Film Financing in an Entrepreneurial Age


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 (359EUR discount of 20% Until 30th January) 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:


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 19th January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

Workshop full, for waiting list please email

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 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


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