Eddy Joseph SOUND EDITING Workshop London 3-4 March 2018 London
GARY YERSHON MUSIC COMPOSING FOR FILM WORKSHOP London 21-22 April 2018
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 2nd of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
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
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 (2007), Freedom Writers (2007), Traitor (2008), The Next Three Days (2010), 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. After this great succes he worked on Robert Redford’s The Company You Keep (2012) and Third Person (2013), Bennett’s fourth feature collaboration with writer/director Paul Haggis, starring Liam Neeson, Mila Kunis, James Franco, Olivia Wilde and Adrian Brody. We can also see his work in Dark Places (2015), mysterious drama with Charlize Theron, Nicholas Hoult and Christina Hendricks. Recently, he finished Above Suspicion - a crime thriller directed by Phillip Noyce with Emilia Clarke and Jack Huston. The film will premiere in US this year (the exact date has not been announced yet). Television pilots and series include Grey’s Anatomy (2005), Once And Again (1999-2002), Mr. Sterling (2003), Miracles (2003), Ez Streets (1996-97), Thief (2006), Show Me A Hero (2015) and The Deuce (2017). Currently he’s working on a TV series The Resident. 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. 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 Visualizing a narrative The Production Design workshop with Laurence Bennett will focus on a diversity of topics of the craft, you will have the chance of not only receive this knowledge from Laurence Bennett, 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. Every project is unique. How to approach its design is the most critical, and often most difficult, decision. 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 Underscoring vs contrasting Research Developing and presenting ideas Working with the script for a short film, participants will begin this discovery process, putting together a brief presentation of how the visual arc of the film will reflect, support and enrich the narrative. Individual counseling available as time permits. 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
London UK Duration: 2 days Dates: 21-22 April 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until the 26th of January) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
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. 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, SEAN GASCOINE 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 MORNING 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. AFTERNOON KEY STUDY: HELL OR HIGH WATER – SEAN GASCOINE FROM UNITED AGENTS an introduction to Sean Gascoine career; production of Hell or Hogh Water and how it drove David Mackenzie career; Relationship with producer of the film; Production of Hell or High Water: Attaching David to the project; Negotiating the deal; involvement of an agent in this process; Setting up the production: 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 (TBC) Dates: 21-22 April 2018 Duration: 2 days Price: 499GBP (349GBP with 30% discount until the 9th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions.
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 14th of March) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions
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/ Richard Morrison 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 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 2 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 London UK Duration: 2 days Dates: 2-3 June 2018 Location: London UK Price: 449GBP (299GBP with 33% discount until 9th February) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions