FORUM

WORKSHOP PROGRAM - NEXT COURSES



THE INTERNATIONAL FILM WORKSHOP runs regular film related courses in Moscow. These courses are focused on acting and directing, but there will also be courses on producing, scriptwriting, camera, production design, film score and editing in the future.

The purpose of our courses is to give Moscow based film students and professionals a new perspective on the film making process that both challenges and enhances film making methods taught and practised in Russia.

THE ULTIMATE GOAL OF THE INTERNATIONAL FILM WORKSHOP IS TO PRODUCE AND MAKE FILMS UTILISING THE SKILLS GAINED BY OUR OWN STUDENTS.



RECENT PROGRAMMES


LARRY HAMA - VISUAL STORY-TELLING : ART IN MOTION, October 19-21, 2006.


Larry Hama is a writer, artist, and musician who has worked in the entertainment industry since the 1970s. He is best known as a writer and editor for Marvel Comics where he was responsible for the G. I. Joe comic book, and developing many of the G.I. Joe characters for toy manufacturer Hasbro (http://www.GIJoe.com). He has also written for the series Wolverine, Nth Man: the Ultimate Ninja, Elektra, Generation X for Marvel and some Batman material for DC Comics, as well as The Fantastic Adventures of Logan and Ben Grimm. He created the series Bucky O'Hare which became a comic, toyline and children's cartoon.


His skill in visual story-telling coupled with his in-depth experience of the film-industry at all levels indicate that his three-day workshop for THE INTERNATIONAL FILM WORKSHOP will be of enormous interest to computer artists, animators, directors of photography, production designers and film, animation and televison directors.


"The master-class is basically "How to Tell A Story in Pictures." The follow through is the practical application of this for TV, live-action film, animation, and video games. I've done a slide show on this a number of times at the School of Visual Arts in New York, and at the Asian Film Festival in NYC, the American Museum of Natural History, and a bunch of other places. I take a comic story I both wrote and drew that had no captions or dialog, and show it panel by panel and explain the logic and reason for the graphic choices I made.

In the practical applications section, I show slides of actual storyboards for film, tv, commercials, CGI animation and video games (e.g. The Sopranos, Third Watch etc). I think it is something that would-be directors and art directors might need to know, to understand how to get the most out of the storyboard artist and what to expect as well as how to augment any script with a full understanding of how to get the most from the visual tools available."


PROGRAMME – OCT 19-21, 2006

Day One


Introduction - Principles of Visual Storytelling.

Taking the concept from the written word to a visual presentation

Importance of visual continuity.

Supporting characterization through the visual storytelling.

It’s all about lighting.

Reducing the visual storytelling elements to their simplest form

Pacing and timing.

Creating a visual environment.

Maintaining a visual theme.

Examples: (slide show – comic book continuity)

Day Two

Practical applications.

Technique and practice. Why bother?

How to communicate your ideas to a visualizer.

What the visualizer needs from the director to do his job.

Storyboards for film and tv

Examples. (slide show- boards for “Sopranos,” Third Watch.”)

Storyboards for animation.

Practical examples (slide show – boards for GI Joe CGI film + DVD of film itself)

Storyboards for video games.

Practical examples (slide show – storyboards for X-Men game)

Other forms of visual storytelling applications relating to film.

Practical examples. (slide show of mural designs for “Ali.”)

Day Three

Hands on workshop and evaluation.

Create real storyboards and evaluate them.




GABRIELLE KELLY - THE ART OF PRODUCING - SEPTEMBER 05-08, 2006


SAMPLE PROGRAMME (PROVISIONAL) DAY ONE:

OVERVIEW AND INTRODUCTION TO FILM PRODUCTION

10am to 10.15am: SCREENING: IMPRESSIONS AT 24 FRAMES PER SECOND directed by Simone Bartesaghi

The magic of film storytelling anywhere in the world…whether it is Hollywood or Moscow it’s all about the story…

10.15am to 12pm OVERVIEW AND INTRO TO HOLLYWOOD
How Hollywood is structured; the studios, independent producers, agents, managers and attorneys and how they all work together

