screen adaptations with various authors and started working as DOP for feature films and as a director. His own projects (director and cinematographer) include Raffl (1983/1984), Hanna Monster, Darling (1988/1989), Mautplatz / Tollgate (1994). He worked as a cinematographer for such renowned directors as Michael Haneke, Luc Bondy, Wolfgang Glück, Stephen Gaghan, Amos Gitai, Peter Sehr and Marie-Noèlle, János Szász, Angelina Jolie, Virgil Widrich, Terrence Malick. Christian Berger developed the new “Cine Reflect Lighting System Berger/Bartenbach” in collaboration with Bartenbach Lichtlabor. In addition to creating new esthetic possibilities for the camera, this system gives actors and directors unprecedented flexibility and freedom. Berger employed this system for the first time to some degree in The Piano Teacher and exclusively used it to shoot films: Dead Man’s Memories, Ne Fais Pas Ça, Mein Mörder, Caché / Hidden, The White Ribbon, Ludwig Ii, The Notebook, By The Sea, The Night Of A Thousand Hours and most recently Happy End by Michael Haneke. Christian Berger is one of the most influential figures in the area of cinematography and it is an absolute honor to have him as FEST Film Lab speaker. Unquestionably it will be an unmissable session. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, specially the topic of light, you will have the chance of not only receive this knowledge from Christian Berger, 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 overall theme of the workshop will focus specially on the treatment of light.: Christian Berger is one of the inventors of the highly innovative CINE REFLECT LIGHTING SYSTEM, which he has used in several of his productions. Christian will also focus on the difference of working between digital and film. Chrstian will also show examples of how he achieved the look in a few of his films. The workshop will also cover the following topics: 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 LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors Lighting plans how luminance and chrominance behave Light-night PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. WORKSHOP LOCATION 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 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. 16 hours Duration: 4 days Dates: 18-21 October 2021 8AM - 12PM BST (London) 9AM - 1PM CEST (Brussels) 11AM - 3PM Gulf Standard Time (Dubai) 6PM - 10PM AEDT (Sydney) 9PM - 1AM CST (Beijing) 12:30AM - 16:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with discount of 40% Until 17th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

12/15.10.2021Online
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 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. 14 hours Duration: 4 days Dates: 12-15 of October 2021 9AM - 12:30PM GMT (London) 10AM - 1:30PM CET (Brussels) 12PM - 3:30PM Gulf Standard Time (Dubai) 6PM - 9:30PM EST (Sydney) 4PM - 7:30PM CST (Beijing) Location: Online Price: 499EUR (299EUR with discount of 40% Until 10th of October) 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.

27/30.09.2021Online
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 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. 16 hours Duration: 4 days Dates: 27-30 September 2021 9AM - 1PM GMT (London) 10AM - 2PM CET (Brussels) 12PM - 4PM Gulf Standard Time (Dubai) 6PM - 10PM EST (Sydney) 4PM - 8PM CST (Beijing) Location: Online Price: 499EUR (299EUR with discount of 40% Until 9th of August) 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.

11/12.09.2021Lisbon Portugal
WORKSHOP: AUDITIONING FOR FILM AND TV WITH NANCY BISHOP CSA JO MONTEIRO CSA AND CAPRICE CRAWFORD WORKSHOP FULL FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt All proceeding from the workshop will be going for the 2021 edition of FEST - New Directors New Films Festival. Participants of the workshop will also receive one free pass for the festival with the value of 100 euros ABOUT NANCY BISHOP CSA

Nancy Bishop is an Emmy-nominated American casting director, with offices in London and Prague: She is the recent recipient of a Casting Society of America ARTIOS Award for best casting of a comedy for Borat Subsequent Moviefilm. In her over twenty-year career, she has cast over one hundred projects, working for most of the major studios, networks and streamers. Credits include Mission Impossible IV, Snowpiercer and Amazon’s upcoming Wheel of Time. She was the founder and first president of the CSA European Branch. She has written three books on auditioning, the most recent published by Bloomsbury: “Auditioning for Film and TV,” which will be available for purchase at the class. ABOUT CAPRICE CRAWFORD Caprice Crawford is founder and CEO of Crawford Talents, which is a full-service International Actors Management Agency based in Berlin, Germany. She works with professional actors from around the globe who are fully dedicated to their craft. Crawford Talents believe that acting is a universal language. Caprice, herself is an American producer and former actor based in Berlin. She’s worked in New York, and LA, and has landed professional acting roles alongside Jamie Foxx, Don Johnson, Orlando Bloom, Burt Reynolds, in both TV and feature films. After spending much of her life in front of the camera, she became captivated with behind camera work and began working as a photographer, creating beautiful headshots for creative talents, including many celebrities, before excelling as a producer and now agent. ABOUT JO MONTEIRO CSA Jo Monteiro, CSA is casting director for international film, TV series and commercials based in Portugal. She has been working as casting director for 15 years. Her credits include productions for Canal+, Pathé, HBO and Netflix' upcoming "Glória", to be broadcasted in 190 countries. From 1992 to 1996, Jo attended Université Libre de Bruxelles (Belgium), getting a degree in Film Studies, where she learned from acclaimed directors, such as Luc Dardenne and Ettore Scola. Before being casting director, she worked as assistant director for more than 10 years. This position taught her to have a global vision of casting, from studio to set. WORKSHOP DESCRIPTION: AUDITIONING FOR FILM AND TV This two-day class will foster a fun, and informative atmosphere for actors to learn new skills to hone and develop an international career. All participants will have an opportunity to practise their skills in self-taping, which is a crucial part of the international casting process, especially post-pandemic. Actors will choose from a selection of scenes to self-tape themselves in advance. These three professionals will give feedback in class for scene work, self-tapes, demo reels, and headshots. Class will also include special exercises which Nancy has developed to hone strategies for auditioning, including cold reading techniques, and identifying choices and objectives on a new text. The class will also include a unit on “How to Get an Agent’ and a Q&A. Class will be 10:00 - 5:00, with a one hour lunch break. Schedule to be confirmed. All participants will be tested for free upon arrival to the workshop PROFILE OF PARTICIPANT The workshop designed for Actors, acting students, directors, casting directors, Film Students, or anyone interested in entering the Film Business on the area of Acting. PRACTICAL DETAILS Location: Lisbon, Portugal Dates: 11-12 Semptember 2021 Duration: 2 days Price: 499EUR (325EUR with 35% discount until the 27st of August) Maximum number of participants: 48 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

02/05.08.2021Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 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 28 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. 16 hours Duration: 4 days Dates: 2nd to the 5th of August 2PM - 6PM BST (London) 3PM - 7PM CEST (Brussels) 5PM - 9PM Gulf Standard Time (Dubai) 9AM - 1PM EDT (New York) 9PM - 1AM CST (Beijing) 6:30PM - 10:30PM IST (New Delhi) 10AM - 2PM BRT (Rio de Janeiro) Location: Online Price: 499EUR (325EUR with 35% Discount until the 29th of July) 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.

12/14.07.2021Online
DIRECTING ACTORS FOR FILM WORKSHOP WITH PETE TRAVIS LAST 3 PLACES

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: 3 days Dates: 12th to the 14th of July 2021 12th of July, 9.30 AM to 1.30 PM (BST - London time) 13th of July, 10 AM to 3 PM ( BST - London time) 14th of July, 9.30 AM to 2:30 PM (BST - London time) Location: Online Price: 499EUR (299EUR with 40% Discount Until 11th of July) 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

06/09.07.2021Online
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH

ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he created the distinctive look in films such as "The Piano" , "Ben is Back", "The Painted Veil", "The Secret Life of Walter Mitty" "The Great Wall" and many other. 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. In recent years Stuart has shot films such as "Ben is Back" (directed by Peter Hedges), the Upside (directed by Neil Burger), The Only Living Boy in New York (Directed by Marc Webb), The Great Wall (directed by Yimou Zhang), Alice Through the Looking Glass (directed by James Bobin) Stuart has also just finished shooting the Men in Black 4 full list of credits on https://www.imdb.com/name/nm0238698/ 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: Day One - Essence of the Craft Pt 1. My Personal Story How I became interested in film, how I got my start and what opportunities did I have that led me to having a career as a cinematographer. This will include some film clips About 1 – 1 ½ hours followed by question time. (break) Pt 2. The Business The differences between Europe and the US, TV vs cinema (and where is that line now?), big budget vs small, and even micro. Some clips to illustrate and question time after for general discussion. Day 2 – Prepping the movie Pt 1: The dP in prep For those that haven’t had this experience, what is pre production like for the DP, an over view. Use examples of photography , location hunting and mood boards (Black hat). Question time and break Pt 2. Practical examples Detailed scene breakdowns (and why is the DP doing this). Use Piano story boards and clips, Blackhat Hong Kong clips, and MIB end action sequence build Question time Day 3 – shooting the damn film! Pt 1 – showing up is 95%of success Hitchcock quote, Plan A and Plan B, leadership, diplomacy and appearances. Dress for success! Look like you know what you are doing, and then actually do it! Be nice! Questions and break Pt 2 – actual technical stuff Remembering the plan, revise and modify, but be prepeared, working with collaborators. The Pre-light – love your gaffer Starting the day – to rehearse or not to rehearse, and the different ways of directors. Choosing camera positions and movement, choice of lens, lighting adjustment (to tweak or not to tweak). Day 4 – Post Production and wrap up Pt 1. Post tutorial Post starts at the DIT cart (also discuss dailies still reference for film capture). Watching dailies or just reviewing grabs? Working with VFX team The DI The remaster (30 years on) Questions and Break Pt 2 Open Forum I will spend the last 2 hours discussing topics submitted by workshop participants. These should be emailed to the workshop coordinators in advance of this final session. 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 Cinematographers, Camera Operators, Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. 16 hours Duration: 4 days Location: Online Dates: 6th to the 9th July 4PM - 8PM BST (London) 5PM - 10PM CEST (Brussels) 11AM - 3PM EDT (New York) 8AM - 12PM PDT (Los Angeles) 7PM - 11PM Gulf Standard Time (Dubai) 11PM - 3AM CST (Beijing) 8:30PM - 12:30AM IST (New Delhi) 12PM - 4PM BRT (Rio de Janeiro) Price: 499EUR (299EUR until 3rd of July) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

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

ONE PLACE LEFT 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 GMT (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 22nd of May 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.

22/30.05.2021Online
WRITING YOUR CHARACTERS - SCREENWRITING WORKSHOP

ONLY ONE PLACE LEFT ABOUT RITESH BATRA

Ritesh Batra is widely known for his debut feature film The Lunchbox a touching portrait of the lunchbox delivery system in Mumbai, which premiered at the Cannes Film Festival. Nominated for 33 international awards, the film won the Rail d’Or at the Cannes Film Festival. Additionally, it also won the Toronto Film Critics Association Award for Best Feature Film in 2014, and a BAFTA in the category “Film Not in the English Language”, in 2015. The Lunchbox has been called the highest grossing foreign film in North America, Europe and Australia for the year of 2014 grossing over 25 Million USD. Ritesh has since directed star-studded films, such as The Sense of an Ending (2017), an adaptation of a Booker Prize-winning novel, with Jim Broadbent and Charlotte Rampling; Our Souls at Night (2017), a romantic drama starring Robert Redford and Jane Fonda; and Photograph (2019). Batra began his career by writing and directing shorts, such as Café Regular, Cairo (2012), which screened at over 40 international film festivals and won over 12 awards, including a FIPRESCI prize. In 2009, his treatment for Story of Ram was selected by the Sundance Screenwriters Lab. He was then made the Time Warner Story Telling Fellow at Sundance Film Festival, and Annenberg Fellow at Sundance Film Academy. Story of Ram would later turn into The Lunchbox. In 2014, Batra founded his own production company: PoeticLicence Motion Pictures. He is currently in pre-production of his next film, Little Bee, billed as drama-thriller about the intersecting lives of a 16-year old Nigerian orphan and a British couple, Julia Roberts is expected to be starring in the lead. WORKSHOP DESCRIPTION

The WRITING YOUR CHARACTERS - screenwriting workshop will focus specifically on the skills to create your characters while developing your script and concept. The workshop will demonstrate how films are about relationships, and how the characters arcs transform You will have the chance of not only receive this knowledge from Ritesh Batra, 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 in order to solve those problems in the future. The topics covered on the workshop will be: - character introductions - character descriptions - archetypes - protagonists, antagonists, supporting characters - likable and unlikable characters - backstory and relationships - flaws, strengths and vices - clear objectives - unresolved relationships - character arcs and transformation - outer and inner journey / external and internal conflict - wants & needs PROFILE OF PARTICIPANT

The workshop is designed for Scriptwriters, Writers, Directors, Film Students, or anyone interested in entering the Film Business in the area of scriptwriting. WORKSHOP LOCATION 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. 16 hours Duration: 4 days Dates: 22, 23rd & 29, 30th 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 (349EUR with 30% Discount until the 11th of May) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

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 BST (London) 3PM - 7PM CEST (Brussels) 9AM - 12PM EDT (New York) 6AM - 10AM PDT (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 9th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

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 23rd 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.

05/08.04.2021Online
PRODUCTION DESIGN WORKSHOP WITH LAURENCE BENNETT

ABOUT LAURENCE BENNETT

Laurence Bennett is a production designer with a lifelong achievement; recognition of his work has earned him an Oscar and BAFTA Nomination, as well as winning a Cesar. Laurence Bennett’s feature production design credits include In the Valley of Elah, Freedom Writers, Traitor, The Company you Keep, Dark Places, Above Suspicion, and Academy Award Best Picture Crash (2006 ADG nomination). For 2012 Academy Award Best Picture The Artist he received Oscar, BAFTA, ADG, and BFCA nominations, and was awarded the César by the Académie Des Arts et Techniques du Cinéma. Upcoming features: The Water Man, directed by David Oyelowo; and Dog, directed by Reid Carolin and Channing Tatum. For HBO he designed The Wizard of Lies, directed by Barry Levinson, and the David Simon miniseries Show Me a Hero. Television pilots and series include Grey’s Anatomy, Billions, The Deuce, Once and Again, EZ Streets, Thief, Mr. Sterling, Sneaky Pete, and The Resident. Educated at Occidental College, Los Angeles, and Waseda University, Tokyo, Bennett lived and worked in Ireland for ten years, returning to LA to work in film. In Dublin he painted, and had a design practice, worked in fringe theatre, and was a lecturer at the National College of Art. He and his wife live in Oregon. full credits on http://www.imdb.com/name/nm0071879/ Laurence Bennett experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

CHOICES Visualising the narrative ‘We’re building something here… We’re building it from scratch. All the pieces matter.’ Detective Lester Freamon, THE WIRE Every project is unique. But each involves a seemingly endless series of choices. Perhaps the most critical—and sometimes the most difficult—decision, is exactly how to approach its design. Seldom found easily or quickly, the key—the way into the design of a film—is essential. That essential key can inform and shape every subsequent choice throughout the art direction process. The workshop will explore approaches to identifying and working with the essential ideas, emotions, concepts, and imagery that will drive the design. Topics for discussion will include: Finding visual arcs within the story Identifying thematic elements Emotional tones Research Each individual’s distinct path in the business And very importantly, collaboration. Filmmaking is at its core an intimate and collaborative experience. We’ll look at working with others in the team—how open exchange with others enriches one’s work. With the director and DP, the Production Designer shares visual authorship of the work. Beyond that, though—in addition to directing and supervising set dec, props, construction, and paint, the PD and their art director(s) confer and make decisions with many other departments: wardrobe, SPFX, VFX, stunts, sound, etc., from prep through production. Working with the script for a short film, participants will begin this discovery process, researching and assembling (outside online course time) a brief presentation of how the visual arc of the film will reflect, support, and enrich the narrative. A group review/discussion will wrap up the session. 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

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. 16 hours Duration: 4 days Dates: 5th to the 8th April 2021 3PM - 7PM GMT (London) 4PM - 8PM CET (Brussels) 10AM - 1PM EST (New York) 7AM - 11AM 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 3rd of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

01/04.02.2021Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

WORKSHOP FULL FOR WAITING LIST PLEASE EMAIL FILMLAB@FEST.PT ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ‘Girl with a Pearl Earring’ and the HBO series ‘Six Feet Under’. Peter is perhaps best known for his film directorial debut ‘Girl With a Pearl Earring’, the film adaptation of Tracey Chevalier’s bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the „Kingdoms of Fire” (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary „Inna de Yard” (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 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 28 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. 16 hours Duration: 4 days Dates: 1st to the 4th February 2PM - 6PM GMT (London) 6PM - 10PM Gulf Standard Time (Dubai) 9AM - 1PM EST (New York) 10PM - 2AM CST (Beijing) Location: Online Price: 499EUR (325EUR with 35% Discount until the 20th of January) Maximum number of participants: 28 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. WORKSHOP FULL FOR WAITING LIST PLEASE EMAIL FILMLAB@FEST.PT

01/05.02.2021Online
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY

Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, collaborating with directors such as Stephen Frears, Terry Gilliam, Mike Newell, Robert Zemeckis, Armando Iannucci, Kenneth Branagh and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High Fidelity" "Harry Potter and the Goblet of Fire" or more recently "The Personal History of David Copperfield". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) Everest (Baltasar Kormákur) Murder on the Orient Express (Kenneth Branagh) Allied (Robert Zemeckis), most recently, The Personal History of David Copperfield, working with Armando Iannucci. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

1st and 2nd of February

Introduction of the participants to Mick, the participants will then be showed some clips of the work made by Mick Audsley. How to edit your characters/ actors and performance (practical examples How to employ narrative techniques to create tension. How to serve the narrative through effective editing. Focus on how to help the story flow through the editing, and best processes. Topics include the following: analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry.(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 ) 3rd and 5th of February

