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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:

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 30th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

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 21st 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:

28/29.01.2023London 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: 28th - 29th of January 2023 Location: London UK Price: 499GBP (325GBP Until 23rd 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:

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 17th 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 spa

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 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 spa

03/06.04.2023Online
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: 3rd to the 6th of April 2023 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 2nd 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