12pm to 12.30pm SCREENING : FILM ABOUT HOLLYWOOD

12.30pm to 13.00pm Q and A

13.00pm – 14.30 pm LUNCH BREAK

14.30pm – 15.30pm WHAT A PRODUCER DOES
Examine definition of a producer from Producer’s Guild of America

15.30pm – 17.00 pm THE PRODUCER IN DEVELOPMENT
Acquisition of Property and development
Writing the Treatment and the Screenplay
Optioning books, comics, real life stories, etc
Finding and developing stories for the global marketplace + case studies
The Hollywood development process


17.00pm – 17.15pm SCREENING: SCREWBACK directed by Brian O’Malley
Winner of Hartley Merrill International Screenwriting Award 2005
Example of using short to raise money for feature

17.15pm to 18.00 pm Q and A



DAY TWO:

OVERVIEW OF DEVELOPMENT AND PRODUCTION

10am to 11am THE CREATIVE AND BUSINESS PROCESS OF DEVELOPMENT: Finding a screenplay, working with writers and optioning material.

The Writers Guild of America rules and regulations
General structure of screenplays, developing film and television, the creative relationship between producers, directors and writers.
Securing rights and “papering” deals including examination of basic legal agreements needed for development

11 am to 12am PRODUCTION

MOVIE SETS 101; The Definitive Survivor’s Guide by Paul Salamoff A brief overview of the American movie set and feature film production cycle

12am to 13.30pm FILM SCREENING

13.30 to 15.00 pm LUNCH BREAK

15.00pm to 17.00pm Analysis of FILM SCREENED and description step-by-step of how the film was developed, financed, produced, distributed, publicized and marketed

Pitching your projects and securing financing including studios, independents, banks, tax incentives and private investors.

17.00pm to 17.20pm SCREENING: THE SQUARE OF DISTANCE directed by Mun Chee Yong

17.20 to 18.00pm Q and A



DAY THREE:

FINANCING, CO PRODUCTIONS AND CASTING

10am to 12am GLOBAL MARKETPLACE

Global nature and rapid change of business models in the entertainment business Studio and network deals
Equity financing – foreign, domestic, private
Co-productions and shift of power to foreign box office


12 am to 13.30pm FILM SCREENING

13.30 pm to 14.30pm LUNCH BREAK

14.30pm 15.30pm CASTING – THE TRIGGER TO PRODUCTION

Casting directors and what they do
Union Screen Actor’s Guild vs. Non Union
Attaching talent, getting scripts to cast, dealing with talent agents and managers “The Ulmer Scale” – Actor’s Hot List Casting Book by James Ulmer

15.30 pm to 17.30pm SCREENING: GILDED STONES directed by James Dodson

17.30pm to 18pm Q and A



DAY FOUR:

NOW YOU’VE MADE YOUR MOVIE; DISTRIBUTION, MARKETING AND PUBLICITY

10am to 12am OVERVIEW OF CURRENT STATE OF DISTRIBUTION AND MARKETING

New markets for digital content – cell phone, mobisodes, “snaps”
New distribution models, Netflix, online content delivery etc

12am to 13.30pm FILM SCREENING

13.30 to 14 pm Q and A

14pm to 15.00pm LUNCH BREAK

15pm to 16.30pm WRITING THE PRESS KIT

Getting Press for FILM SCREENED this morning


Work of publicist and importance of press kit
Events and viral marketing
Festival strategy

16.45 to 18.00pm Q and A



GENERAL

There is a fee for each course. The fee amount will depend on the type and length of course and which teachers and experts are engaged. Fees will be announced together with details of the course participants and programme details.

All of our teachers and lecturers are leading industry professionals with considerable experience both in front of and behind the camera.

For the Moscow courses, our lecturers will be from both sides of the Atlantic. The US and European schools of acting have focused on Film and Television performances as being a special art for over three quarters of a century, and Film and Television Acting Courses are widely available as part of most University and Institute programmes almost everywhere except for Russia. For this reason we feel that our overseas teachers will bring with them experience and know-how simply unobtainable at the moment here.

While many features common to theatrical training permeate our courses, the accent is 100% on film and television - on low key, close-up and in front of camera performance. The teaching methods of Stanislavsky, Strasberg, M. Chekhov, London, Hagen etc. will be used in our courses, adapted and influenced by the practical experience of our teachers.

Our visiting experts have all worked in Hollywood on big-budget commercial productions together with some of the biggest names in the industry and thus are fully qualified to share both their experience and hands-on knowledge of what is demanded of a 'real' movie actor or director.

Our local experts represent the new generation of cosmopolitan film- and television-drama figures who have been at the forefront of the production revolution in Russia for the past five years. We have focused our attention on experts who have worked both abroad and in Russia who can compare the way the industry works here and there, and who can give solid, experienced-based advice on how to adapt the Stanislavsky School to a film and television oriented performance.

During all our courses an emphasis will be put on end-product as much as practical theory, meaning that many of the classes and learning sessions will be filmed for analysis and correction as the courses progress.

We will also be supplying practical knowledge on how to advance yourself not only as a performer once 'Action' has been called, but also how to cope with the professional and presentational demands of the industry behind the camera. One day seminars will be given by producers, casting agents, and contract specialists to help all our students present themselves properly and deal with the business side of the industry.


PREVIOUS WORKSHOPS (ARCHIVE)

INAUGURAL WORKSHOP - FEB 27-MARCH 11, THE I.B.S. Gallery, ART-PLAY, Moscow.

Barry Primus Film Acting Class


Programme Summary

All good acting requires an approach that produces performances that are alive, in the moment, and truthful. Film acting, because of the special qualities of the camera- its close scrutiny and it's ability to register thought and aliveness, demands a very high degree of true behavior. Things that may not be noticed on stage by an audience yards away, are easily discernible on film. The challenge for the film actor is to be present, and full of life in the character he is portraying with ease and believability. The actor who wants to make an impact on film, must feel open and easy to using himself in a personal and revealing way, so that his own essences can come through in the character.

The course will begin each day with exercises designed to free the actor's instrument to make him more aware of his senses and stimulate his imagination. Strong emphasis is placed on moment to moment exercises which develop the actor's ability to listen, and really speak to his partner and his audience There will be exercises on objectives and actions with the use of the camera. We will move onto monologues and scenes which will be filmed, then screened, analysed and discussed. Some evenings will be used for discussion and screenings of important performances, and of films and documentary material which will deepen our insight into the actor’s profession, and fuel our classes the next day.

Barry Primus


WORKSHOP # 2 - MARK TRAVIS, THE DIRECTOR'S JOURNEY, April 26-29, 2006

THE ELENA VRUBLEVSKAYA GALLERY

Director, script-writer and best-selling author Mark Travis conducts a three-day directing master-class based on his book 'The Director's Journey'. Using the script from the Oscar winning movie 'American Beauty', Travis will break-down and analyse the film's screnplay, comparing it with the finished movie revelaing the close ocllaboration betwen the director, scriptwriter and actor.

"With astonishing clarity Mark Travis articulates the techniques and skills of film directing. Not only does the beginner student find invaluable guidance on all stages of the directing process, but the experienced director will learn rational explanations for many of the things he may have only been doing intuitively."

John Badham, director
(SATURDAY NIGHT FEVER, NICK OF TIME, WAR GAMES, BLUE THUNDER)


WORKSHOP #3 - MARK TRAVIS : DIRECTING - FROM SCRIPT TO SCREEN

MAY 20-26, 2006 a 6-day SCRIPT ANALYSIS AND DIRECTING workshop for actors and directors by MARK TRAVIS, author of No.1 Best-selling book ‘The Director’s Journey : the Creative Collaboration Between Directors, Writers and Actors’.

Using the Oscar winning movie 'As Good As It Gets' as a model, the workshop will split into two three-days units with a one day break in the middle.

The first three days we will analyse the script, the plot line, the characters and their objectives and motivation trying to gain as full an understanding of the script's structure as possible.

The second three day unit will put into practice the theoretical conclusions gained from the previous days. Each student will have an opportunity to direct and/or act in scenes from the script under Mr.Travis' supervision before finally the students work will be compared to the finished product in the original movie.'

This Workshop is unique in that it affords the student director the opportunity to work with script and actors in a rehearsal process under the guidance of a seasoned director. Consequently the trial and error process is accelerated as the instructor can guide the student through the treacherous waters of directing.