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. Mick 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 NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. 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 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. 16 hours Duration: 4 days Dates: 1st 2nd 3rd & 5th February 2021 1PM - 5PM GMT (London) 2PM - 6PM CET (Brussels) 10AM - 1PM EST (New York) 7AM - 11AM PST (Los Angeles) 7PM - 11PM Gulf Standard Time (Dubai) 11PM - 3AM CST (Beijing) 8:30PM - 12:30AM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 31st of January) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

23/31.01.2021Online
SOUND EDITING WORKSHOP WITH NINA HARTSTONE AND JOHN WARHURST ONLY 2 PLACES LEFT

ABOUT NINA HARTSTONE AND JOHN WARHURST Nina Hartstone and John Warhurst are heads of the Oscar and BAFTA-winning team behind the sound editing of Bohemian Rhapsody. Nina Hartstone is an Oscar-winning Supervising Sound Editor, she has worked in the industry for 25 years as a Supervising Sound Editor working in feature films, specialised in Dialog and ADR Some of her credits include “Evita”, ‘“The Hours”, “Gravity”, “Everest”, “Beauty and the Beast” and Mowgli. This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats. John Warhurst is a Supervising Sound and Music Editor who has worked in the film and music industry for 25 years, specialising in musical films and currently working on the musical Cats. Amongst some of his credits are Sweeney Todd, Les Misérables, One Direction: This Is Us, The Theory of Everything and Three Billboards Outside Ebbing, Missouri. Nina Hartstone and John Warhurst 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 in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound. WORKSHOP LOCATION 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. 16 hours Duration: 4 days Dates: 23, 24th & 30, 31st January 2021 1PM - 5PM GMT (London) 2PM - 6PM CET (Brussels) 8AM - 11AM EST (New York) 5AM - 9AM PST (Los Angeles) 5PM - 9PM Gulf Standard Time (Dubai) 9PM - 1AM CST (Beijing) 6:30PM - 10:30PM IST (New Delhi) Location: Online Price: 499EUR (299EUR with 40% Discount until the 22nd of January) 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 spa

08/11.12.2020Online
- Film Financing in an Entrepreneurial Age

ONLY 3 PLACES LEFT 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 regional education training programme, a global grants fund and managed an international 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, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. 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 Community Screenings Direct Selling 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. 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 20 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. 16 hours Duration: 4 days Dates: 8th to the 11th December 9AM-1PM CET (Brussels) 12PM - 4PM Gulf Standard Time (Dubai) 7PM - 11PM AEDT (Sydney) 4PM - 8PM CST (Beijing) Location: Online Price: 499EUR (299EUR with 40% Discount until the 7TH of December) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

09/12.11.2020Online
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 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 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: 9th to the 12th of November 2020 Location: Online Price: 499GBP (299GBP with 40% Discount Until 4th November) 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

27/30.10.2020Online
CINEMATOGRAPHY WORKSHOP WITH LARRY SMITH ONLY 3 PLACES LEFT

ABOUT LARRY SMITH

Larry Smith is a British cinematographer. Born in London, he is known for his work with Stanley Kubrick, Tom Hooper and Nicolas Winding Refn. He first entered the movie business aged 20, working as an electrician at Sherpperton Studios and worked as a freelance afterwards. Around the 1970's he was fortunate to meet Stanley Kubrick when asked to work on Barry Lyndon as an electrician. This started a long collaboration with Kubrick that last over a quarter of a century. After starting his career in cinema as chief electrician in Barry Lyndon. Then in The Shining was a gaffer. Eventually he shot Eyes Wide Shut with Stanley. He is a member of the British Society of Cinematographers (BSC). Some of his best works done on these films: Fear X (2003), Red Dust (2004), Bronson (2008), The Guard (2011), Only God Forgives (2013) and Calvary (2014). His first and only director effort is Trafficker (2015) that won Best Producer of a Feature Film award in Madrid International Film Festival. Many other films and TV works followed,. Most recently, Smith has just shot a big series for Netflix, called The Letter For The King. This was a nine-month project filmed in New Zealand and Prague. 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 Larry Smith, 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: 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 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 Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. Duration: 4 days Dates: 27th to the 30th of October 10AM-2PM CET (London) 11AM-3PM CET (Brussels) 2PM - 6PM Gulf Standard Time (Dubai) 9PM - 1AM EST (Sydney) 6PM - 10PM CST (Beijing)  Location: Online Price: 499GBP (299GBP with 40% Discount Until 26th October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

16/24.10.2020Online
MELISSA LEO ACTING WORKSHOP

WORKSHOP DESCRIPTION This 4 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this 4 day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. Melissa Leo will also share the works she has done during Covid lockdown, and address new methodologies of film work in isolation and social distancing times. New ways of honing your skills and continuing practicing in this atypical contemporary days will also be addressed. Although it is an online format, it is expected that you will actively participate. The workshop will be done during 2 periods, 4 hours each day (total 16 hours). In the week between you will be asked to do that some self -filming (smartphones can be sufficient), to be shared and reviewed in the last 2 days. During that week you will be able to have feedback from Melissa Leo. Real life problems of actors will be addressed by Melissa Leo, an during the workshop you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. During the week between both workshop slots you will be able to communicate and receive feedback from Melissa ABOUT MELISSA LEO Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most revered actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she has also starred in “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. 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 20 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 is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 4 days Dates: 16, 17th & 23rd, 24th October - 9H-13H (EST time-zone) Location: Online Price: 499EUR (299EUR with 40% Discount until the 15th of October) Maximum number of participants: 20 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
07/08.03.2020Amsterdam
- Film Financing in an Entrepreneurial Age - 7-8 March 2020 Amsterdam

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

Amsterdam, Netherlands 16 hours Duration: 2 days Dates: 7-8 March 2020 Location: Amsterdam, Netherlands Price: 499EUR (349EUR Until the 21st of February) 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.

07/08.03.2020Amsterdam
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 Amsterdam, Netherlands Duration: 2 days Dates: 7-8 March 2020 Location: Amsterdam, Netherlands Price: 499EUR (349EUR Until the 2nd of 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.

25/26.01.2020London UK
POST PRODUCTION SUPERVISION WORKSHOP WITH POLLY DUVAL

ONLY 3 PLACES LEFT ABOUT POLLY DUVAL

POLLY DUVAL is a British post production supervisor. For over twenty years she has been working in London at the heart of British independent film alongside some of the most highly regarded directors and producers in the industry. Polly has worked on more than forty feature films including NOTES ON A SCANDAL, QUARTET, MR TURNER, BROOKLYN, COLETTE, PETERLOO and THE BOY WHO HARNESSED THE WIND. This year she completed post production on Renée Zellweger’s JUDY, and is currently in post on the film adaptation of Tim Winton’s acclaimed novel DIRT MUSIC, and on the story of the 1970 Miss World competition MISBEHAVIOUR, starring Keira Knightley. Polly Duval experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the craft of Post Production Supervision, you will have the chance of not only receive this knowledge from Polly Duval, 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: - Typical career path to Post Production Supervisor - The role of the Post Production Supervisor - Planning post production before post production - The post production schedule - Budgeting for post production - Case studies - Film Delivery and its evolution PROFILE OF PARTICIPANT The workshop is designed for Post Production Supervisors, Directors, Producers, Editors, Sound Editors, production managers, production co-ordinators, production assistant, assistant editors, script supervisors, Film Students, and anyone with the interest in Post Production. LOCATION OF THE WORKSHOP London UK Duration: 2 days Dates: 25th - 26th January 2020 Location: London UK Price: 499GBP (325GBP Until 20th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.01.2020London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK

LAST 5 PLACES 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: 11th - 12th January 2020 Location: London UK Price: 449GBP (299GBP with 33% discount until the 8th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.01.2020London UK
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 London UK Duration: 2 days Dates: 11-12 January 2020 Location: London UK Price: 449GBP (299GBP with 33% discount until 1st of January) 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.

11/12.01.2020London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES LAST 6 PLACES

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 Duration: 2 days Dates: 11-12 January 2020 Location: London UK Price: 449GBP (299GBP with 30% discount until 8th of January) 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.

11/12.01.2020London UK
SOUND EDITING WORKSHOP WITH NINA HARTSTONE AND JOHN WARHURST ONLY 3 PLACES LEFT

ABOUT NINA HARTSTONE AND JOHN WARHURST Nina Hartstone and John Warhurst are heads of the Oscar and BAFTA-winning team behind the sound editing of Bohemian Rhapsody. Nina Hartstone is an Oscar-winning Supervising Sound Editor, she has worked in the industry for 25 years as a Supervising Sound Editor working in feature films, specialised in Dialog and ADR Some of her credits include “Evita”, ‘“The Hours”, “Gravity”, “Everest”, “Beauty and the Beast” and Mowgli. This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats. John Warhurst is a Supervising Sound and Music Editor who has worked in the film and music industry for 25 years, specialising in musical films and currently working on the musical Cats. Amongst some of his credits are Sweeney Todd, Les Misérables, One Direction: This Is Us, The Theory of Everything and Three Billboards Outside Ebbing, Missouri. Nina Hartstone and John Warhurst 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 in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on. Pre-Production Planning - testing workflow - liaising with the Sound Mixer - logistics for sound on set including music playback if required - director’s vision for final sound track Production Sound: Making the Most of Every Opportunity - making the most of unique opportunities on set - Wild Tracks - SFX - Location ambiences Director’s Cut: beginning Post Production - handover from Production Sound Mixer - supplying sounds to editorial - supplying music to editorial - improving production sound for the Avid tracks - temp ADR - workflow with Editorial - turnover elements First Temp Mix / Test Screening - crewing up - target audience - screening location and sound quality - managing expectations - how to mix (Avid or stage) - Avid tracks or all mics - temp Foley - temp SFX - temp ADR - temp Music - how they can become the finished product - stems to go back into the Avid - workflow of Avid tracks moving forward Finding the Cut - managing new cuts - improving the sound throughout picture edit - editing production dialogues - planning for ADR / Crowd / Foley / FX and Music recordings - source music requirements - sound editorial track lays - ADR tips and tricks - making choices for the mix - preparing alternatives Preparing for the Mix - liaising with the Re-recording mixers - Track layout - Separation of stems - Mixing in Atmos - Score recording Premixing and Mixing - planning your premixes - maintaining flexibility with the tracks - Getting the overview of all the sound and music elements - Mix reviews Deliverables - planning time for all versions - QC ing - M+E - TV Airline Version Politics - different roles and their responsibilities - managing different personalities - being open to other creative ideas - talking through logistics and problem solving - working as a team - building up a client base/securing the next gig - coping with long hours PROFILE OF PARTICIPANT The workshop designed for, Sound Editors, Music Editors, ADR 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: 11-12 January 2020 Location: London UK Price: 499GBP (349GBP with discount of 25% Until 8th of January) 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.

07/08.12.2019London UK
FILM EDITING WORKSHOP WITH CHRIS DICKENS

ABOUT CHRIS DICKENS

In 1990, Chris Dickens graduated from the Bournemouth Film School. He began his filmmaking career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC. During this time he began to cut comedies and later he crossed over to cutting dramas. While working on the TV series Spaced, Dickens developed a relationship with writer-director Edgar Wright and went on to edit his first feature film, the cult hit SHAUN OF THE DEAD. Other features edited by Chris Dickens include GONE, HOT FUZZ, GOAL! THE DREAM BEGINS, and SEED OF CHUCKY. It was his work on the Best Picture Oscar®-winner and globally recognized SLUMDOG MILLIONAIRE that truly stamped Chris Dickens’ signature in the world of editing. He’s the recipient of a “triple crown” of editing awards—the Academy Award® for Film Editing, BAFTA Award for Best Editing, and the American Cinema Editors Award for Best Edited Feature Film (Dramatic)—for his work on SLUMDOG MILLIONAIRE. During over 20 years in the industry, the British editor has worked in such different titles as Richard Ayoade’s debut feature film “Submarine” (2010), Greg Mottola’s “Paul” (2011), and Tom Hooper’s “Les Misérables”. More recently he has edited "Rocketman" directed by Dexter Fletcher, and starring Taron Egerton, "Mary Queen of the Scots" and "Macbeth" Being one of the most innovative and original editors in film today Chris Dickens’ Workshop is sure to be a unique experience. Full list of credits on http://www.imdb.com/name/nm0225323/ Chris Dickens experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP 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 Chris Dickens, 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 topics covered on the workshop will be: Introduction of the participants and Chris, the participants will then be showed some clips of the work made by Chris , analyzing some choices and options made in some of his works. Chris will focus on how to help the story flow through the editing, and his best processes. The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work 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. Chris 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. 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 London UK Duration: 2 days Dates: 7-8 December 2019 Location: London UK Price: 499GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

07/08.12.2019London UK
CINEMATOGRAPHY WORKSHOP WITH MANUEL ALBERTO CLARO

ABOUT MANUEL ALBERTO CLARO

Manuel Alberto Claro is a Chilean-Danish Director of Photography and an indisputable industry name. Born on the April 3rd, 1970 in Santiago de Chile, his family moved to Copenhagen when Manuel was only 7. Originally starting out his professional life as a photographer, but feeling this was not his deep passion, Manuel Alberto Claro decided to enroll in the National Film School of Denmark in 1997. Strongly influenced by the Danish ‘Dogma 95’ movement, Claro rapidly found his voice and his way in the industry. The second feature film he worked on was Reconstruction (2003) from director Christoffer Boe, that went on to win the Camera d’Or at Cannes Film Festival in 2003. In 2012, Claro was pointed out as one of the “10 Cinematographers to Watch” by Variety Magazine. Manuel Alberto Claro is known for his long-term collaboration with director Lars Von Trier, and for being the director’s go-to cinematographer. Having worked with Von Trier in almost all his major film since the 2011 psychological drama Melancholia the pair’s collaboration resists to the day, with Claro having worked on the director’s Ninfomaníaca - Part I (2013) and Ninfomaníaca - Vol. 2 (2013) and, most recently on The House That Jack Built (2018). His career credits include 10 awards and more than 30 nominations, over an eleven year period. Finding time in his busy schedule, the DOP also works on pop music videos for various artists and commercials for companies like IKEA, Nokia, and Volkswagen. He is a member of the Danish Society of Cinematographers. WORKSHOP DESCRIPTION

VISUAL STORYTELLING w/Manuel Alberto Claro The workshop will focus on a diversity of topics on the art of cinematography, you will have the chance of not only receive this knowledge from Manuel Claro, 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: ESSENCE OF THE CRAFT Cinema is a collaborative art form…you need someone with a vision, but you cannot do it alone. Understanding your abilities Overview and “Case Study” clips of my work DIY - low budget approaches 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 Planning for Digital VFX Lens selection Grip equipment Creating a LUT, adding the look in camera rather than in post Relationship between the DP and the director Master shots vs coverage SHOOTING Scheduling Blocking the scene Shotlists Storyboards Shooting strategy Camera - Movement - How / When / Why Comunicating with the post house Exposure LIGHT Mood and atmosphere Natural light location lighting studio lighting Night and day Lighting the actors or the spaces GETTING THERE Hollywood versus Europe Agents/managers/lawyers Auteur versus Industry – the realities of the business. WORKSHOP LOCATION London, United Kingdom PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. Duration: 2 days Dates: 7-8 December 2019 Location: LONDON UK Price: 499EUR (325GBP with 30% Discount Until 2nd of December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

05/06.10.2019London UK
GARETH WILEY FILM PRODUCING AND FINANCING WORKSHOP SOLD OUT, for waiting list please email filmlab@fest.pt

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, United Kingdom 16 hours Duration: 2 days Dates: 5th - 6th of October 2019 Location: London UK Price: 499GBP, Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
01/02.06.2019London UK
MICK AUDSLEY EDITING WORKSHOP

ONLY 4 PLACES LEFT ABOUT MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Saturday Introduction of the participants to Mick, the participants will then be showed some clips of the work made by Mick Audsley. How to edit your characters/ actors and performance (practical examples How to employ narrative techniques to create tension. How to serve the narrative through effective editing. Focus on how to help the story flow through the editing, and best processes. Topics include the following: analyzing some choices and options made in some of his works, generally sharing experiences of editing in the industry.(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. Mick 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 NOTE: this workshop will not teach you about specific softwares, but instead it will enhance the capacity to edit in your mind, before you actually use your tools. It is about your decisions, your choices and your options as an editor. 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

London, UK Duration: 2 days Dates: 1-2 June 2019 Location: LONDON UK Price: 499GBP (349GBP Until 24th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

01/02.06.2019London UK
CINEMATOGRAPHY WORKSHOP WITH CHRISTIAN BERGER

ONLY 5 PLACES LEFT ABOUT CHRISTIAN BERGER

Christian Berger is an Austrian Cinematographer, director, producer, and writer of numerous documentaries, TV films and features. He is mostly known for his work on The White Ribbon with Michael Haneke, which brought him an Oscar Nomination for Best Cinematography at the 82nd Academy Awards. He was the winner at the American Society of Cinematographers Awards for Outstanding Achievement in Cinematography in 2010 and a big number of other awards, both national and international. Born 1945, he started his career working mostly as a documentary filmmaker. in 1973 founded own production company TTV Film an a few years later built experimental video studio. In late 70’s / early 80’s he increased his work in TV plays and screen adaptations with various authors and started working as DOP for feature films and as a director. His own projects (director and cinematographer) include Raffl (1983/1984), Hanna Monster, Darling (1988/1989), Mautplatz / Tollgate (1994). He worked as a cinematographer for such renowned directors as Michael Haneke, Luc Bondy, Wolfgang Glück, Stephen Gaghan, Amos Gitai, Peter Sehr and Marie-Noèlle, János Szász, Angelina Jolie, Virgil Widrich, Terrence Malick. Christian Berger developed the new “Cine Reflect Lighting System Berger/Bartenbach” in collaboration with Bartenbach Lichtlabor. In addition to creating new esthetic possibilities for the camera, this system gives actors and directors unprecedented flexibility and freedom. Berger employed this system for the first time to some degree in The Piano Teacher and exclusively used it to shoot films: Dead Man’s Memories, Ne Fais Pas Ça, Mein Mörder, Caché / Hidden, The White Ribbon, Ludwig Ii, The Notebook, By The Sea, The Night Of A Thousand Hours and most recently Happy End by Michael Haneke. Christian Berger is one of the most influential figures in the area of cinematography and it is an absolute honor to have him as FEST Film Lab speaker. Unquestionably it will be an unmissable session. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, specially the topic of light, you will have the chance of not only receive this knowledge from Christian Berger, 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 overall theme of the workshop will focus specially on the treatment of light.: Christian Berger is one of the inventors of the highly innovative CINE REFLECT LIGHTING SYSTEM, which he has used in several of his productions. Christian will also focus on the difference of working between digital and film. Chrstian will also show examples of how he achieved the look in a few of his films. The workshop will also cover the following topics: 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 LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors Lighting plans how luminance and chrominance behave Light-night WORKSHOP LOCATION London, United Kingdom PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. Duration: 2 days Dates: 1-2 June 2019 Location: LONDON UK Price: 499EUR (375GBP with 25% Discount Until 27th of May) Maximum number of participants: 27 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

