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10/11.01.2015LONDON / UNITED KINGDOM
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”. 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 Timetable: 09:00-18:00 Duration: 2 days \ 16 hours Dates: 10-11 January 2015 Location: London UK Price: 399GBP (359GBP discount of 10% Until 10th November) 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: London UK Price: 399GBP (299GBP with discount of 25% Until 28th of November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

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 (359EUR discount of 20% Until 23rd November) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions

02/03.11.2014LONDON / UNITED KINGDOM
CASTING FOR ACTORS WORKSHOP WITH NANCY BISHOP

ONLY 1 PLACE LEFT!

ABOUT NANCY BISHOP

Emmy-award nominated, American Casting Director, Nancy Bishop, has cast nearly 100 international film and TV projects, from her base in Prague. She has cast for major feature films including and Mission Impossible IV, Roman Polanski’s Oliver Twist, Prince Caspian, and Bourne Identity. Recent credits include Child 44 produced by Ridley Scott and starring Tom Hardy, and Gary Oldman, and Snowpiercer starring Chris Evans and Tilda Swinton. She has been teaching film acting throughout Europe, the UK, and the US for many years. In addition, Nancy is the founding head of the Acting for Film Department at the Prague Film School, and author of the best selling book, “Secrets from the Casting Couch.” About Nancy’s best-selling book (published by Methuen Drama) Secrets from the Casting Couch:Why is it that so many good actors don’t perform well at auditions? Secrets from the Casting Couch gives practical advice for actors, written from a casting director’s point of view, teaching the craft of film auditionin g in front of camera. This best-selling book shows how actors can work with today’s internet technologies to book roles, and features advice and actual exercises that achieve results in the casting studio. The book will be available for a discounted price of 12 EUR. Nancy Bishop, CSA Casting Director and author, of Secrets from the Casting Couch, offers special workshop in London, 1-2 November, 2014. WORKSHOP DESCRIPTION

This two day intensive workshop is designed for actors seeking work in the international market. Actors will learn essential skills in marketing, cold reading and on-screen auditioning technique. Each actor will get professional feedback on his\her headshot, and scene work. Class Schedule: Sunday 2nd November, 2014 10:00 Meet at venue for welcome coffee and orientation. 10:30 Marketing Seminar for International Work In this seminar, actors will learn how to present themselves for international work; how to crack into the US and European markets. Marketing skills covered will include how to - accomplish a winning self-taped audition - develop an effective CV, - chose a key photo for headshots, - create a show reel and website. 13:00 Lunch 14:00-15:30 Archetype Workshop Actors should bring their photos and CVs for discussion. The class will view and critique one another’s headshots, helping to pinpoint a key archetypal image for each actor. 15:30-17:00: Cold Reading Technique exercises. In this sections, actors will learn how to scan a and perform a cold text. 17:00 Scene assignments will be assigned for mock audition on Sunday. Monday 3rd November 2014 10:30-13:00 Master Class: Scene Study. Actors will further develop auditioning and screen acting skills with a mock casting by taping and reviewing scenes. 13:00-14:00 Lunch 14:00-17:30 Continuation of shooting scenes, followed by critique. 17:30 Farewell drink. 15 hours Duration: 2 days Dates: 2-3 November 2014 Location: London UK Price: 399GBP (359GBP Until 27th October) Maximum number of participants: 20 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 (279 with 30% Discount until 23rd October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions