is a new creative venture which runs regular progressive film related training courses in Moscow using internationally renowned movie industry professionals and teachers. Current courses are focused on film acting and directing, but future workshops will include areas such as producing, scriptwriting, camera, production design, film score and editing.
The purpose of our Workshops is to give Moscow-based film students and professionals a new, broader perspective on the film making process that both challenges and enhances film making methods taught and practiced in Russia.
- to bring top professional film-makers to Russia to share their experience and knowledge with local artists through intensive master-classes and round-table discussions and forums;
- to organise specialised film festivals and screenings reflecting the most relevant and innovative developments in international film-making, showing films that otherwise would not be available to Russian film-makers;
- to establish the International Film School (Moscow) offering full-time film courses
ANNOUNCEMENT (MARCH 2008)
The first IRISH FILM FESTIVAL
of award-winning Feature Films will take place in Moscow between May 28 and June 1, 2008. The IFF
is supported by the Embassy of Ireland in Russia, and the Irish Government's Culture Ireland.
The film screenings will take place at the 35 MM CINEMA
in central Moscow and will feature 10 of Ireland’s best feature films.
The festival aims to inform Russians about Irish culture as well as entertain them with the riches of some of the most internationally acclaimed films from the past 20 years. To facilitate this, Question and Answer sessions attended by the films’ actors and/or directors will be held after several of the screenings.
All films will be shown in English with Russian translation.
The list of films is:
• The Field (1990), directed by Jim Sheridan, starring John Hurt, Richard Harris.
• In the Name of the Father (1993), directed by Jim Sheridan, starring Daniel Day-Lewis.
• Michael Collins (1996), directed by Neil Jordan, starring Liam Neeson, Julia Roberts.
• I went down (1997), directed by Paddy Breathnach, starring Brendan Gleeson.
• The Butcher Boy (1997), directed by Neil Jordan, starring Eamonn Owens, Stephen Rea.
• Bloody Sunday (2002), directed by Paul Greengrass, starring James Nesbitt.
• Intermission (2003), directed by John Crowley, starring Colin Farrell, Cillian Murphy.
• Adam and Paul (2004), directed by Lenny Abrahamson, starring Mark O'Halloran.
• The Wind that Shakes the Barley (2006), directed by Ken Loach, starring Cillian Murphy.
• Once (2007), directed by John Carney, starring Glen Hansard, Marketa Irglova.
The IFF’s opening will be held in 35 MM CINEMA
on the evening of May 28 prior to a screening of ‘The Butcher Boy’
to be attended by award winning actor Eamonn Owens.
Sponsorship Enquiries to firstname.lastname@example.org
THE INTERNATIONAL FILM WORKSHOP
will continue to hope that sooner or later we extend the opportunity to exchange information with the international film-making and artistic community. Until that moment arrives, we are obliged - primarily for financial reasons - to suspend all further master-classes. At such a time that the thousands of people who have visited our site or contacted us by email tell us that these classes are necessary, we will gladly continue to introduce film-makers here to some of the more forward thinking tutors and thinkers currently working in the non-Russian speaking world.
'DEAD DAUGHTERS' DP FYODOR LYASS VISITS LOS ANGELES WITH THE INTERNATIONAL FILM WORKSHOP (see DIARY
JUDITH WESTON – ACTING FOR DIRECTORS
udith Weston’s goal is to improve communication between actors and directors - and to help filmmakers make movies that are truthful as well as entertaining.
Many of Judith’s students have been winners and nominees for Academy Awards, Emmys, and awards of prestigious film festivals.
The two thousand directors, writers, producers, cinematographers, editors, and studio executives who have taken the Acting for Directors workshop include the directors of such feature films as THE BELIEVER, which won the 2001 Sundance Grand Jury prize, and AMORES PERROS, a winner of many festival awards and an Academy Award foreign film nominee this year. Directors of television shows include THE SOPRANOS, 24, NYPD BLUE, ER, EVERYBODY LOVES RAYMOND, FRIENDS, THE PRACTICE, LAW AND ORDER, JUDGING AMY, GILMORE GIRLS, DAWSON'S CREEK, ED, THE X-FILES, etc.
Judith Weston is the author of "DIRECTING ACTORS," which is required reading for directors, actors, writers and producers around the world, from film schools to Hollywood studios. Her second book, "THE FILM DIRECTOR'S INTUITION," breaks new ground in the relationships among directors, actors, and characters.
Judith teaches workshops for directors and actors in Los Angeles. She also travels with her workshops to Europe, Canada, New Zealand, Australia, and US cities including New York, San Francisco, Seattle, and Chicago, and has been on the faculty of the American Film Institute and the Los Angeles Film School.