13/14.04.2019Lisbon, Portugal
WORKSHOP: AUDITIONING FOR FILM AND TV WITH NANCY BISHOP

ABOUT NANCY BISHOP

Nancy Bishop, is an American Emmy –award nominated casting director who has cast nearly one hundred International projects. Based in Prague and London, she has cast for major feature films including and Mission Impossible IV, Roman Polanski’s Oliver Twist, Prince Caspian, Bourne Identity, and she just completed work on Medieval starring Ben Foster and Michael Caine . Recent TV credits include Matthew Wiener’s The Romanoffs, and Lore for Amazon, and two season of Knightfall for A&E, as well as the soon to be released Whiskey Cavalier for ABC. She has been teaching film acting master classes internationally for many years. In addition, Nancy founded the Acting for Film Department at the Prague Film School. She serves on the Head of the Casting Society of America’s European branch, and has penned two book about Audition Technique. About Auditioning for Film and TV: This book is the updated and revised version of “Secrets from the Casting Couch.” A great read, endorsed by Donald Sutherland, Auditioning for Film and TV is a bible of knowledge for jobbing actors. Learn crucial strategies for marketing, auditioning, and using internet technology to forward your career. WORKSHOP DESCRIPTION: AUDITIONING FOR FILM AND TV Nancy Bishop CSA, Emmy- Award Nominated Casting Director and author of Auditioning for Film and TV, will offer a special two day MASTER CLASS and INTERNATIONAL MARKETING SEMINAR for actors who wish to position themselves for international work. Stay on top of your audition technique with this three-pronged class. Learn valuable skills for self-taping auditions, as well as improving on-camera technique, and international marketing skills. All participants will receive a free copy of Nancy’s book, “Auditioning for Film and TV.” (published by Bloomsbury) Saturday 10:00 – 4.30 10:00 Coffee and Welcome 10:30- 12:00 Targeted exercises will hone audition technique. 12:00- 13:00: Lunch 13:00- 15:00 Feedback on Self Taped Auditions: Self-taped auditions are increasingly prevalent in the industry and actors are expected to have the skills to effectively present themselves. Actors will bring a pre-assigned self taped audition for feedback from Nancy 15:00-16:30: INTERNATIONAL MARKETING SEMINAR Seminar for actors will focus on strategies for actors to promote themselves and procure work in the international market. Topics will include how to best take advantage of the internet for marketing, organize a professional CV, choose a winning headshot, produce an effective show reel, record auditions to send to production, and use social media. Sunday 10:00 – 4.30 10:00 – 12:00: More self taped auditions will be assigned and played 12:00- 13:00: Lunch 13:00- 14:30: Archetypes workshop. Actors will bring a printed copy of their headshot for feedback. 14;30 - 16:30: Final exercises PROFILE OF PARTICIPANT The workshop designed for Actors, acting students, directors, casting directors, Film Students, or anyone interested in entering the Film Business on the area of Acting. PRACTICAL DETAILS Location: Lisbon, Portugal Dates: 13-14 April 2019 Duration: 2 days Price: 499EUR (375EUR with 30% discount until the 10th 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

13/14.04.2019Lisbon, Portugal
1st ASSISTANT DIRECTOR WORKSHOP WITH RALPH REMSTEDT

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 Lisbon, Portugal Duration: 2 days Dates: 13-14 April 2019 Location: Lisbon, Portugal Price: 399EUR (299EUR with 25% discount until the 9th of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

06/07.04.2019Porto, Portugal
FILM DIRECTING WORKSHOP WITH STEPHAN ELLIOTT This workshop is organized in partnership with UPTEC PINC

ABOUT STEPHAN ELLIOTT

Stephan's first film Frauds, starring Phil Collins and Hugo Weaving, was selected for competition at the Cannes Film Festival 1993. His second feature – a script churned on route to the festival was The Adventures of Priscilla, Queen of the Desert (1994) starring Terence Stamp, Hugo Weaving and Guy Pearce. It is one to become one of the most successful Australian films ever. It is now the most successful Australian stage musical of all time. Stephan committed career suicide screening his unfinished black comedy Welcome to Woop Woop in official selection at the 1997 Cannes. It was booed out of the festival, but has since grown into a massive underground cult. He countered with a change of genre, the thriller Eye of the Beholder (1999) starring Ewan McGregor, taking the Number #1 spot in the American box office. The film premiered at Venice, and won Best Director at the Brussels International Festival of Fantasy Film. After a ski accident had him hospitalised for 5 years, he limped back to the directors chair with an adaption of Noel Coward’s Easy Virtue starring Colin Firth and Kristin Scott Thomas. He the returned to Australia to direct of one of the world's first ‘streaming' mega hits, A Few Best Men, shot back-to-back with the feature Rio I Love You, the follow up to the hugely successful Paris, je t’aime. Stephan has just wrapped his final Australian film, Flammable Children, starring Guy Pearse and Kylie Minogue, which reunited the full Priscilla film crew for the first time. WORKSHOP DESCRIPTION

The film writing / directing workshop will focus on a diversity of topics covering the entire span of directing and delivering a film, specially on how to find and cement your own place in the industry fast, under the guidance of writer / director / producer Stephan Elliott. Stephan started his career shooting wedding videos at 14, and by 18 had talked is way onto a film set washing dishes. When somebody fell sick, be quickly stepped in as 3rd assistant director, was soon directing 2nd unit and by 24, had written his first feature script which he directed 24 months later. 25 participants will not only have the chance to hear his unique knowledge first hand, but also interact in extremely practical workshops. You will then be invited to share difficult issues you may encountered developing or shooting your films, being offered keys, clues and smart solutions so these problems NEVER HAPPEN AGAIN! The workshop will also touch the following bullet points: GETTING THERE WHO ARE YOU??? The person makes the film Auteur versus Industry – the realities of the business. DIY - low budget approaches verses bigger budgets. The writer/director conundrum Understanding your abilities Looking at the steps before you go into production The development process Raising finance Producers and writers Agents/managers/lawyers The One Hour Meeting. The perfect pitch class. PREPPING Aesthetic overview – the look and the story Casting and auditioning - to include work shopping with professional actors. Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shot lists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings WORKSHOP LOCATION UPTEC PINC Porto, Portugal 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 film directing 16 hours Duration: 2 days Dates: 6-7 April 2019 Location: UPTEC PINC Porto, Portugal Price: 499EUR (375EUR with 25% Discount Until 2nd 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

16/17.03.2019London UK
WORKSHOP: AGENTS: HOW TO WORK WITH THEM WITH TIM CORRIE, DAVID PARFITT AND SEAN GASCOINE

ABOUT TIM CORRIE

Educated at Reed’s School, Bristol University - where he was a founder member of the drama department in the sixties – and Bordeaux University, Tim Corrie enjoyed a fairly brief career in the film industry working on Isadora (Karel Reisz, 1968), The Adventurers (Lewis Gilbert, 1970) and Friends (Lewis Gilbert, 1971). After a two year stint with Paramount Pictures as Assistant to the UK’s Head of Production, he found his vocation working as a film agent for Kenneth Ewing at Fraser and Dunlop, one of the most respected talent and literary agencies in London at the time, where he represented film directors such as Ridley and Tony Scott and Mark Herman among many others. In 1989 he was one of the two principal architects of the merger between Fraser and Dunlop and A.D. Peters, helping to create Peters Fraser & Dunlop (PFD) that quickly became one of the top agencies in the UK with a clientele of nearly a thousand clients in the world of film, television, theatre and books. He eventually became co Chairman of PFD. Tim along with colleagues was one of the creators of United Agents after an acrimonious split with PFD in 2007. While with United Agents he chaired the BAFTA Television Committee in 2008, was Deputy Chairman of the Academy in 2009 and became the 40th Chairman of Bafta in 2010, the only agent to achieve that status so far. He remained with United Agents until 2012 representing writers, directors and producers in both film and television, and then went on working nearly four years as director and Chairman of Bob & Co., a successful production entity which has become a major player in the development and production of plays, films and television. He is now a director of DLT, a production company and agency housed in Bedford Square, London. ABOUT DAVID PARFITT

David Parfitt, IS an on Oscar Winner Film Producer, and co-founder of Trademark Films. He won the Academy Award for Best Picture in 1998 for Shakespeare in Love. David has worked as an independent film producer since 1980. He was Chairman of the British Academy of Film and Television Arts (BAFTA) from 2008 to 2010, and has produced films such as, Shakespeare in Love, Gangs of New York (Production Consultant), Loving Vincent, My Week with Marilyn, Henry V, Much Ado About Nothing , The Madness of King George, Mary Shelley's Frankenstein, The Wings of the Dove and many others. ABOUT SEAN GASCOINE

Working for one of the biggest talent agencies in the world, United Artists, and also film and stage actor, Sean Gascoine represents numerous successful talents, from 21 screenwriters and playwrights to directors and actors of film and television. Having worked as an agent at Lou Colson Associates, and with a career spanning 15 years, Sean Gascoine talks openly about his job at United Agents, the agent-client relation, his long-lasting career. He says he starts every day by reading a script and has a varied taste, from big commercial films to “art house” auteur films WORKSHOP DESCRIPTION: AGENTS: HOW TO WORK WITH THEM The workshop will focus on a diversity of topics related to the profession of a Film agent. You will have the chance to not only receive this knowledge from the three experts, but also interact in a very strong way, as the group will have up to 25 participants, making the experience extremely practical and interactive. After the general introduction to the work of a Film agent, Tim will analyze several case studies from his own career in cooperation with some of his clients and collaborators. This approach is aimed to present different perspectives and various aspect of a Film agent profession and the client-agent relationship. WORKSHOP SCHEDULE SATURDAY INTRODUCTION – TIM CORRIE - finding and choosing clients, understanding their needs;  - finding work for the clients across the industry (film, tv, theatre, books), - recognizing the specificity of different media; - negotiating, - cultivating relationships in the industry with decision-makers; - what does it take to be a good agent: integrity and values of an agent (downhill & uphill…); - where to start (to find a job) as an agent – agents usually don’t mix clients; - how to get an agent (for an actor writer/director); - what if an actor/writer/director wants to leave the agency? - what is a breach of contract? - small, medium and best agencies in the UK and abroad. WORKING WITH WRITERS\DIRECTORS - The collaboration between the agent and the director/writer/executive producer of the film from the genesis of the project to completion. - Finding the right material - Preparing the screenplay - Choosing cast & crew (no obligations towards the agency but faith in your agent’s skills) - Protecting the director’s vision as an agent; - The film’s launch: - involvement of an agent in this process; - pre-view screenings: old days/now; - openings in different countries; - profits. SUNDAY THE PRODUCER POINT OF VIEW, WORKING WITH AGENTS AS A BUYER AND AS A COLLABORATOR - An introduction from a producer’s point of view of the agent and the agency. - the producer point of view as a client: - hopes/expectations/requirements regarding what an agent should do to help the producer to secure work; - How to choose an agency as representative or collaborator; - Attaching Clients to projects; - Negotiating the deals; - Setting up the production: - Casting; - Shooting; - Post-production; - Problems. - The film’s launch: - The opening; - The critical reaction; - The audience reaction. - The financial returns. PROFILE OF PARTICIPANT The workshop designed for Film Agents, Junior Agents, Film Producers, Film Financiers, Directors, Film Students, or anyone interested in entering the Film Business on the area of Film Production. PRACTICAL DETAILS Location: London UK, University of Greenwich Dates: 16-17 March 2019 Duration: 2 days Price: 499GBP (349GBP with 30% discount until the 11th of 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

16/17.03.2019London UK
CINEMATOGRAPHY WORKSHOP WITH BARRY ACKROYD SOLD OUT for waiting list please email filmlab@fest.pt

ABOUT BARRY ACKROYD

Barry Ackroyd is one of the most versatile Cinematographers in activity nowadays, with a career that expands over 30 years, multiple awards and nominations, including the BAFTA award for Best Cinematography for Kathryn Bigelow’s “Hurt Locker” in 2008. Born in Oldham, England in 1954, his path as a Cinematographer started in television back in 1986 with the behind-the-scenes Documentary of Jim Henson’s “Labyrinth” starring David Bowie. In the 1990’s he filmed Jon Blair’s Academy Award-winning Documentary Feature “Anne Frank Remembered” (1995). Also during this period he started a long-lasting collaboration with Ken Loach - a director known for his particular work philosophy of embracing his team’s contributions - from which came out films such as: “Land and Freedom” (1995), “My Name Is Joe” (1998), “Sweet Sixteen” (2002), and the Cannes Film Festival Golden Palm-winning “The Wind that Shakes the Barkley” (2006), Recently he has been a cinematographer in a variety of projects and collaborated with filmmakers such as Adam McKay, in the Oscar Winning “The Big Short” (2015) starring an all-star cast of Christian Bale, Brad Pitt, Ryan Gosling, Marisa Tomei, Melissa Leo, Steve Carell among others; Kathryn Bigelow on “The Hurt Locker” (2008) and “Detroit” (2017); Paul Greengrass on “United 93” (2006), “Captain Phillips” (2013) starring Tom Hanks, and “Jason Bourne” (2016), starring Matt Damon. His latest work includes Netflix released “Outlaw King” (2018), from director David Mackenzie, starring Chris Pine; and is currently working with Jay Roach on a yet-to-be-named project featuring Margot Robbie, Nicole Kidman, Charlize Theron. 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 Barry Ackroyd, 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 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 London UK 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. Duration: 2 days Dates: 16-17 of March 2019 Location: LONDON UK Price: 499GBP 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

09/10.03.2019London 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: 9-10 March 2019 Location: London UK Price: 399GBP (299GBP with discount of 25% Until 27th of February) 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.

09/10.03.2019London UK
SCRIPT SUPERVISION WORKSHOP WITH ANGELA ALLEN LAST 6 PLACES

ABOUT ANGELA ALLEN Angela Allen was born in Maida Vale, London and after leaving school went to work for a theatrical agency. She had heard of continuity and since she had learn shorthand typing, a requirement for the job, she thought on doing it and started knocking on doors. Her first job was at Isleworth Studios in “Night Beat” (Harold Huth, 1947) as assistant continuity girl when she was only 18. This was followed by “Mine own Executioner” (1947) and “Bonnie Prince Charlie” (1948), both directed by Anthony Kimmins. After that, Allen got an uncredited job on the second unit of “The Third Man” (1949), working on the sewer unit. This is where she met Carol Reed, which she says was one of the best directors she ever worked with and her greatest teacher. The first feature she worked on alone was “Old Mother Riley, Headmistress” (John Harlow, 1950), starring Arthur Lucan and Kitty McShane. Producer Sam Spiegel chose her for the job of continuity on “The African Queen” (John Huston, 1951). During production, Allen told Katherine Hepburn she would have to change her wardrobe to fit the previous scene to which she said ‘No, I don’t.’ The Director John Huston clarified the situation by stating ‘That’s Angie’s job, we will go with what she says.’ In the end, Angela was right which turned out to be the final push to get her career kickstarted. She worked with John Huston on other thirteen occasions, in films like “Moulin Rouge” (1953), “Moby Dick” (1956), “The Misfits” (1961) and “Wise Blood” (1979). Her latest works were with Stephen Hopkins, in “Lost in Space” (1998); with John Frankenheimer, in “Ronin” (1998) and “Reindeer Games” (2000); and with Franco Zeffirelli, in “Tea with Mussolini” (1999) and “Callas Forever” (2002). For services to the Film Industry, Allen became a Member of the Most Excellent Order of the British Empire in 1996 and received the BAFTA’s Michael Balcon Award for Outstanding British Contribution to Cinema in 2005. Allen also helped to change the status quo of her profession in the UK. From “Continuity” (“Girl” was almost an understood) to “Script Supervisor” and to upgrade the tax category associated. WORKSHOP DESCRIPTION This will be the ultimate Script Supervision workshop, leaded by Angela Allen, one of the living legends in cinema, and one of the most important Script supervisors in history. Angela will also bring another Script supervisor a speaker on the workshop, adding value to the participants experience with different point of views with another script supervisor still in activity. In the workshop you will have the chance of not only receive this knowledge from Angela Allen, 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 own work and the projects you have worked on or will work, and receiving the feedback to unblock situations in the future. Bullet points and structure of the workshop: 1 A description of what the job of Script Supervisor means and its relationship to the rest of the team making a film. 2 Reading the script and noting down anything that does not appear to make sense. 3 Timing the script. Remembering to leave pauses when reading the dialogue. On the basis of the timing the script may have to be cut down. 4 Prepping the film. Re timing the latest script. Breaking the script down into Days and Nights and dates and times on each scene. Knowing when there can be clothes changes. When bruises and cuts can be altered or got rid of. What props are needed. 5 The “crossing the line”.. 180 deg rule. 6 Learning film jargon.. accepted phrases for description of shots etc 7 Understanding shot making.. i.e. how much coverage is needed. 8 Coverage… how much is needed.. depending on directors wishes and styles involved. 9 Screen direction… the looks… how looks should be shot.. i.e. whether they should be looking camera right or camera left. 10 Working with multiple cameras 11 How to Slate the film.. always to be discussed with the editor before shooting starts 12 Note taking. Each shot has to be described in detail. with all the relevant takes marked for Printing or Preference. 13 A daily log comprised of a one line description of the shot and relevant preferred takes marked. This is for the assistant editor to prepare the rushes or dailies for showing to the relevant people. 14 A production report for the Production Office has to be completed a the end of the shooting day. The information given by the Script Supervisor is Time of Call. First shot. Lunch break, first shot after, end of shooting day. How many minutes and seconds shot, how many scenes completed and what parts of scenes have been shot. Page count. Setups shot by all cameras. 15 Usage of modern script supervisor programmes. 16 Equipment required, A computer and or I pad. Script Binder. Pens and pencils plus a ruler and an eraser. Notebook for note taking or plenty of blank paper to write your notes on and kept with the script in the binder. 17 The Script Supervisors relationship with other departments when they request help. The Script Supervisor’s primary responsibility and loyalty is to the Director. PROFILE OF PARTICIPANT The workshop designed for Script supervisors, Directors, editors, producers, screenwriters and Film Students, or anyone interested in entering the Film Business on the area of Script Supervision. LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 9-10 March 2019 Location: London UK Price: 499GBP (349GBP with discount of 30% Until 6th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

23/24.02.2019Warsaw Poland
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 Warsaw, Poland Duration: 2 days Dates: 23-24 February 2019 Location: Warsaw, Poland Price: 499EUR (375EUR with 25% discount until the 20th of February) 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.