ACTING FOR DIRECTORS, WRITERS AND PRODUCERS - THE ACTING CLASS FOR INDUSTRY PROFESSIONALS ON THE OTHER SIDE OF THE CAMERA
Deepen your communication with actors and inspire them to do their best work.
Establish an open-hearted and positive authority with your cast.
Write dialogue that's real and that actors can speak with conviction.
"Everything you taught me was more than useful. I am deeply grateful."
ALEJANDRO GONZALEZ IÑARRITU, director/producer, 21 GRAMS, AMORES PERROS, Academy Award® nominated Best Foreign Film
"Judith Weston is an extraordinarily gifted teacher. She doesn't so much explain as she changes your consciousness of the creative process and restores your confidence in it, through acting."
DAVID CHASE, writer, director and executive producer, THE SOPRANOS, NORTHERN EXPOSURE, I'LL FLY AWAY, ROCKFORD FILES
"Judith Weston's 'Acting for Directors' (seminar and book) gave me my first real insight into the work of the actor and the relationship between actor and director. Practical, scary and inspiring, it taught me to think in new ways and turned out to be the ideal introduction to the impossible task that lay ahead."
HENRY BEAN, writer-director, THE BELIEVER, grand jury prize winner, Sundance Film Festival, 2001
A crucial element of film production is understanding the process and requirements of performance. This unique workshop provides indispensable techniques and new insight to give directors confidence and develop your "eye"; to help writers take dialogue and structure to another level; to aid producers in meeting the creative demands of a project.
This workshop for directors is set up as an acting class; each participant will engage in exercises using acting techniques, improvisation and monologues and two-person scenes provided by Judith. Judith will use the exercises to highlight and discuss principles, tools and techniques of directing actors. In particular she will address issues that arise in casting, rehearsal, shooting and script analysis.
Judith’s workshop will include:
- how to establish a collaborative relationship with actors
- troubleshooting poor performances
- a fresh approach to casting
- the uses of sense memory objects and personal substitutions
- how to add "layers" to a characterization
- how to become a superior storyteller
- tips on directing comedy and creating period and style
- Stanislavski, the "Method," Lee Strasberg, Sanford Meisner, Stella Adler
For more information about Judith Weston see her site www.judithweston.com
DEBORAH KOLAR – INTERNATIONAL FILM PUBLICIST
Deborah Kolar has over twenty years experience in film publicity and independent film marketing. Knowledge of feature film campaigns includes unit publicity, long lead and fast-breaking publicity, press and industry screenings, press junkets, marketing and public relations strategies.
Deborah is the U.S. Representative for the Karlovy Vary International Film Festival (FIAPF-designated "A" category alongside Berlin, Venice, Cannes and Toronto) is considered among the
most important events celebrating cinema in Central Europe. She has lived her entire life immersed in the film industry, her father being Robert Shaw, most famous in Russia for his key role in Steven Spielberg's ground-breaking movie 'Jaws'.
Deborah has designed specific strategies for Golden Globe and Academy Award Campaigns and sought to secure distribution for small independent films. She has extensive international film festival experience and an established network of connections to stars, directors, publicists, agents and managers.
Academy Award and Golden Globe Nominated foreign language films for which she has designed specific campaigns, include last year's AFI Film Festival winner, KISSED BY WINTER (Norway), San Sebastian Film Festival winner, STESTI (Czech Republic), THE COLLECTOR (Poland) and ZOZO (Sweden). 2005's Academy Award nominees AS IT IS IN HEAVEN (Sweden), & EVERYTHING IN THIS COUNTRY MUST (Northern Ireland), 2004' s Golden Globe nominated THE RETURN (Russia) & Oscar nominated ZELARY (Czech Republic). In past years, the Oscar nominated DIVIDED WE FALL (Czech Republic). Other films include THE GREAT WATER (Macedonia), SCHIZO (Kazakhstan), DOWN BY LOVE (Hungary).
In recent years, Deborah has secured prominent Guests for International Film Festivals, including recipients of the Crystal Globe, which have included:
Robert Redford, Sharon Stone, Keira Knightley, Scarlett Johansson, Morgan Freeman, Gael Garcia Bernal, Matt Dillon, Harvey Keitel, Sean Connery, Alexander Payne, Atom Egoyan,Walter Salles, Liv Ullmann, Gus Van Sant, Michael Douglas, Leonardo Di Caprio, Salma Hayek, Stephen Fry, Abbas Kiarostami, Stephen Frears, Carlos Saura, Ben Kingsley, Nikita Michalkov, Philippe Noiret, Terry
Zwigoff, Istvan Szabo, Emir Kusturica, John Boorman, and Franco
Deborah also works with Premier PR in Los Angeles whose clients include:
Becker Films International
Buena Vista International
Lions Gate Films
OZ Film LA
Paramount Pictures International
Toho Towa Co. Ltd.