23/24.02.2019Warsaw Poland
Film Financing in an Entrepreneurial Age 23-24 February 2019 Warsaw

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

Warsaw, Poland 16 hours Duration: 2 days Dates: 23-24 February 2019 Location: Warsaw, Poland Price: 499EUR (375EUR Until the 20th February) 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.

02/03.02.2019London UK
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH ONLY ONE PLACE LEFT

ABOUT STUART DRYBURGH

Stuart Dryburgh is one of the most interesting cinematographers in activity, he created the distinctive look in films such as "The Piano" , "Ben is Back", "The Painted Veil", "The Secret Life of Walter Mitty" "The Great Wall" and many other. 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. In recent years Stuart has shot films such as "Ben is Back" (directed by Peter Hedges), the Upside (directed by Neil Burger), The Only Living Boy in New York (Directed by Marc Webb), The Great Wall (directed by Yimou Zhang), Alice Through the Looking Glass (directed by James Bobin) Stuart has also just finished shooting the Men in Black 4 full list of credits on https://www.imdb.com/name/nm0238698/ 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 London UK 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: 2-3 February 2019 Location: LONDON UK Price: 499GBP (399GBP until 25th of January) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

12/13.01.2019London UK
DIRECTING ACTORS FOR FILM WORKSHOP WITH PETE TRAVIS LAST PLACES

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: 12-13 January 2019 Location: LONDON UK Price: 499GBP (349GBP with 30% Discount Until 9th of January) 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

08/09.01.2019London UK
PRODUCTION DESIGN WORKSHOP WITH ANDREW McALPINE

ABOUT ANDREW McALPINE Andrew McAlpine is a renowned production designer whose visionary work has left an indelible mark on the landscape of contemporary cinema. Over the years, McAlpine has crafted some of the most memorable and visually striking film environments, earning him acclaim and recognition within the industry. His expertise will be shared with participants in the FEST FILM LAB workshops, offering a rare opportunity to learn from one of the best in the field. With a career that spans several decades, McAlpine has collaborated with a roster of illustrious directors, bringing their cinematic visions to life with his design concepts. His work with Jane Campion on the critically acclaimed film "The Piano" is a testament to his ability to create deeply immersive and emotionally resonant spaces. For his work on "The Piano," McAlpine was honored with the BAFTA Award for Best Production Design, showcasing his talent for crafting visually compelling narratives that enhance the storytelling of a film. McAlpine's portfolio is diverse, encompassing a wide range of genres and styles. His collaboration with Lone Scherfig on "An Education" demonstrated his skill in recreating historical periods with authenticity and detail, transporting audiences to the 1960s with elegance and precision. His work on "An Education" further solidified his reputation as a master of production design, capable of seamlessly blending historical accuracy with artistic innovation. Not limited to historical dramas, McAlpine has also worked on films such as "Me Before You " directed by Thea Sharrock. Among his other notable collaborations is with Danny Boyle on "The Beach," where McAlpine's design contributed significantly to the films' visual storytelling. Whether creating whimsical, fantastical landscapes or grounding stories in detailed, realistic settings, McAlpine's designs always serve to deepen the narrative impact of the films he works on. In "Clockers" (1995), directed by Spike Lee, McAlpine's production design played a crucial role in bringing the gritty, urban environment of the film to life, enhancing the story's raw and powerful narrative. His ability to create a visually compelling and authentic setting helped establish the movie's intense atmosphere and emotional depth. Similarly, for "Aeon Flux" (2005), McAlpine ventured into the realm of science fiction, crafting a futuristic world that was both innovative and believable. His design for the film provided a unique aesthetic that was integral to the movie's storytelling, showcasing his versatility and creative prowess in production design across different genres. In addition to his film work, McAlpine's influence extends to television and advertising, highlighting his adaptability and broad range of skills within the field of production design. His ability to mentor and inspire others through his work makes his participation in the FEST FILM LAB workshops an invaluable opportunity for production designers and filmmakers to gain insights from a seasoned professional. Andrew McAlpine's enduring passion for storytelling through visual design, combined with his extensive experience and numerous accolades, makes him a relevant figure in the world of production design. Workshop participants can look forward to an enriching experience, learning from McAlpine's wealth of knowledge and expertise in creating captivating cinematic worlds. Andrew's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION This two-day workshop, led by acclaimed Production Designer Andrew McAalpine, is designed for film professionals seeking an in-depth exploration into the art and science of production design. McAlpine's illustrious career, marked by visually stunning and narratively compelling film environments, serves as the foundation for a workshop that covers the entire spectrum of production design. Day 1: Theoretical Foundations and Pre-Production Essentials Defining Production Design: A deep dive into the role of production design in cinematic storytelling, examining how visual environments contribute to the narrative and emotional depth of a film. Script Analysis for Design: Techniques for extracting visual and thematic elements from scripts, facilitating design that is intrinsically tied to the story. Visual Conceptualization: Developing a coherent visual strategy that encompasses set design, locations, and the integration of special effects, with a focus on creating mood and atmosphere. Collaborative Dynamics: Strategies for fostering productive collaborations with directors, DPs, and other department heads, ensuring a unified vision from pre-production through to post-production. Design Research and Mood Boards: Utilizing historical research, location scouting, and mood boards to conceive and communicate the visual palette and stylistic approach of the film. Technical Drawing and Model Making: An overview of the tools and techniques for creating detailed plans, elevations, and models that guide construction and set dressing. Q&A: Interactive Session Day 2: Practical Implementation, Post-Production, and Industry Navigation From Concept to Set: Managing the translation of designs into physical spaces, including practical considerations for set construction, prop sourcing, and on-location modifications. Digital Design Tools: Incorporating digital tools and software in production design, from pre-visualization to CGI and virtual sets, and how they are changing the landscape of physical set design. Sustainability in Production Design: Implementing green design practices, focusing on materials, construction methods, and set strike, to minimize environmental impact. Navigating Post-Production: Ensuring the integrity of the production design in the final film, including collaboration with VFX teams and consideration for color grading. Mastering the Business of Design: Building a personal brand, portfolio development, effective networking, and understanding the financial and contractual aspects of production design. Career Longevity and Adaptation: Discussing the evolution of the production design role, anticipating future trends, and strategies for career growth and adaptation in a rapidly changing industry. Case Studies: Case Study Analysis: McAlpine will present case studies from his notable projects, detailing the challenges faced and creative solutions implemented, encouraging participant discussion and analysis. PROFILE OF PARTICIPANT The workshop designed for Production Designers, Art Directors, Costume Designers, Set Designers, Directors, Art Directors, DP's, or Film Students WORKSHOP LOCATION London UK Duration: 2 days 10:00 - 18:00 Dates: 5th - 6th of October 2024 Location: London UK Price: 599GBP (349GBP Until 6th of September) 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW

03/04.11.2018London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES ONLY 6 PLACES LEFT

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 Duration: 2 days Dates: 3-4 November 2018 Location: London UK Price: 449GBP (315GBP with 30% discount until 31st of October) 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.

03/04.11.2018London 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: 3-4 November 2018 Location: London UK Price: 449.99 GBP (315GBP until 31st of October) Vacancies: 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. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

03/04.11.2018London UK
‘RETELLING THE STORY’ FILM SCREENWRITING WORKSHOP WITH JON CROKER

ABOUT JON CROKER JON CROKER is an established screenwriter working in both the UK and US. His produced credits include ‘The Woman In Black: Angel of Death’, ‘Paddington’, ‘Paddington 2’, ‘American Animals’, ‘Desert Dancer’ and ‘In Fear’. In the US, he is writing the animation ‘High in the Clouds’ for Gaumont with original songs by Paul McCartney; and ‘Aleister Arcane’ for Jim Carrey, director Eli Roth and Amblin. In the UK, current work includes ‘Hallelujah!’ for Andrew Eaton, with Chris Addison attached to direct and Ralph Fiennes to star; ‘Black Palace’ for Julien Jarrold attached to direct; and a remake of ‘Witchfinder General’ for Nicolas Winding Refn. He began his career working on the ‘Harry Potter’ movies, working with directors Alfonso Cuaron and Mike Newell, and even managed to write his own spell. He then moved into script editing and worked with a wide range of filmmakers including Jane Campion, Pawel Pawlikowski and Joe Cornish. WORKSHOP DESCRIPTION ‘RETELLING THE STORY’ FILM SCREENWRITING WORKSHOP Screenwriting is not simply about creation. It’s about rewriting, reshaping, refining, cutting and testing your film, going over every single element again and again and again and again - sometimes for years. If narrative cinema is primarily about storytelling, the screenwriter’s job is not to tell that story but to retell it repeatedly until it’s good enough to become a film. This workshop is about what this truly means - from both an artistic and business perspective. It will cover a diverse range of topics with the intention of helping you improve your craft and understand how to work in the industry - even if you completely disagree with everything said. The workshop will be interactive. Everyone should feel free to share their own methods and ask questions. All participants should prepare a two minute pitch for a film idea, which can either be an existing project or a new idea. Across the weekend, these pitches will be heard in front of the group and then discussed. You will be timed, so make sure you don’t over-run! The topics covered will be broadly chronological so the weekend follows the journey of a screenplay from idea to getting made. The intention behind this is to show how much needs to be done before any actual writing takes place. This includes the first draft, which is always so awful it can barely be classed as writing. The topics covered will include: A. BEFORE YOU WRITE - What Is An Idea? The first retelling of a story - Pitches, Specs, Assignments - How to get to tell the story - What Is Genre - Retelling our story in archetypes - Existing Material - Retelling someone else’s story by adaptation - True Stories - Retelling someone’s life as a story - PARTICIPANT PITCHES Part I B. STARTING TO SCRIBBLE - One page - Your story as a mission statement - Outlines, Treatments, Beat Sheets - Finding and refinding your story - The Battle Between Plot and Character - What drives your story - The Pitch - Retelling your story out loud - PARTICIPANT PITCHES Part II C. TYPING UP THE 1ST DRAFT - Finding the tone - How to tell your story - Character - Letting them tell their stories - Structuring and Restructuring Your Story - Dialogue - Showing and Telling Your Story - PARTICIPANT PITCHES Part III D. FINALLY, NOW YOU’RE WRITING - What is development and why is it so horrible? - Notes - How to receive, read and use them - Meetings - How to get the most from them - Rewriting yourself - How to kill your darlings without ruining everything - Rewriting others - How to kill somebody else’s darlings without ruining everything - Collaboration - Working with Producers, Directors, Financiers, Actors PROFILE OF PARTICIPANT The workshop is designed to Screenwriters, Script Editors, Directors, Producers, Film Students, and anyone with the interest in screenwriting. Dates: 3-4 November 2018 Location: London UK Price: 449.99 GBP (315GBP until 31st October) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

06/07.10.2018Lisbon, Portugal
GARETH WILEY FILM PRODUCING AND FINANCING WORKSHOP ONLY 5 PLACES LEFT

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

Lisbon Portugal 16 hours Duration: 2 days Dates: 6th - 7th of October 2018 Location: Lisbon, Portugal Price: 499EUR, (375EUR discount of 25% until 2nd October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
06/07.10.2018Lisbon, Portugal
CINEMATOGRAPHY WORKSHOP WITH CHRISTIAN BERGER SOLD OUT! for waitlist please email filmlab@fest.pt

ABOUT CHRISTIAN BERGER

Christian Berger is an Austrian Cinematographer, director, producer, and writer of numerous documentaries, TV films and features. He is mostly known for his work on The White Ribbon with Michael Haneke, which brought him an Oscar Nomination for Best Cinematography at the 82nd Academy Awards. He was the winner at the American Society of Cinematographers Awards for Outstanding Achievement in Cinematography in 2010 and a big number of other awards, both national and international. Born 1945, he started his career working mostly as a documentary filmmaker. in 1973 founded own production company TTV Film an a few years later built experimental video studio. In late 70’s / early 80’s he increased his work in TV plays and screen adaptations with various authors and started working as DOP for feature films and as a director. His own projects (director and cinematographer) include Raffl (1983/1984), Hanna Monster, Darling (1988/1989), Mautplatz / Tollgate (1994). He worked as a cinematographer for such renowned directors as Michael Haneke, Luc Bondy, Wolfgang Glück, Stephen Gaghan, Amos Gitai, Peter Sehr and Marie-Noèlle, János Szász, Angelina Jolie, Virgil Widrich, Terrence Malick. Christian Berger developed the new “Cine Reflect Lighting System Berger/Bartenbach” in collaboration with Bartenbach Lichtlabor. In addition to creating new esthetic possibilities for the camera, this system gives actors and directors unprecedented flexibility and freedom. Berger employed this system for the first time to some degree in The Piano Teacher and exclusively used it to shoot films: Dead Man’s Memories, Ne Fais Pas Ça, Mein Mörder, Caché / Hidden, The White Ribbon, Ludwig Ii, The Notebook, By The Sea, The Night Of A Thousand Hours and most recently Happy End by Michael Haneke. Christian Berger is one of the most influential figures in the area of cinematography and it is an absolute honor to have him as FEST Film Lab speaker. Unquestionably it will be an unmissable session. WORKSHOP DESCRIPTION

The workshop will focus on a diversity of topics of the art of cinematography, specially the topic of light, you will have the chance of not only receive this knowledge from Christian Berger, 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 overall theme of the workshop will focus specially on the treatment of light.: Christian Berger is one of the inventors of the highly innovative CINE REFLECT LIGHTING SYSTEM, which he has used in several of his productions. Christian will also focus on the difference of working between digital and film. Chrstian will also show examples of how he achieved the look in a few of his films. The workshop will also cover the following topics: 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 LIGHT light meters Lighting Setup - Mood natural light location lighting studio lighting Night and day Lighting to suit actors Lighting plans how luminance and chrominance behave Light-night WORKSHOP LOCATION Lisbon, Portugal PROFILE OF PARTICIPANT The workshop designed for Cinematographers, Camera Operators, Gaffers Directors, Film Students, or anyone serious about a career in the Film Business on the area of cinematography. Duration: 2 days Dates: 6-7 October 2018 Location: LISBON, PORTUGAL Price: 499EUR SOLD OUT! for waitlist please email filmlab@fest.pt Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions All communications and confirmations will be sent to the email you use while making your workshop payment. If you wish to receive in another email please inform us on filmlab@fest.pt

02/03.06.2018London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK

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: 2-3 June 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until the 24th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.04.2018London UK
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. 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 Duration: 2 days Dates: 21-22 April 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until 16th of April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.04.2018London UK
DIRECTING ACTORS FOR FILM WORKSHOP WITH PETE TRAVIS SOLD OUT FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt

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: 21-22 April 2018 Location: LONDON UK Price: 499GBP (349GBP with 30% Discount Until 21st of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.04.2018London UK
WORKSHOP: AGENTS , THEIR INTERACTION WITH CLIENTS, AND THE DEVELOPING AND PACKAGING OF PROJECTS FOR THEM HOSTED WITH TIM CORRIE MARK HERMAN AND JAMES WATKINS

ABOUT TIM CORRIE

Educated at Reed’s School, Bristol University - where he was a founder member of the drama department in the sixties – and Bordeaux University, Tim Corrie enjoyed a fairly brief career in the film industry working on Isadora (Karel Reisz, 1968), The Adventurers (Lewis Gilbert, 1970) and Friends (Lewis Gilbert, 1971). After a two year stint with Paramount Pictures as Assistant to the UK’s Head of Production, he found his vocation working as a film agent for Kenneth Ewing at Fraser and Dunlop, one of the most respected talent and literary agencies in London at the time, where he represented film directors such as Ridley and Tony Scott and Mark Herman among many others. In 1989 he was one of the two principal architects of the merger between Fraser and Dunlop and A.D. Peters, helping to create Peters Fraser & Dunlop (PFD) that quickly became one of the top agencies in the UK with a clientele of nearly a thousand clients in the world of film, television, theatre and books. He eventually became co Chairman of PFD. Tim along with colleagues was one of the creators of United Agents after an acrimonious split with PFD in 2007. While with United Agents he chaired the BAFTA Television Committee in 2008, was Deputy Chairman of the Academy in 2009 and became the 40th Chairman of Bafta in 2010, the only agent to achieve that status so far. He remained with United Agents until 2012 representing writers, directors and producers in both film and television, and then went on working nearly four years as director and Chairman of Bob & Co., a successful production entity which has become a major player in the development and production of plays, films and television. He is now a director of DLT, a production company and agency housed in Bedford Square, London. JAMES WATKINS James Watkins is a film director and screenwriter, best known for directing The Woman in Black starring Daniel Radcliffe. He wrote and directed the critically acclaimed thriller Eden Lake, starring Michael Fassbender and Kelly Reilly. He has written scripts for Warner Bros, Working Title, Film4 and BBC Films. MARK HERMAN Mark Herman is a film director and screenwriter best known for writing and directing the 2008 film The Boy in the Striped Pyjamas. Herman’s first feature-length project was Blame It on the Bellboy, a comedy of mistaken identity starring Dudley Moore and Bryan Brown. Next, Herman wrote and directed the critically acclaimed Brassed Off, following the members of a colliery brass band, still struggling to survive a decade after the miners' strike. His most recent work is the adaptation of The Boy in the Striped Pyjamas. It was produced by David Heyman and stars David Thewlis, Vera Farmiga, Sheila Hancock and Rupert Friend. Herman directed and adapted the work. WORKSHOP DESCRIPTION: AGENTS , THEIR INTERACTION WITH CLIENTS, AND THE DEVELOPING AND PACKAGING OF PROJECTS FOR THEM The workshop with Tim Corrie will focus on a diversity of topics related to the profession of a talent agent. You will have the chance to not only receive this knowledge from Tim Corrie, but also interact in a very strong way, as the group will have up to 25 participants, making the experience extremely practical and interactive. After the general introduction to the work of a talent agent, Tim will analyze several case studies from his own career in a format of conversation with some of his clients and colleagues: MARK HERMAN, and JAMES WATKINS. This approach is aimed to present different perspectives and various aspect of a talent agent profession and the client-agent relationship. WORKSHOP SCHEDULE SATURDAY INTRODUCTION – TIM CORRIE the role of the agent in the industry; finding and choosing clients, understanding their needs; finding work for the clients across the industry (film, tv, theatre, books), recognizing the specificity of different media; negotiating, cultivating relationships in the industry with decision-makers; what does it take to be a good agent: integrity and values of an agent (downhill & uphill…); where to start (to find a job) as an agent – agents usually don’t mix clients; how to get an agent (for an actor writer/director); what if an actor/writer/director wants to leave the agency? what is a breach of contract? small, medium and best agencies in the UK and abroad. KEY STUDY: THE BOY IN THE STRIPED PYJAMAS – TIM CORRIE/MARK HERMAN A conversation between the agent and the director/writer/executive producer of the film from the genesis of the project to completion. the moment Tim has found the book and the decision to suggest it to Mark; Mark starting preparing the screenplay before the company has acquired the rights of the book ( the decision not to buy the rights personally not to change the dynamics); Fitting the project in with a pre-existing deal; Choosing cast & crew (no obligations towards the agency but faith in your agent’s skills) Protecting the director’s vision as an agent; The film’s launch: involvement of an agent in this process; pre-view screenings: old days/now; openings in different countries; profits. Anecdotes. SUNDAY KEY STUDY: THE WOMAN IN BLACK - TIM CORRIE/JAMES WATKINS An introduction from the clients’ point of view of the agent and the agency as essential fundamentals for a filmmaker to work professionally in the industry. an introduction to James Watkins and Tim Corrie careers; the client’s point of view: hopes/expectations/requirements regarding what an agent should do to help the artist to secure work; reasons that brought James Watkins to select United Agents as representative; production of Eden Lake and how it drove James’s career; Tim’s relationship with producer Richard Jackson at Talisman Films; Production of The Woman in Black: Attaching James to the project; Negotiating the deal; Setting up the production: James’s work on the script; Casting; Shooting; Post-production; Problems. The film’s launch: The opening; The critical reaction; The audience reaction. The financial returns. P.S.: In the event James Watkins is unable to attend the workshop, his position will be replaced by producer Richard Jackson (TBC). PROFILE OF PARTICIPANT The workshop designed for Film Agents, Junior Agents, Film Producers, Film Financiers, Directors, Film Students, or anyone interested in entering the Film Business on the area of Film Production. PRACTICAL DETAILS Location: London UK, University of Greenwich Dates: 21-22 April 2018 Duration: 2 days Price: 499GBP (349GBP with 30% discount until the 17th of april) 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 (319GBP with discount of 20% Until 16th of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

26/12.03.2018Portugal
BELA TARR 2 WEEK FILM DIRECTING WORKSHOP 26th of February to 11th of March 2018 WORKSHOP DESCRIPTION Hungarian filmmaker Bela Tarr will lead a practical two weeks Film Directing workshop in Espinho, Portugal. The workshop will give the opportunity to 12 participants to write and develop scripts in work groups of 4 participants who will work together to produce a short-film in these two weeks. The workshop will follow the logic of transmitting knowledge by practical work, being extremely practical. Béla Tarr will share his knowledge and experience with the participants while, at the same time, will respond to each participant’s personal history and artistIc practice, in order to guide them throughout the whole process of filmmaking. The workshop will not attend a right\wrong logic, but rather will be an insight on Bela Tarr's point of view of filmmaking and his personal process. The participants will be chosen directly by Béla Tarr. There is an application fee of 50EUR which will be reimburse to those who are selected. To make the application, you need to fill the application form and send us your portfolio and a motivation letter. “This is what I can say to young filmmakers: Go and be more radical, be more revolutionary than I was.” Béla Tarr ABOUT BELA TARR Béla Tarr (Pécs, 21 July 1955) is a Hungarian film director, widely regarded as one of the most influential film authors of the past thirty years. Béla Tarr began making amateur films at the age of 16. His amateur work brought him to the attention of the Bela Balazs Studios (named in honour of the Hungarian cinema theorist), which helped fund Tarr's 1979 feature debut “Family Nest”. The 1981 work “The Outsider” and the following year's “The Prefab People” continued in much the same vein, but with a 1982 television adaptation of Macbeth, his work began to change dramatically; comprised of only two shots, the first shot (before the main title) was five minutes long, with the second 67 minutes in length. After 1984's “Almanac of Fall”, Tarr (who had written his first four features alone) began collaborating with Hungarian novelist Laszlo Krasznahorkai for 1987's “Damnation”. A planned adaptation of Krasznahorkai's epic novel “Satantango” took over seven years to realize. The film, a 415-minute masterpiece, finally appeared to international acclaim in 1994. His 7 and a half hour masterpiece, won the Berlin International Film Festival Caligari Award, the Prix de l’Age d’Or award, and the National Society of Film Critics Award (USA) for experimental film. “The Man From London” (2007) was nominated for the Palme d’or at Cannes Film Festival. “Werckmeister Harmonies” (2000) was nominated for the Chicago Film Critics Association Award for Best Foreign Language Film and won two Hungarian Film Critics Awards. His last film “The Turin Horse” won the Berlin International Film Festival’s Silver Bear and FIPRESCI Awards, and the FIPRESCI Best Foreign Film Award at the Palm Springs International Film Festival. In January 2011, Bela Tarr joined the Board of Directors of the recently formed cinema foundation and NGO for human rights Cine Foundation International and in September of the next year, he received the BIAFF special award for lifetime achievement. LOCATION OF THE WORKSHOP ESPINHO, PORTUGAL Link for application form Until when I can apply? The call for applicantions will close on the 15th of December 2017. How can I apply? To make the application, you need to fill this Link and send us your portfolio and a motivation letter. There will also be an application fee which will be reimburse to those who were accepted. How many people will attend the workshop? Only 12 applicants will be selected. Who will make the official selection? The selection will be made by Béla Tarr and the portfolio and motivation will be taken into consideration. Since we accept only 12 applicants for the Bela Tarr program, we reserve the right to replace an unpaid applicant with someone from a waiting list of applicants. When do I know if I was selected? The official selection will be announced on the 8th of January 2018. How much does it cost? The application has an administrative fee of 50Eur. After the selection, the selected applicants will have to pay 1599€ to attend the workshop. The application fee will be reimbursed to those who are selected. What payment options do you accept? The payment must be done by PayPal. If you’re from a country which has not access to PayPal, please, contact us to filmlab@fest.pt and we will give you our bank details, so you can do the payment by bank transfer. How long will be the workshop? The workshop will occur during from the 26th of February to 11th of March 2018. It will start every day at 9:30am and it will end at 5:30pm with a break for lunch. Will the workshop be theoretical? No, the workshop will be essentially practical. What equipment will be provided? FEST FILM LAB organisation will provide shooting material. Where we can find accommodation? FEST FILM LAB organisation will help you finding the best accommodation option. Duration: 2 weeks Dates: 26th of February to 11th of March 2018 Location: Espinho, Portugal Price: 1599€ Maximum number of participants: 12 Timeline for the workshop Deadline for applications - 15th of December Selection announcement – 8th of January Workshop – 26th of February to 11th of March By registering to the workshop you agree with FFL terms and Conditions
20/21.01.2018Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI SOLD OUT

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 17th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
Film Financing in an Entrepreneurial Age 20-21 January 2018 BERLIN

Venue Partner DBS Berlin

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 17th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

20/21.01.2018Berlin
1st ASSISTANT DIRECTOR WORKSHOP WITH RALPH REMSTEDT

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 21st of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.12.2017London UK
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Introduction of the participants and the Mick Audsley, the participants will then be showed some clips of the work made by Mick Audsley , analyzing some choices and options made in some of his works. Mick will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute scene) to work on one week 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. Mick Audsley 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. 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

London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (349GBP Until 14 of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

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 14th November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.10.2017London UK
GARETH WILEY FILM PRODUCING AND FINANCING WORKSHOP SOLD OUT, FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt

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, (375GBP discount of 30% until 23rd of October) 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 26th of October) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

08/09.07.2017London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK LAST 4 PLACES!

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

08/09.07.2017London UK
EDITING AND VFX EDITING WORKSHOP WITH MARK SANGER

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 PARTICIPANT

The 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
20/21.05.2017Porto, Portugal
EDITING WORKSHOP

This workshop is organized in partnership with UPTEC PINC LAST 2 PLACES ABOUT TARIQ ANWAR

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 (425EUR Until 10th of May) 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:
20/21.05.2017Porto, Portugal
FILM DIRECTING WORKSHOP WITH FERNANDO TRUEBA

This workshop is organized in partnership with UPTEC PINC ABOUT FERNANDO TRUEBA The Spanish director, born 18 January 1955, started off his career as a film critic - first for the Spain's leading daily newspaper El País and La Guía del Ocio, then for monthly film magazine Casablanca, which he founded and directed during its first two years. At the same time he also wrote and directed several short films. His first feature “Opera Prima” was released in 1980 and became successful on both sides of the Atlantic, bringing him Best First Feature award at Chicago IFF and AGIS Award at Venice Film Festival. Since then he dedicated himself to screenwriting and directing career, releasing a new film almost every year, including such titles as “The Mad Monkey” (6 Goya awards) or “Year of Enlightenment” (Chicago IFF Best Feature award). He became a major figure in the early nineties after the premiere of “Belle Epoque” which won over 20 awards worldwide, including an Oscar, a BAFTA, a Goya and a nomination at the Berlinale. In 1998 he also scored a major hit with “The Girl of Your Dreams” winning another Goya award among many other prizes. He has managed to conciliate his work with his love for music, in particular Latin Jazz, by dedicating himself to projects where both aspects merge together, such as in the acclaim documentary “Calle 54” and the European Film Award winner animation feature “Chico and Rita”, which was also nominated for Oscar. His latest great success was black and white film “The artist and the model”, awarded at San Sebastian Film Festival and nominated for 25 other awards. His most recent work was “The Queen of Spain” with Penélope Cruz, also nominated for several prizes. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Fernando Trueba, 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 receive the feedback to unblock situations in the future. The topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History as an ally Auteur versus Industry DIY - the low budget approache The writer/director The genius myth Understanding your abilities GETTING THERE The steps before you go into production The development process Getting Financing Agents/managers/lawyers Producers and writers Hollywood vs. Europe PREPPING Aesthetic overview: look and story The crew Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera ADs SHOOTING The politics Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy The Master shot trap The second unit POST PRODUCTION Working with the editor Digital VFX Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION Porto Portugal PROFILE OF PARTICIPANT The workshop is designed for Directors, Film Producers, ADs, Film Students, or anyone serious about a career in the Film Business on the area of Directing. Duration: 2 days Dates: 20-21 May 2017 Location: Porto, Portugal Price: 499€ (399€ Until 15th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

08/09.04.2017Porto | Portugal
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH

This workshop is organized in partnership with UPTEC PINC ABOUT STUART DRYBURGH

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 31 March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.03.2017London UK
PRODUCTION SOUND MIXING WORKSHOP LAST FEW PLACES

ABOUT CHRIS MUNRO

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: http://www.imdb.com/name/nm0613101/ 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

25/26.02.2017London UK
FILM LAW DEVELOPMENT PRODUCTION AND EXPLOITATION DEALS

ABOUT KAMI NAGHDI

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

28/29.01.2017London UK
CINEMATOGRAPHY WORKSHOP WITH MICHAEL COULTER

ABOUT MICHAEL COULTER

Oscar nominated DOP Mick Coulter was born in Scotland in 1952. He was introduced to the local film business by his director brother-in-law, the late Charles Gormley. He started as a gopher for local production companies making 'industrial films', before moving on to load the b&w stock into camera magazines at football matches. He went freelance in 1975 and soon became acquainted with writer/director Bill Forsyth and, having recently purchased a 16mm camera, was invited to use it as the DOP on Forsyth's first feature 'That Sinking Feeling'. During 1982-83 Coulter operated for Chris Menges on Forsyth's next pictures, 'Local Hero' and 'Comfort and Joy', which Coulter describes as 'unmissable opportunities to work with a man I admired tremendously.' During the early '80s he also worked on many documentaries. After working as an assistant in France, for cinematographer Pierre-William Glenn, he returned to the UK where he truly flourished. He got a head start as DOP in 'No Surrender', when the original DOP had to pull out. It was all uphill from there on and today Mick Coulter is well recognized for his range: he does comedy, period and action with ease. He worked in films comedies like “Four Weddings and a Funeral”, “Love Actually”, “Notting Hill”; in the period piece “Sense and Senbility” (starring Emma Thompson and Kate Winslet, which earned him an Oscar nomination); and in the action-packed “The Bank Job”, starring Jason Statham. He also works in commercials regularly, earning accolades for his work for brands such as British Airlines, Burberry, Mercedez, The New York Times, Dupont, among many others. 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 Mick Coulter, 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 Mick Coulter applies 30 years of shooting on film to shooting in the digital age, and what 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 London UK 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. Duration: 2 days Dates: 28-29 January 2017 Location: LONDON UK Price: 449GBP (337GBP with 25% Discount Until 17th January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.01.2017London UK
FILM DIRECTING WORKSHOP WITH PETE TRAVIS SOLD OUT FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt

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 Film Directing workshop will focus on a diversity of topics of the art of directing a film, 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, Film Students, or anyone serious about a career in the Film Business on the area of Directing 16 hours Duration: 2 days Dates: 28-29 January 2017 Location: LONDON UK Price: 449GBP (314GBP with 30% Discount Until 8th January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

07/08.01.2017Berlin
Film Financing in an Entrepreneurial Age ONLY ONE PLACE LEFT!

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

Berin, Germany 16 hours Duration: 2 days Dates: 7-8 January 2017 Location: Berlin, Germany Price: 499EUR (375EUR Until the 23rd of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

07/08.01.2017Berlin
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI ONLY 1 PLACE LEFT!