Warner Bros. International
Zora DeHorter is one of Hollywood's up-and-coming young casting experts. Already feutured in the internationally acclaimed behind-the-scenes documentary film 'Behind the Casting Couch', Zora's insider view of the ins and outs of the Hollywood scene from a European perspective is a valuable and up-to-the-moment assessemnt of the casting situation in the US. Zora's energy and objectivity will give any actor a realistic feel for the world of casting in the US and Europe.
Despite the renaissance of the Russian film and television production industries over the past two years, many Film and TV projects still suffer from a scarcity of professionals trained specifically to work in these media. The same actors and directors are used over and over again in Film and TV projects and there are limited sources of 'new' faces - particularly in the under 35 age-group - that are fully equipped for the demands of today's production schedules.
Students intending to undertake a career in film and television in many cases are put off by having to commit to years of training with no guarantee of work upon graduation. THE INTERNATIONAL FILM WORKSHOP
offers a unique chance to potential actors, directors, producers and other key crew members
in a very short time to gain the basic knowledge necessary to finally decide whether to enter the industry through exclusive access to some of the industries top teachers and coaches.
THE INTERNATIONAL FILM WORKSHOP
is also the first venture in Russia to offer working actors and directors with limited spare time
the opportunity to upgrade their skills, giving them a competitive and qualitative edge in today's growing market, while also offering actors and directors starting out in depth, intensive introduction to the key skills needed to work in Film and TV.
ROLE OF THE WORKSHOPS
Many of today's Film and TV professionals in Russia have learnt their trade through 'trial and error'. THE INTERNATIONAL FILM WORKSHOP (MOSCOW)
takes both the 'trial' and 'error' out of that process, exposing our students to the experience of 'tried and trusted' professionals. Our intensive courses go some of the way to solving the constant dilemmas faced by Actors, Producers, Directors and
the Audience alike by training our students to work creatively, efficiently and convincingly through workshops and seminars that cement theory with practical implementation. This gives:
- the Actor
a sense of in-front-of-camera control, confidence and creative achievement;
- the Director
a wider range of instruments to help him/her both work with the actor and crew, and also cope with ever decreasing production schedules
- the Producer
a professional crew member who is aware of the commercial restraints of a major shoot and who can respond on queue to the demands of the shoot without restricting his or her performance capabilities;
- and the Members of Audience
an end-performance that they can believe in totally.
What we are trying to do is simple. And like all the simplest things, it is almost impossible to achieve...
The basic rules of storytelling have always been similar all over the world. Content-wise not much has changed from the oral tradition.
The roots of all human drama can be found in the Norse sagas, Beowulf, the Aeneid, the Bible, even in cave drawings. The key elements are character and conflict, desire and obstacle, victory and defeat in a range of settings from the battlefield to the bedroom. But the psychological and emotional rules for understanding what the story is really about, for getting under the skin of the character, and between the lines of the text, are also pretty universal. That is what we want to impart to the people who attend our workshops - the stories can be different, the inflections can change from culture to culture, but the heart of the matter is our ability to understand, empathise, emote and then to move the audience through film.
Our teachers are chosen because they understand the universal rules of storytelling whether it be from the point of view of the writer, the director, or the actor. 'Hollywood' seems to conjure up a certain picture in people's minds. But it is the capital of the movie industry - so a lot of the people we collaborate with live or work there. But our workshops are neither 'Hollywood' nor American. The reference points we use are international and universal. That is why it is called the INTERNATIONAL FILM WORKSHOP.
Film Workshops like ours are run all over the world every day in hundreds of countries translated into a myriad of languages. We chose to organise these workshops in Moscow not because Russia needs the workshops more than any where else but because on openness to a different point of view should help local film-makers make the right choices during the creation of a movie. If Russian filmmakers are going to refind their narrative voice, and regularly make films that can engage a Russian and international audience, they have to go back to basics - story, character, conflict - and try to avoid technical 'simulation' of the movie making process as practiced elsewhere.
In other countries, workshops like ours are attended both by student film-makers, but also by seasoned professionals who want to refresh their skills and grasp of the essentials, to 'sharpen their blade'. And the one major difference between our workshops and those held elsewhere is that we intend to go on and produce and shoot our own films using some of our students. Each student automatically becomes a potential crew member.
Anyone involved in the film-making process coming to our courses will hear common sense. We don't have a magic wand or a recipe for instant success. No-one in the movie industry - or involved in any creative process - does. But we invite teachers here who can deliver - in a very short time - essential information gleaned from years of experience and observation of others at the highest level of film production in the world. Our students come to gain unique access to that experience, and also to 'sign up' to our point of view - that films are about people, and better people ultimately make better films.
Gerard Michael MacCarthy
Founder, Creative Director,