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: 7-8 January 2017 Location: Berlin, Germany Price: 499EUR (399EUR with 20% discount until the 27th of December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.11.2016London UK
GARETH WILEY FILM PRODUCERS WORKSHOP SOLD OUT

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 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: 12th - 13th of November 2016 Location: London UK Price: 399GBP, (319GBP discount of 20% until 4th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
04/05.11.2016Abu DHabi
SOUND EDITING WORKSHOP WITH EDDY JOSEPH This workshop is organized in partnership with NYU Abu Dhabi

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 NYU Abu Dhabi, Saadiyat Marina District - Abu Dhabi - United Arab Emirates 16 hours Duration: 2 days Dates: 4th 5th November 2016 Location: Abu Dhabi, UAE Price: 599USD (449USD with discount of 25% Until 26 October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

17/18.09.2016London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES WORKSHOP FULL

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: 17-18 September 2016 Location: London UK Price: 399GBP (299GBP with 25% discount until 12th September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

09/10.07.2016London UK
STORYBOARDING WORKSHOP WITH TEMPLE CLARK LAST PLACES

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: 9-10 July 2016 Location: London UK Price: 399GBP (279GBP with 30% discount until the 25th of June) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

28/29.05.2016London UK
PRODUCTION DESIGN WORKSHOP WITH ALLAN STARSKI

ONLY 5 PLACES LEFT 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 University of West London, London UK Duration: 2 days Dates: 28-29 May 2016 Location: London UK Price: 399GBP (299GBP with 25% Early Bird discount until the 15th of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

21/22.05.2016Barcelona Spain
EDITING WORKSHOP WITH CHRIS DICKENS ONLY 2 PLACES LEFT

ABOUT CHRIS DICKENS

In 1990, Chris Dickens graduated from the Bournemouth Film School. He began his filmmaking career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC. During this time he began to cut comedies and later he crossed over to cutting dramas. While working on the TV series Spaced, Dickens developed a relationship with writer-director Edgar Wright and went on to edit his first feature film, the cult hit SHAUN OF THE DEAD. Other features edited by Chris Dickens include GONE, HOT FUZZ, GOAL! THE DREAM BEGINS, and SEED OF CHUCKY. It was his work on the Best Picture Oscar®-winner and globally recognized SLUMDOG MILLIONAIRE that truly stamped Chris Dickens’ signature in the world of editing. He’s the recipient of a “triple crown” of editing awards—the Academy Award® for Film Editing, BAFTA Award for Best Editing, and the American Cinema Editors Award for Best Edited Feature Film (Dramatic)—for his work on SLUMDOG MILLIONAIRE. During over 20 years in the industry, the British editor has worked in such different titles as Richard Ayoade’s debut feature film “Submarine” (2010), Greg Mottola’s “Paul” (2011), and Tom Hooper’s “Les Misérables”. Being one of the most innovative and original editors in film today Chris Dickens’ Workshop is sure to be a unique experience. Full list of credits on http://www.imdb.com/name/nm0225323/ Chris Dickens experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP 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 Chris Dickens, 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 topics covered on the workshop will be: Introduction of the participants and Chris, the participants will then be showed some clips of the work made by Chris , analyzing some choices and options made in some of his works. Chris will focus on how to help the story flow through the editing, and his best processes. The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work 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. Chris 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. 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 ECIB Barcelona Spain ECIB is the venue partner for this workshop Duration: 2 days Dates: 21-22 May 2016 Location: ECIB Spain Barcelona Price: 499EUR 399EUR with 25% discount until the 18th of May Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.03.2016London UK
SOUND EDITING WORKSHOP WITH GLENN FREEMANTLE

SOLD OUT for waiting list please email filmlab@fest.pt ABOUT GLENN FREEMANTLE Glenn Fremantle began work in the cutting rooms at the age of 16 and has since become one of the UK’s most experienced sound designers, with more than 100 films to his credit. Over the past 40 years he has produced soundtracks for films from all over the world, working with some of the industries best known directors and producers, including Danny Boyle and Richard Curtis. He picked up a Best Sound Editing Oscar and Best Sound BAFTA for Gravity – about which he said in Sound and Picture: “We wanted to do something different that pushed boundaries. Director Alfonso Cuarón wanted to make the kind of film with the biggest picture and the best sound.” – as well as a Best Sound BAFTA and an Oscar nomination for Slumdog Millionaire. He also received an award nomination for 28 Days Later from Motion Picture Sound Editor and a CONCH award for Sunshine, and recognition for his work on 127 Hours, An Education, Backbeat, The Golden Compass, Bruc. La llegenda and Agora, Recent credits include A Theory of Everything, Ex Machina, Paddington and Steve Jobs. Currently he is working on a number of new projects, including Long Live the King, which relates the rapturous effect of Elvis on a group of deprived teenagers in the 1950s, and a new Tarzan film. Full list of credits on http://www.imdb.com/name/nm0293634/ Glenn Freemantle 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 Glenn Freemantle, 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 University of West London, Ealing, London UK 16 hours Duration: 2 days Dates: 12th - 13th March 2016 Location: London UK Price: 399GBP (319GBP with 20% Discount Until 9th of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Conditions

12/13.03.2016London UK
GARETH WILEY FILM PRODUCERS WORKSHOP SOLD OUT for waiting list please email filmlab@fest.pt

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 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: 12th - 13th of March 2016 Location: London UK Price: 399GBP, (319GBP discount of 20% until 6th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
27/28.02.2016London UK
FILM LAW DEVELOPMENT PRODUCTION AND EXPLOITATION DEALS

ABOUT KAMI NAGHDI SOLD OUT email filmlab@fest.pt for waiting list

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: 27-28 February 2016 Location: LONDON UK Price: 399EUR (299GBP Until 25th of February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

23/24.01.2016London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES

SOLD OUT. FOR WAITING LIST PLEASE EMAIL filmlab@fest.pt 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: 23-24th January 2016 Location: London UK Price: 349GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

23/23.01.2016London UK
MICK AUDSLEY EDITING WORKSHOP

ABOUT MICK AUDSLEY Mick Audsley is one of the leading feature film editors in activity. His career includes over 50 titles across film and television, as well as collaborations with directors such as Stephen Frears, Terry Gilliam, Mike Newell and Neil Jordan and working on films such as "Interview with the Vampire" "12 Monkeys" "High FIdelity" "Harry Potter and the Goblet of Fire" or more recently "Everest". After completing his postgraduate at the Royal College of Art film school, Mick Audsley began his film editing career at the British Film Institute Production Board, where he worked with writer director Bill Douglas cutting the final film of Douglas’ autobiographical trilogy My Way Home. What was to become an extensive collaboration with Stephen Frears began with Walter (1982, a TV movie starring Ian McKellen). His work with Frears continued since, and has brought Audsley a nomination for the BAFTA Award for Best Editing for Dangerous Liaisons (1988), as well as a BAFTA TV Award (Best Film or Video Editor Fiction/Entertainment) for The Snapper (in 1993). Audsley has had a comparably extended collaboration with director Mike Newell, including Harry Potter and the Goblet of Fire (2005). His collaboration with Terry Gilliam include editing Twelve Monkeys (starring Bruce Willis and based on Chris Marker’s La Jeteé) and, more recently, the critically acclaimed The Zero Theorem (in 2013). Mick Audsley also edited Interview with the Vampire: The Vampire Chronicles (directed by Neil Jordan, 1994), High Fidelity (directed by Stephen Frears, 2000) and, most recently, Everest, working with Icelandic director Baltasar Kormákur. Mick’s work also include supervising editing and editing consulting for features, as well as shorts and TV series. Mick is right now one of the most accomplished and sought of editors in activity, and will surely deliver a wonderful workshop based on his extensive knowledge of the subject. WORKSHOP DESCRIPTION

Introduction of the participants and the Mick Audsley, the participants will then be showed some clips of the work made by Mick Audsley , analyzing some choices and options made in some of his works. Mick will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute scene) to work on one month 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. Mick Audsley 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. 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

University of West London, London, UK 16 hours Duration: 2 days Dates: 2-3 December 2017 Location: LONDON UK Price: 499GBP (319GBP Until 16 December) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

24/25.10.2015Hong Kong
Film Financing in an Entrepreneurial Age

The workshop will take place at CYBERPORT HONG KONG the venue sponsor of the workshop.

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

The workshop will take place at CYBERPORT HONG KONG the venue sponsor of the workshop. 16 hours Duration: 2 days Dates: 24-25 October Location: CYBERPORT HONG KONG Price: 4500HKD (3150HKD discount of 30% Until 19th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.09.2015Lisbon | Portugal
CINEMATOGRAPHY WORKSHOP WITH STUART DRYBURGH SOLD OUT

ABOUT STUART DRYBURGH

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 Lisbon, 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: 12-13 September 2015 Location: LISBON, PORTUGAL Price: 499EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

12/13.09.2015Lisbon | Portugal
EDITING WORKSHOP

About Hervé Schneid: Hervé Schneid is a French editor that in the last 38 years built up an impressive career. We can safely say Hervé Schneid is one of the greatest film editors in activity. Hervé Schneid has cut more than fifty films of different genres but he has become best known for his long-lasting collaboration with French director Jean-Pierre Jeunet on films Delicatessen (1991), Alien: Resurrection (1997), Amélie (2001), A Very Long Engagement (2004), The Young and Prodigious Spivet (2013). Apart from work with Jeunet Hervé Schneid edited Lars von Trier's Europa (1991), an adaptation of Virginia Woolf's Orlando (1992) made by Sally Porter, experimental poems Kinogamma One and Kinogamma Two (2008), crime thriller Mesrine: Public Enemy No. 1 (2008), he has also edited Michel Vaillant(2003) and Zidane, un portrait du 21e siècle (2006) he his currently editing the directional début film of Natalie Portman "A Tale of Love and Darkness" Hervé Schneid filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP 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 Hervé Schneid, 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 topics covered on the workshop will be: Introduction of the participants and Hervé, the participants will then be showed some clips of the work made by Hervé , analyzing some choices and options made in some of his works. Hervé will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute 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. Hervé 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. 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 16 hours Duration: 2 days Dates: 12-13 September 2015 Location: Lisbon, Portugal Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
30/31.05.2015344 West 38th New York USA
ACTING WORKSHOP

Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most awarded actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, more recently premier the film “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. WORKSHOP DESCRIPTION This 2 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this two-day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script Participants should also bring one scene, and one monologue to work on specific. In this small group interaction is done on a great level, real life problems of actors will be addressed by Melissa Leo, at the end of the last day you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. WORKSHOP LOCATION Penny Templeton Studio 344 West 38th St., Suite 204, New York PROFILE OF PARTICIPANT The workshop is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business 16 hours Duration: 2 days Dates: 30-31 May 2015 Location: Penny Templeton Studio 344 West 38th St., Suite 204, New York Price: 699USD Maximum number of participants: 20 By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
23/24.05.2015LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER PETER WEBBER is one of the most interesting British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Webers experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 23-24 May 2015 Location: London UK Price: 399GBP (319GBP Until 21st of May) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

09/10.05.2015BARCELONA | SPAIN
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 ECIB Escola de Cinema de Barcelona 16 hours Duration: 2 days Dates: 9th and 10th May 2015 Location: Barcelona Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Conditions

09/10.05.2015BARCELONA | SPAIN
EDITING WORKSHOP

This workshop is organized in partnership with ECIB Barcelona

ABOUT TARIQ ANWAR

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

ECIB C/ Girona, 54, 08009 Barcelona Spain 16 hours Duration: 2 days Dates: 9-10 May 2015 Location: BECIB C/ Girona, 54, 08009 Barcelona Spain Price: 449 EUR (359 Until 6th May) 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:
10/11.04.2015Abu Dhabi UAE
FILM PRODUCERS WORKSHOP. SOLD OUT

This workshop is organized in partnership with NYU Abu Dhabi

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 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

NYU Abu Dhabi, Saadiyat Marina District - Abu Dhabi - United Arab Emirates 16 hours Duration: 2 days Dates: 10th to 11th of April Location: Abu Dhabi UAE Price: 625USD, (469USD discount of 25% until 8th April) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
21/22.03.2015LONDON / UNITED KINGDOM
MUSIC COMPOSING FOR FILM

LAST PLACES

ABOUT ALEX HEFFES

Alex Heffes was born in the UK. He had an unorthodox education at a small specialist music school in London where he was immersed in music every day from an early age. After graduating from Oxford with a first-class degree he first worked as an arranger, then writer on projects covering the musical spectrum from steel band to symphony orchestra with artists such as Elton John and members of Blur. It was his scores to Kevin Macdonald's Academy Award-winning films ONE DAY IN SEPTEMBER, THE LAST KING OF SCOTLAND and BAFTA-winning TOUCHING THE VOID that brought him to international attention. His reputation as a composer who is truly at home with the orchestra as well as electronics has given him a unique and unusually varied output. He received his first BAFTA nomination for his score to the HBO drama TSUNAMI: THE AFTERMATH and has gone on to score across an incredible variety of genres including Charles Ferguson's Academy Award-winning INSIDE JOB, the US No.1 box office movie THE RITE starring Anthony Hopkins, Catherine Hardwicke's fantasy thriller RED RIDING HOOD, Peter Webber’s World War II drama EMPEROR starring Tommy Lee Jones and ESCAPE PLAN starring Silvester Stallone and Arnold Schwarzenegger. He collaborated with director Tim Burton on his screen adaptation of SWEENEY TODD starring Johnny Depp and Helena Bonham Carter. His score to STATE OF PLAY starring Russell Crowe and Ben Affleck featured a collaboration with classic British rock producer Flood and during the scoring of THE LAST KING OF SCOTLAND Alex traveled to Uganda to record and produce many of the bands featured on the soundtrack. His score to the short film BOY was featured at the opening ceremony of the Olympic velodrome at the 2012 London Olympics. Alex’s score to MANDELA: THE LONG WALK TO FREEDOM features vocals from South African legend Caiphus Semenya. His scores have met wide critical acclaim. The Los Angeles Daily news said of THE LAST KING OF SCOTLAND it has “the best and weirdest soundtrack I've heard all year” while his score to EMPEROR was described as “phenomenal, recalling the days of Patton, or Tora! Tora! Tora! by Jerry Goldsmith” (Presspass LA), “stunningly beautiful yet strikingly simple” (Film Music Media) and “an epic score brilliantly mastered by Heffes” (JMH Digital). His solo album project FACE TO FACE featured collaborations with artists such as Ryuichi Sakamoto, Regina Spektor and Matthew Barley. His music has appeared in concert performed by the City of Birmingham Symphony Orchestra, the Brussels Philharmonic, the Oman Symphony Orchestra and at the London Jazz Festival. In 2013 Alex's score to Mandela: Long Walk to Freedom was nominated for a Golden Globe. Other scores scores have been nominated for BAFTA, Ivor Novello, European Film Academy, NAACP, Black Reel and ASCAP awards. In 2011 he was awarded discovery of the year by the World Soundtrack Academy and in 2012 was awarded best film score of the year at the Ivor Novello Awards in London. 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 not only receive this knowledge from Alex Heffes, 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 work, and receiving the feedback to unblock situations in the future. The topics covered on the workshop will be: HOW DO I BECOME A FILM COMPOSER? Introduction to Alex 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: Alex 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? 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 Film Composers, Film Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Music Composing for Film. 16 hours Duration: 2 days Dates: 21.22 March 2015 Location: London UK Price: 399GBP (319GBP discount of 20% Until 17th March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
14/15.02.2015Berlin, Germany
TECHNIQUES OF DIRECTING 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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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. In these workshops, the participants didn’t learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened – the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Producers, Film Students. 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. 16 hours Dates: 14-15 February 2015 Location: Berlin Germany Price: 449.99 EUR (359 until 9th February, or while places last) Vacancies: 25 REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
31/01.02.2015Amsterdam
Film Financing in an Entrepreneurial Age

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

Amsterdam Film School, Herengracht 425 1017 BR Amsterdam, Netherlands 16 hours Duration: 2 days Dates: 31st of January and 1st of February Location: Amsterdam Price: 449EUR Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

10/11.01.2015LONDON / UNITED KINGDOM
EDITING WORKSHOP WITH CHRIS DICKENS

Workshop full, for waiting list please email filmlab@fest.pt

ABOUT CHRIS DICKENS In 1990, Chris Dickens graduated from the Bournemouth Film School. He began his filmmaking career as a film and linear editing assistant in television documentaries at Channel 4 and the BBC. During this time he began to cut comedies and later he crossed over to cutting dramas. While working on the TV series Spaced, Dickens developed a relationship with writer-director Edgar Wright and went on to edit his first feature film, the cult hit SHAUN OF THE DEAD. Other features edited by Chris Dickens include GONE, HOT FUZZ, GOAL! THE DREAM BEGINS, and SEED OF CHUCKY. It was his work on the Best Picture Oscar®-winner and globally recognized SLUMDOG MILLIONAIRE that truly stamped Chris Dickens’ signature in the world of editing. He’s the recipient of a “triple crown” of editing awards—the Academy Award® for Film Editing, BAFTA Award for Best Editing, and the American Cinema Editors Award for Best Edited Feature Film (Dramatic)—for his work on SLUMDOG MILLIONAIRE. During over 20 years in the industry, the British editor has worked in such different titles as Richard Ayoade’s debut feature film “Submarine” (2010), Greg Mottola’s “Paul” (2011), and Tom Hooper’s “Les Misérables”. Being one of the most innovative and original editors in film today Chris Dickens’ Workshop is sure to be a unique experience. Full list of credits on http://www.imdb.com/name/nm0225323/ Chris Dickens experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP 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 Chris Dickens, 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 topics covered on the workshop will be: Introduction of the participants and Chris, the participants will then be showed some clips of the work made by Chris , analyzing some choices and options made in some of his works. Chris will focus on how to help the story flow through the editing, and his best processes. The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work 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. Chris 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. 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 Craven Street, WC2N 5PE London United Kingdom Timetable: 09:00-18:00 Duration: 2 days \ 16 hours Dates: 10-11 January 2015 Location: London UK Price: 399GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

10/11.01.2015LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH NIGEL COLE

ABOUT NIGEL COLE Nigel Cole is a Long Established British Film Director. The movie hit Calendar Girls is among many of his achievements. Nigel has directed in his films actors such as Helen Mirren (Calendar Girls) Ashton Kutcher (A Lot Like Love) Bob Hoskins and Sally Hawkins (Made In Dagenham) among many others. His work as an independent film director has garnered him an award in the Sundance Film Festival, as well as nominations for the BAFTAs, the British Independent Film Awards and the Satellite Awards. Nigel Cole began his career in the 1980s, directing current affairs shows and documentaries for Central Independent Television. Into the 1990s, Cole co-wrote the play “Sod” with Arthur Smith, which he also directed and presented at the Pleasance during the 1993 Edinburgh Festival. For television Cole has directed episodes of the shows “Peak Practice”, “Cold Feet” and more recently “Doc Martin”. Among his work for television are also episodes of the TV Series Documentaries “In the Wild” and “Nature”. In film he has directed acclaimed films such as “Saving Grace”, “A Lot Like Love”, “Made in Dagenham”, with Sally Hawkins and more recently “The Wedding Video” which was released in 2012. “Saving Grace” won the World Cinema Audience Award at the 2000 Sundance Film Festival and gained him a nomination for Best Director at that year's British Independent Film Awards. “Made in Dagenham” received a BAFTA nomination as Best British Film and a nomination for the Satellite Award for Best Film – Musical or Comedy. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Nigel Cole, 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 work-frame of the workshop will be: Day One: 10 January 1.The job of a director, getting work. What producers want. How to get started. Finding a niche. Agents. Managers. Producers. How to understand them. Role play exercises. How to take a meeting. 2.Finding a story. Finding material. Finding characters. Taking them on a journey. Working with writers. 3. Development Telling a story. Shaping a script. Analysis of selected scenes from Made In Dagenham and Calendar Girls from various stages of development. 4. Getting it set up First cast. Attracting stars. Persuading them to do it. Getting your script read. How films are financed. DAY TWO 11 JANUARY 1. Prepping a film. Breaking down a script. Planning the look. Casting. Finding out about actors. Working with them in casting sessions. Role play. How to audition. Locations. Art department. Designers. What they do. Preparing shot lists. Why storyboards are you enemy. Workshop : how to stage a scene. Using scenes from made in Dagenham and others we block and plan coverage for a scene. Then compare with finished film. 2. Shooting a film. How to manage a crew. Working with actors on set. What to do when it gets difficult. Workshop. Rehearsing actors and how to give notes. Role play with selected scenes. Working with a schedule. How to make it work for you. Focusing on the story. How to know what's important. 3. Editing How it works. What editors actually do. Shaping the scene. With examples from several films. Including a comparison of a rough cut and a final cut of a scene. Shaping the story. Pace and structure. Testing. Showing it to an audience. What to listen to and what to ignore. Music. The directors best friend. How to work with a composer. 4.Selling What it's like to have a film released. How to deal with criticism. The press. The internet. Why you need to have another job before the last has finished. PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 10th and 11th of January Location: Raindance Film Centre 10 Craven Street WC2N 5PE London UK Price: 399GBP (279GBP with discount of 30% Until 8th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

01/02.11.2014LONDON UK
FILM PRODUCERS 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 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, Directors, Film Students, or anyone interested in entering the Film Business on the area of Film Production. 16 hours Duration: 2 days Dates: 1st and 2nd of November Location: London Price: 399GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
25/26.10.2014PARIS / FRANCE
EDITING WORKSHOP

About Hervé Schneid: Hervé Schneid is a French editor that in the last 38 years built up an impressive career. We can safely say Hervé Schneid is one of the greatest film editors in activity. Hervé Schneid has cut more than fifty films of different genres but he has become best known for his long-lasting collaboration with French director Jean-Pierre Jeunet on films Delicatessen (1991), Alien: Resurrection (1997), Amélie (2001), A Very Long Engagement (2004), The Young and Prodigious Spivet (2013). Apart from work with Jeunet Hervé Schneid edited Lars von Trier's Europa (1991), an adaptation of Virginia Woolf's Orlando (1992) made by Sally Porter, experimental poems Kinogamma One and Kinogamma Two (2008), crime thriller Mesrine: Public Enemy No. 1 (2008), he has also edited Michel Vaillant(2003) and Zidane, un portrait du 21e siècle (2006) he his currently editing the directional début film of Natalie Portman "A Tale of Love and Darkness" Hervé Schneid filmography speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP 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 Hervé Schneid, 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 topics covered on the workshop will be: Introduction of the participants and Hervé, the participants will then be showed some clips of the work made by Hervé , analyzing some choices and options made in some of his works. Hervé will focus on how to help the story flow through the editing, and his best processes.The relation with the director DOP, and other members of the film crew, How to apply the craft in different genres. Creating visual narratives while working with sound, music and special effects. How to be a part of the whole process of film and television production and not merely as the final stage, becoming true collaborators, not just efficient technicians. How to edit you characters (practical examples of problem solving and good decisions) How to serve the narrative through effective editing How to employ narrative techniques to create tension The impact of genre on editing styles The market reality for Editors, Agents, Rates, and finding your own work Practical exercise. The participants will be given footage (a small 2 minute 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. Hervé 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. 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 16 hours Duration: 2 days Dates: 25-26 October 2014 Location: Paris France Maximum number of participants: 25 WORKSHOP FULL By registering to the workshop you agree with FFL terms and Conditions
18/19.10.2014LONDON / UNITED KINGDOM
SOUND EDITING WORKSHOP WITH EDDY JOSEPH

LAST 2 PLACES! 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 Roehampton University, London 16 hours Duration: 2 days Dates: 18th and 19th of October Location: London Price: 399GBP ((299GBP discount of 25% Until 15th October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

11/12.10.2014LONDON / UNITED KINGDOM
TRICKS OF THE SOUND TRADE

About David Macmillan David is one of the most important sound mixers in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description: Film makers have always understood the power that Sound and Music have to enhance story telling. Silent films had no dialogue or sound effects, but used organists and occasionally live orchestras along with effects created by in theatre specialists to strengthen the emotional effect of the film. We will take an overview of how film has changed from silents to todays multi speaker systems like Dolby Atmos. The road to recognition for film makers is in submitting their films to festivals and competitions etc. but the jury will immediately reject them if the sound is bad. The purpose of this workshop is to understand the power of good sound, and the pocesses necessary to realize this. David 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,the growing power of television and with the budgets being squeezed, 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. Boom mikes always preferred, they should always be available and open on the set. We will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and mikes, and how to work around noisy cloathing, skimpy women’s wear/or none, noisy atmosphere and the multi challenges we face in our efforts to get good usable sound. He 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. We will see how dialogue, sound effects, musical score, songs and post sound mixing all come together to create 50% of the film experience. 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 Venue Roehampton University 16 hours Duration: 2 days Dates: 11-12 October 2014 Location: London Price: 399GBP, Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
20/21.09.2014Amsterdam
FILM DIRECTING WORKSHOP WITH PETER WEBBER

PETER WEBBER is one of the most interesting British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Webers experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION Amsterdam Film School Herengracht 425, 1017 BR Amsterdam, Netherlands PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 20-21 September 2014 Location: Amsterdam Price: 499EUR, (425 Until 15th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.08.2014Cyberport Hong Kong
TECHNIQUES OF DIRECTING ACTORS CYBERPORT is our venue partner for this workshop We have the very last places to offer for this workshop, as we want a full class we are offering 50% discount on the last few places, grab your place while they last. 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 principal. Unlike other forays into improvisation, AJAMI had a very precise screenplay and a well-constructed plot that demanded precise 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. In these workshops, the participants didn’t learn about text, goals, mise-en-scene or acting tricks. The focus was on the psychological journey of the characters through dramatic role-playing. Eventually, each actor deeply identified with his or her character as though the character was an extension of their own personality. When the cameras started rolling, something magical happened – the actors forgot that they were in a fictional situation and their minds believed that what was happening was real. Throughout the 2 days-workshop, participants will learn and experience the technique that Scandar uses during the preparations of his actors as well as during the shoot. PROFILE OF PARTICIPANT The workshop is designed to Directors, Actors, Film Students. 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. 16 hours Dates: 2-3 August 2014 Location: Cyberport Hong Kong Price: 5500HKD (2750 until 28th July, or while places last) Vacancies: 25 CYBERPORT is our venue partner for this workshop REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
10/11.05.2014344 West 38th New York USA
ACTING WORKSHOP

Melissa Leo is one of the most in demand actresses in the world right now, Winner of an Oscar for her performance on “The Fighter” Melissa will surely be one of the great actresses of our time, and is step by step also becoming one of the most awarded actresses in activity. Melissa Leo was born on September 14, 1960, in New York City. Leo starred as the mother of boxer Mickey Ward in the 2010 film The Fighter, also starring Mark Wahlberg. The role garnered her both Golden Globe (best supporting actress) and Oscar awards. Other accolades include award nominations for the film Frozen River and the HBO series Mildred Pierce. Leos breakthrough role came in 1993, when she began playing Detective Sergeant Kay Howard on the NBC series Homicide: Life on the Street. Melissa rose back to prominence with an impressive performance as a wife of an addict in the 2003 film 21 Grams. Her role garnered an award nomination for best supporting actress from the L.A. Film Critics Association. Many film opportunities followed, including The Three Burials of Melquiades Estrada (2005) with Tommy Lee Jones, Hollywood Dreams (2006) and Black Irish (2007). Leo went on to win acclaim for her performance as a struggling mother in the heralded film Frozen River (2008), most notably Independent Spirit Award, Screen Actors Guild and Academy Award nominations—all in the best actress category. More films followed, including Everybodys Fine (2009) with Robert DeNiro, Conviction (2010) with Hilary Swank and The Fighter (2010) with Mark Wahlberg. In the latter film, she garnered wide acclaim for her performance, including a Golden Globe and an Academy Award, both in the best supporting actress category. Moving back to TV in 2011, Leo showcased her talent in the HBO series Mildred Pierce, starring alongside Kate Winslet; she earned an Emmy nomination (outstanding supporting actress in a miniseries or movie) for her role as Lucy Gessler in the series. Leo went on to work on several projects, including “Oblivion” (2013), with Tom Cruise and Morgan Freeman, which show us Melissa in a different genre, but always keeping it faithful to her choice for strong and captivating women, who immediately jump from the screen. Also in 2013 Melissa Leo went on working in The Butler, also featuring Forest Whitaker, Jane Fonda and Oprah Winfrey. That same year, she won an Emmy Award for her guest appearance on the sitcom Louie. Later in 2013 she premiered her most recent film the highly praised “Prisioners” starring along with Hugh Jackman and Jake Gyllenhaal, she wll also soon premier the film “The Equalizer” alongside Denzel Washington and “The Angriest Man in Brooklyn” alongside Robin Williams. WORKSHOP DESCRIPTION This 2 days acting Workshop with Melissa Leo is an one of a kind opportunity for those who are serious in acting as well as those with some theatre experience looking to brush up on their skills in front of the camera. In this two-day intensive course, you will learn from the experience of Melissa Leo who will introduce you to the several techniques she uses in acting for screen, while giving you an insight into what goes on behind the camera. By the end of the workshop you should have a clearer insight on: - Confidence in acting for the screen - Have an understanding of how to use voice and movement effectively - Gain a clear understanding of key methodologies - Have in-depth knowledge and understanding of the film industry - Have clear career goals and the confidence to pursue them - The Do’s & Don’ts of the Audition Process - Recognize the importance of the actor/director relationship - Effectively breakdown and analyze every scene in your script Participants should also bring one scene, and one monologue to work on specific. In this small group interaction is done on a great level, real life problems of actors will be addressed by Melissa Leo, at the end of the last day you will also be able to discuss problems you faced in your own career and ask for feedback from Melissa Leo. WORKSHOP LOCATION Penny Templeton Studio 344 West 38th St., Suite 204, New York PROFILE OF PARTICIPANT The workshop is designed for actors who are serious about their career, or prospective actors who seriously want to enter the film business By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
03/04.05.2014LONDON / UNITED KINGDOM
FILM DIRECTING WORKSHOP WITH PETER WEBBER

SOLD OUT

PETER WEBBER is without a doubt one of the greatest British Film Directors in activity. Girl with a Pearl Earring, starring Scarlett Johansson and Colin Firth, marked Webber’s feature film debut in a most impressive way. The film has received numerous accolades including 3 Academy Award Nominations, 2 Golden Globe Nominations, 10 BAFTA Award Nominations and many others. Webber was then tapped by Dino de Laurentis to direct “Hannibal Rising”. Based on Thomas Harris’ upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, Peter has recently releases a new Feature Film “Emperor”, Starring Tommy Lee Jones, and Mathew Fox. Peter Webber started his career with his short film, The Zebra Man, straight out of film school a film about sideshow performer Horace Ridler starring Minnie Driver. He then worked as a film editor, beginning his association with Girl with a Pearl Earring producers Andy Paterson and Anand Tucker on Tucker’s drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz. Peter Weber\\\\\\\\\\\\\\\'s experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION The Film Directing workshop will focus on a diversity of topics of the art of directing a film, you will have the chance of not only receive this knowledge from Peter Webber, 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 topics covered on the workshop will be: THE ESSENCE OF THE CRAFT Film History is your friend. Developing a hinterland Auteur versus Industry – the realities of the business. DIY - low budget approaches The writer/director conundrum The genius myth Understanding your abilities GETTING THERE Looking at the steps before you go into production The development process Raising finance Producers and writers Hollywood versus Europe Agents/managers/lawyers The One Hour Meeting PREPPING Aesthetic overview – the look and the story Crewing up Casting and auditioning Location hunting Rehearsing/working with actors before the shoot Storyboarding How to work with: Art department Costume Camera Assistant directors Planning for Digital VFX SHOOTING The politics – picking your battles The fear Planning your day Blocking the scene Shotlists Storyboards on set Shooting strategy Blocking the scene The Master shot trap The second unit POST PRODUCTION Working with an editor Digital VFX in post Guide music Working with a composer Test screenings ADR Sound Design Grading The final sound mix Test screenings INTO THE WORLD Film Festivals The Press The Internet and Social Media WORKSHOP LOCATION UCL, University College of London, Philip Ulman Wing, London UK PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, or anyone serious about a career in the Film Business on the area of Directing. 16 hours Duration: 2 days Dates: 3-4 May 2014 Location: London Price: 349.99 GBP Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions SOLD OUT

08/09.02.2014BERLIN / GERMANY
LAST PLACES WITH 20% DISCOUNT 296 Euros Per Person (Old Price 369) Special Effects, Prosthetics, Make up and Mould Workshop

Colin Arthur is a living-legend of Special Effects! In the 1960’s he was to assistant Ray Harryhausen with his stop-motion model animation movies like the Sinbad films and the original Clash of the Titans! He also created Falkor and other creatures for Never Ending Story. One of the highlights of his career is without a doubt his work with Stanley Kubrick in 2001: A Space Odyssey, where he was responsible together with Stuart Freeborn for the development and production of the Ape masks in the Dawn of Man sequence. Colin also worked with John Millius in Conan, The Barbarian. More recently he and his team at Dream Factory were involved with films such as Open Your Eyes (Abre los Ojos), Sexy Beast and Talk to Her (Habla con Ella). Colin Arthur applies his knowledge of electronics, mechanical and hydraulic engineering together with sculpture and make up artistry to convey levels of creativity and emotion in fantasy as well as the more realistic. His achievements in the industry have gained Academy Awards and nominations, Goya Award, Special Mention at the Cannes Film Festival for best special effects, Emmy award for special Make-up, and recognition at the New York Producers Festival, among others. PROFILE OF PARTICIPANT The workshop is to Directors, Art Directors, Production Designers, Film Students, Make-up Artists, Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business. WORKSHOP SCHEDULE AND DESCRIPTION Day one 8 February Morning Introduction of the participants to Colin and his work, with clips from films and commercial projects. The participants will then be shown various aspects of his work throughout the decades, analysing the evolution and development of both these and some career choices that have endured and served him well. A wealth of anecdotes from the industry, the vital links between directors and the creative teams, the technicians, the actors and the broad spectrum of knowledge required to deliver SFX both creatively and technically. “The impossible we can do, miracles take a little longer”! Afternoon The participants will be given the option to work on filling moldes with different materials, prosthetics, or make-up in preparation for filming a short sequence. They will be given short tutorials on these subjects and start developing the work under supervision. The class will be divided in two teams, and get an assignment as if they were on a film production. Colin and his wife, Sarah have a wealth of experience on project development from first concepts to the final wrap. Day Two 9 February Morning The participants will continue working on their short effects clips with one to one advice when needed. Afternoon After the projects have been developed and photographed, the whole class will present and discuss their choices and learn from each other’s work. Colin will give a personal assessment. The participants should be conscious of the reasoning behind their technical and creative decisions at all levels as well as developing an understanding of options taken by their fellow participants. Colin will discuss the importance of accurate budgeting as an essential and necessary part of any work, both before commencement and retrospectively and his views on how to evaluate your own assignment in a production. By registering to the workshop you agree with FFL terms and Conditions REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:
16/16.11.2013SANDNES / NORWAY
About David Macmillan David is one of the most important sound department experts in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description The road to recognition for filmmakers is in submitting their films to festivals/competitions etc. and the committee that reviews them will immediately cancel them out if the sound is bad. David will start with a talk about his work, his recording philosophy and examples from previous films. He will explain how film recording has changed due to a number of factors, for example, multiple cameras, shooting wide and tight, lighting that would cover the different sized lenses and the methods we choose to create the proper sound perspective. David will show how multi track recording enables mixers to isolate individual microphones and how they are always available to sound editors even when they’re not on the mixed master track. Participants will look at the different types of recorders and mixers available for location recording. David will give instructions on boom operating and how a boom operator works under difficult lighting conditions and what those conditions entail. David will also evaluate and discuss the different types of microphones and when and where and how you would use them. David will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and microphones and how to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and many other challenges faced in getting good usable sound. Participants will be given projects to see how they handle different situations themselves, and have it recorded so that we could review and critique afterwards. Students would take different roles so they would appreciate the necessity for communication with other crew members and how to get Camera, Electric, Grip and Costume departments to work together with the Sound Department. David will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate 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.
12/13.11.2013LONDON / UNITED KINGDOM
Oscar Nominated Alex Rodriguez is without a doubt one of the most talented film editors of his generation, he was the responsible of one of the best edited films of this century, “Children of Men” which will for many years to come still be presented in editing classes on film schools everywhere in the world. Alex Rodriguez, who was nominated for an Oscar in 2007, produced a special workshop which is a unique experience to enhance any knowledge in the area, with a top expert. Alex Rodriguez in just over a decade became a world established editor, notably known for his work with Alfonso Cuarón, working on his most successful films from which we can quote the marvelous “Y tu mama tambien” (And your mum too), “Harry Potter and the Prisoner of Azkaban” and “Children of Men” which allowed him to have as Oscar nomination for Best achievement in editing in 2007. Working in these films made him edit scenes with actors such as Gael Garcia Bernal, Clive Owen, Diego Luna, Julianne Moore, Michael Caine, and many others. By the age of 42 Alex Rodriguez has managed more than 20 Features and gain a name to himself as a reference in the area in the present and in the years to come. 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. Day one Morning Introduction of the participants and the experts, the participants will then be showed some clips of the work made by Alex Rodriguez, analyzing some choices and options made in some of his works, as well as getting into on what was behind of some of his editing. Afternoon The participants will be given footage to work on, the footage that will consist of 5 shots will be equal to all participants and shot by Alex Rodriguez himself. After going through the footage as a group everyone will start editing by themselves, with the help of Alex Rodriguez as advisor when needed. Day Two Morning The participants will continue editing the footage, with one on one advice when needed. Afternoon The editing should be completed, and all participants will show their work, the group will then analyze each editing, and learn from each other’s work. Alex Rodriguez will give his insight on each edited version of the film. 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. 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
05/06.10.2013LONDON / UNITED KINGDOM
David is one of the most important sound department experts in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card. Workshop Description The road to recognition for filmmakers is in submitting their films to festivals/competitions etc. and the committee that reviews them will immediately cancel them out if the sound is bad. David will start with a talk about his work, his recording philosophy and examples from previous films. He will explain how film recording has changed due to a number of factors, for example, multiple cameras, shooting wide and tight, lighting that would cover the different sized lenses and the methods we choose to create the proper sound perspective. David will show how multi track recording enables mixers to isolate individual microphones and how they are always available to sound editors even when they’re not on the mixed master track. Participants will look at the different types of recorders and mixers available for location recording. David will give instructions on boom operating and how a boom operator works under difficult lighting conditions and what those conditions entail. Davis will also evaluate and discuss the different types of microphones and when and where and how you would use them. David will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and microphones and how to work around noisy clothing, skimpy women’s wear/or none, noisy atmosphere and many other challenges faced in getting good usable sound. Participants will be given projects to see how they handle different situations themselves, and have it recorded so that we could review and critique afterwards. Students would take different roles so they would appreciate the necessity for communication with other crew members and how to get Camera, Electric, Grip and Costume departments to work together with the Sound Department. David will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate 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 VENUE LOCATION The workshop will be held at the Roehampton University, London
21/22.10.2013STAVANGER / NORWAY
Etgar Keret is an Israeli writer and filmmaker known for his short stories, graphic novels, and scriptwriting for film and television. Etgar’s first feature film, which he directed with his wife Shira Geffen won the Golden Camera award in the Cannes Film Festival. His books have received international acclaim and have been published in more than 22 languages. As a filmmaker, Keret’s first short film Skin Deep won prizes at several international film festivals, and was awarded an Israeli Oscar. Jellyfish , was his first feature film as a director. As well as winning the Camera D’Or at Cannes he and his partner Shira Geffen won the Best Director Award from the French Artists and Writers’ Guild. Keret has also worked in Israeli television and film. In 2006, Wristcutters: A Love Story, a dark comedy/love story based on Keret’s novella Kneller’s Happy Campers, premiered at the Sundance Film Festival. $9.99, a stop motion animated feature film, was released in 2009. Written by Keret and directed by Tatia Rosenthal and featuring the voices of Geoffrey Rush, Anthony LaPaglia. Over 40 short films have been based on his stories. In 2010 a short feature film based on Keret’s story was released. An Exclusive novella was adapted and directed by the young Polish director Krzysztof Szot. The film, also known as Wyłączność, was presented at the Cannes Film Festival. As a writer Keret’s first published work was Pipelines, His second book, Missing Kissinger, caught the attention of the general public. In 1998, Keret published Kneller’s Happy Campers. His collection The Nimrod Flipout was chosen by the L.A. Times and the Boston Phoenix as one of the best books of 2006. In 2007 he was shortlisted for “the world’s richest short story award”, for his collection Missing Kissinger. In Israel he has received the Book Publishers Association’s Platinum Prize several times, as well as the Prime Minister’s Prize, and the Ministry of Culture’s Cinema Prize. In 2006 he was chosen as an outstanding artist of the prestigious Israel Cultural Excellence Foundation. In 1993 he won the first prize in the Alternative Theater Festival in Akko for Entebbe: A Musical, which he wrote with Jonathan Bar Giora. In 2010, Keret received the Chevalier (Knight) Medallion of France’s Ordre des Arts et des Lettres. What others have to say about Etgar: “A brilliant writer…completely unlike any writer I know. The voice of the next generation.” — Salman Rushdie “Keret can do more with six . . . paragraphs than most writers can with 600 pages.” — Kyle Smith, People “One of the most important writers alive – enchantingly witty” – Clive James Workshop Description Over two days the workshop will discuss the principles and methods of writing. You will be given insight of problems encountered in depiction of characters and plot. Examples from Keret’s work inprose writing and films will be presented discussed and analyzed. The workshop will stimulate story ideas, help writers develop those stories and find theirvoices. It will also pay attention to the writing process and look at methods to promote regular writing habits. A variety of exercises and explanations of different aspects of storytelling will be presented. These exercises might seed new ideas but also aim to open the participants’ minds to new ways of thinking. It will also provide you with the concepts and practices you need to be aware of before diving in, such as Ideas generation, theme, plot, tone and character. The workshop will only be available to a small group of 25 people maximum, enabling the one on one exchange of knowledge and feedback. In the workshop Etgar will also explore and explain his 10 Commandments for writing, which are the following: 1. Make sure you enjoy writing. Writers always like to say how hard the writing process is and how much suffering it causes. They’re lying. People don’t like to admit they make a living from something they genuinely enjoy. Writing is a way to live another life. Many other lives. The lives of countless people whom you’ve never been, but who are completely you. Every time you sit down and face a page and try—even if you don’t succeed—be grateful for the opportunity to expand the scope of your life. It’s fun. It’s groovy. It’s dandy. And don’t let anyone tell you otherwise. 2. Love your characters. For a character to be real, there has to be at least one person in this world capable of loving it and understanding it, whether they like what the character does or not. You’re the mother and the father of the characters you create. If you can’t love them, nobody can. 3. When you’re writing, you don’t owe anything to anyone. In real life, if you don’t behave yourself, you’ll wind up in jail or in an institution, but in writing, anything goes. If there’s a character in your story who appeals to you, kiss it. If there’s a carpet in your story that you hate, set fire to it right in the middle of the living room. When it comes to writing, you can destroy entire planets and eradicate whole civilizations with the click of a key, and an hour later, when the old lady from the floor below sees you in the hallway, she’ll still say hello. 4. Always start from the middle. The beginning is like the scorched edge of a cake that’s touched the cake pan. You may need it just to get going, but it isn’t really edible. 5. Try not to know how it ends. Curiosity is a powerful force. Don’t let go of it. When you’re about to write a story or a chapter, take control of the situation and of your characters’ motives, but always let yourself be surprised by the twists in the plot. 6. Don’t use anything just because “that’s how it always is.” Paragraphing, quotation marks, characters that still go by the same name even though you’ve turned the page: all those are just conventions that exist to serve you. If they don’t work, forget about them. The fact that a particular rule applies in every book you’ve ever read doesn’t mean it has to apply in your book too. 7. Write like yourself. If you try to write like Nabokov, there will always be at least one person (whose name is Nabokov) who’ll do it better than you. But when it comes to writing the way you do, you’ll always be the world champion at being yourself. 8. Make sure you’re all alone in the room when you write. Even if writing in cafés sounds romantic, having other people around you is likely to make you conform, whether you realize it or not. When there’s nobody around, you can talk to yourself or pick your nose without even being aware of it. Writing can be a kind of nose-picking, and when there are people around, the task may become less natural. 9. Let people who like what you write encourage you. And try to ignore all the others. Whatever you’ve written is simply not for them. Never mind. There are plenty of other writers in the world. If they look hard enough, they’re bound to find one who meets their expectations. 10. Hear what everyone has to say but don’t listen to anyone (except me). Writing is the most private territory in the world. Just as nobody can really teach you how you like your coffee, so nobody can really teach you how to write. If someone gives you a piece of advice that sounds right and feels right, use it. If someone gives you a piece of advice that sounds right and feels wrong, don’t waste so much as a single second on it. It may be fine for someone else, but not for you. Who is this aimed at? This course is aimed at writers who want to learn the art of screenwriting or filmmakers who want to develop their writing skills. Writers who are excited about writing for the screen, who have a background in writing for other mediums, directors who are seeking to write their own feature script and writers who wish to establish long-term mentoring relationships with development professionals. In partnership with Filmkraft Rogaland AS
04/04.05.2013LONDON / UNITED KINGDOM
Laurence Bennett is a production designer with a lifelong achievement, recognition of his work has earned him an Oscar and BAFTA Nomination, as well as winning a Cesar. Laurence Bennett’s feature production design credits include IN THE VALLEY OF ELAH, FREEDOM WRITERS, TRAITOR, THE NEXT THREE DAYS, and Academy Award Best Picture CRASH (2006 ADG nomination). For 2012 Academy Award Best Picture THE ARTIST he received Oscar, BAFTA, ADG and BFCA nominations, and was awarded the César by the Académie des arts et techniques du cinéma. In January he finished THIRD PERSON, Bennett’s fourth feature collaboration with writer/director Paul Haggis. Filmed entirely in Italy, the movie tells the stories of three relationships: in NYC, Paris, and Rome. Stars Liam Neeson, Mila Kunis, James Franco, Olivia Wilde, Adrian Brody. Laurence also worked on Director Robert Redford’s THE COMPANY YOU KEEP premiered at the Venice Film Festival, and was an official selection of the Toronto and Stockholm festivals. Sony Pictures Classics will release in US April, 2013. Stars Redford, Julie Christie, Shia LaBeouf, Nick Nolte, Susan Sarandon, Stanley Tucci, Chris Cooper, Richard Jenkins. Television pilots and series include GREY’S ANATOMY, ONCE AND AGAIN, MR. STERLING, MIRACLES, EZ STREETS, AND THIEF. Bennett was educated at Occidental College, Los Angeles and Waseda University, Tokyo. After a stint in VISTA he moved to Ireland for ten years before returning to Los Angeles to work in film. Travel continues to be an essential part of his life–he has worked on films throughout the United States and in Canada, England, France, Morocco, and Argentina. Workshop Description - Production Design Workshop CHOICES – Visualizing a narrative Every project is unique. How to approach the design of a film is the most critical and often most difficult decision. The answer is seldom discovered easily or quickly. Finding the key the way into the design of a film is essential. That essential key can inform and shape every choice, every decision throughout the art direction process. The workshop will explore approaches to finding the essential ideas, emotions, concepts and imagery that can shape the design of a film: - Finding the visual arcs within the story - Identifying thematic elements - Emotional tones - Subjective vs objective - Research - Underscoring vs contrasting - Developing and presenting ideas Working with the script for a short film, participants will begin this discovery process, putting together a very brief presentation of how the visual arc of the film will reflect, support and enrich the narrative. Individual counseling will be available as time permits. A group review/discussion will wrap up the session. Workshop Timetable Day 1 - 4th May Morning: Introduce the topic; Laurence will show short clips from my work (THE ARTIST, CRASH, ELAH) and discuss the thinking that developed the design for each movie. Discussion and Q&A. Afternoon: Participants will select a short script (I will try to bring two or three–or students could work with one they have brought)–and will begin working on the film’s art direction. I will be available to counsel, ask and answer questions, bounce ideas off. Day 2 - 5th May Morning: Participants will continue work on the presentation of their projects. Afternoon: Brief presentations, followed by critique/group discussion WORKSHOP VENUE LOCATION The workshop will be held on The King’s College “The Strand Campus”, Strand, London, WC2R 2LS, UK.
27/28.04.2013LONDON / UNITED KINGDOM
Colin Arthur is a living-legend of Special Effects! In the 1960’s he was to assistant Ray Harryhausen with his stop-motion model animation movies like the Sinbad films and the original Clash of the Titans! He also created Falkor and other creatures for Never Ending Story. One of the highlights of his career is without a doubt his work with Stanley Kubrick in 2001: A Space Odyssey, where he was responsible together with Stuart Freeborn for the development and production of the Ape masks in the Dawn of Man sequence. Colin also worked with John Millius in Conan, The Barbarian. More recently he and his team at Dream Factory were involved with films such as Open Your Eyes (Abre los Ojos), Sexy Beast and Talk to Her (Habla con Ella). Colin Arthur applies his knowledge of electronics, mechanical and hydraulic engineering together with sculpture and make up artistry to convey levels of creativity and emotion in fantasy as well as the more realistic. His achievements in the industry have gained Academy Awards and nominations, Goya Award, Special Mention at the Cannes Film Festival for best special effects, Emmy award for special Make-up, and recognition at the New York Producers Festival, among others. PROFILE OF PARTICIPANT The workshop is to Directors, Art Directors, Production Designers, Film Students, Make-up Artists, Sculptors, Decorative Artists, Prop makers Art Students, or anyone interested in entering the Film Business. WORKSHOP SCHEDULE AND DESCRIPTION Day one 27 April Morning Introduction of the participants to Colin and his work, with clips from films and commercial projects. The participants will then be shown various aspects of his work throughout the decades, analysing the evolution and development of both these and some career choices that have endured and served him well. A wealth of anecdotes from the industry, the vital links between directors and the creative teams, the technicians, the actors and the broad spectrum of knowledge required to deliver SFX both creatively and technically. “The impossible we can do, miracles take a little longer”! Afternoon The participants will be given the option to work on filling moldes with different materials, prosthetics, or make-up in preparation for filming a short sequence. They will be given short tutorials on these subjects and start developing the work under supervision. The class will be divided in two teams, and get an assignment as if they were on a film production. Colin and his wife, Sarah have a wealth of experience on project development from first concepts to the final wrap. Day Two 28 April Morning The participants will continue working on their short effects clips with one to one advice when needed. Afternoon After the projects have been developed and photographed, the whole class will present and discuss their choices and learn from each other’s work. Colin will give a personal assessment. The participants should be conscious of the reasoning behind their technical and creative decisions at all levels as well as developing an understanding of options taken by their fellow participants. Colin will discuss the importance of accurate budgeting as an essential and necessary part of any work, both before commencement and retrospectively and his views on how to evaluate your own assignment in a production. WORKSHOP VENUE LOCATION The workshop will be held on The King’s College “The Strand Campus”, Strand, London, WC2R 2LS, UK.
08/09.09.2013STAVANGER / NORWAY
Oscar Nominated Alex Rodriguez is without a doubt one of the most talented film editors of his generation, he was the responsible of one of the best edited films of this century, “Children of Men” which will for many years to come still be presented in editing classes on film schools everywhere in the world. Alex Rodriguez, who was nominated for an Oscar in 2007, produced a special workshop which is a unique experience to enhance any knowledge in the area, with a top expert. Alex Rodriguez in just over a decade became a world established editor, notably known for his work with Alfonso Cuarón, working on his most successful films from which we can quote the marvelous “Y tu mama tambien” (And your mum too), “Harry Potter and the Prisoner of Azkaban” and “Children of Men” which allowed him to have as Oscar nomination for Best achievement in editing in 2007. Working in these films made him edit scenes with actors such as Gael Garcia Bernal, Clive Owen, Diego Luna, Jullianne Moore, Michael Caine, and many others. By the age of 37 Alex Rodriguez has managed to edit close to 20 Features and gain a name to himself as a reference in the area in the present and in the years to come. SCHEDULE Day one Morning Introduction of the participants and the experts, the participants will then be showed some clips of the work made by Alex Rodriguez, analyzing some choices and options made in some of his works, as well as getting into on what was behind of some of his editing. Afternoon The participants will be given footage to work on, the footage that will consist of 5 shots will be equal to all participants and shot by Alex Rodriguez himself. After going through the footage as a group everyone will start editing by themselves, with the help of Alex Rodriguez as advisor when needed. Day Two Morning The participants will continue editing the footage, with one on one advice when needed. Afternoon The editing should be completed, and all participants will show their work, the group will then analyze each editing, and learn from each other’s work. Alex Rodriguez will give his insight on each edited version of the film. 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.
01/02.10.2011PORTO / PORTUGAL
Nancy Bishop, C.S.A., is an Emmy-nominated casting director, author, acting coach, and head of the Film Acting Department at the Prague Film School. Her most recent credits include Mission: Impossible – Ghost Protocol, starring Tom Cruise, Jeremy Renner, and Paula Patton, and written by J.J. Abrams and directed by Brad Bird. With more than 60 major feature film and television projects among her credits, Nancy has cast and instructed literally hundreds of actors throughout Europe, the United Kingdom and the U.S. Nancy has been retained as casting director by dozens of major feature film and television producers and directors, including George Lucas, ‘Red Tails’, Joel Schumacher ‘Bad Company’ and Roman Polanski’s ‘Oliver Twist’. She also was nominated for an Emmy Award for her casting work on ‘Anne Frank: The Whole Story’, ABC/Disney Studios. Now in addition to a busy casting schedule, Nancy continues to guest lecture internationally, offering on-camera master classes and seminars to develop an actor’s on-camera skills and career marketing. In 2009 she founded the Acting For Film Program at the Prague Film School, which offers an intensive, conservatory style training (half year or full year) program for actors in English. She is also very active on the International Film Festival Circuit, where she regularly produces seminars and partakes in panel discussions and symposiums on the casting process. She is a member of the Casting Society of America and the International Network of Casting Directors. Although based in Prague, Czech Republic, she works throughout Europe and the U.S Day 1 – Screen Acting Technique Actors will watch and critique actual film castings of successful actors and discuss the techniques they used. Actors then participate in a series of exercises that develop effective methods that work on camera. Material covered will include close-up vs. wide shot techniques, playing an inner monologue and playing in the eyes. At the end of class, actors will be assigned two scenes to prepare for mock castings the next day. Day 2 – Strategies for Screen Casting Actors will apply the techniques they learned on Day One to perform two casting sessions in front of camera, followed by a critique. The scenes, chosen from actual film scripts from projects that Nancy has cast, will include a variety of genres ranging from historical drama, to action/thriller to sci-fi. Each participant will get one-on-one coaching in front of the camera with Nancy.