WORKSHOP #4 - BARRY PRIMUS ACTING FOR DIRECTORS



JUNE 12-17, 2006, 'ACTING FOR DIRECTORS", a 6-day ACTING TECHNIQUE workshop for actors and directors by BARRY PRIMUS held at the Open World Centre.

"As an actor in films and on Broadway, Barry Primus has worked with some serious directors, among them Elia Kazan, Martin Scorsese and Sydney Pollack. His 30 movie acting credits include roles in The Rose, Absence of Malice, New York, New York, and Night and the City and he directed Robert De Niro, Martin Landau, Eli Wallach and Danny Aiello in his film, Mistress. If anyone understands the dynamic between actor and director, it's Barry Primus."

MOVIEMAKER MAGAZINE


"During this course, I try to give directors a very intense experience in what it is to act. I have them start out by doing a series of exercises where they come to understand a little bit about the rules and ideas behind acting, like what an intention is, what an action is in a scene, what characters want.

"It's ironic, people get into film because it's moving and human and enables them to express themselves and touch other people, but most wind up being swallowed by the technical end and getting away from why they got into film in the first place."

"Acting is an art that can't be taught in a short time," he continues. "I try to import a sense of the kind of acting I personally find most moving and exciting in moviemaking, where the actor uses his own experiences to convey the feelings of the character. The idea that acting is about real experiences, real things that happened to the actor, to me is crucial."

Primus divides his program into two parts. In the first, students work on themselves as actors, learning to relax, open up to their instincts, access their emotions more freely, and use their heads less. Basically, he says, they learn to perform. The second part deals with the script itself, as each student learns to perform a monologue on camera.

At the end of the course students usually feel they have not only broadened their knowledge about how to act and how to direct actors, but have also gotten back in touch with their creative and emotional roots. Not just for beginners, the classes attract working actors, commercial and video directors as well as newspeople, technicians and actors looking to make the jump to directing.



'Open World is a centre for integral development created in the spirit of the New York Open Centre. It is a relatively new, but very dynamic project. It seeks to create constructive space for people to engage in on all levels.'


LARRY HAMA - VISUAL STORY-TELLING : ART IN MOTION, October 19-21, 2006.


Larry Hama is a writer, artist, and musician who has worked in the entertainment industry since the 1970s. He is best known as a writer and editor for Marvel Comics where he was responsible for the G. I. Joe comic book, and developing many of the G.I. Joe characters for toy manufacturer Hasbro (http://www.GIJoe.com). He has also written for the series Wolverine, Nth Man: the Ultimate Ninja, Elektra, Generation X for Marvel and some Batman material for DC Comics, as well as The Fantastic Adventures of Logan and Ben Grimm. He created the series Bucky O'Hare which became a comic, toyline and children's cartoon.


His skill in visual story-telling coupled with his in-depth experience of the film-industry at all levels indicate that his three-day workshop for THE INTERNATIONAL FILM WORKSHOP will be of enormous interest to computer artists, animators, directors of photography, production designers and film, animation and televison directors.


"The master-class is basically "How to Tell A Story in Pictures." The follow through is the practical application of this for TV, live-action film, animation, and video games. I've done a slide show on this a number of times at the School of Visual Arts in New York, and at the Asian Film Festival in NYC, the American Museum of Natural History, and a bunch of other places. I take a comic story I both wrote and drew that had no captions or dialog, and show it panel by panel and explain the logic and reason for the graphic choices I made.

In the practical applications section, I show slides of actual storyboards for film, tv, commercials, CGI animation and video games (e.g. The Sopranos, Third Watch etc). I think it is something that would-be directors and art directors might need to know, to understand how to get the most out of the storyboard artist and what to expect as well as how to augment any script with a full understanding of how to get the most from the visual tools available."


LARRY HAMA




GABRIELLE KELLY - THE ART OF PRODUCING : the life cycle of a film project from initial idea to distribution, a FILM PRODUCTION MASTER-CLASS for script-writers, directors, and producers, Praktiak Theatre, September 5-8.


With over 25 years of production experience in Hollywood and internationally, member of the Board of Directors of the British Academy of Film and Television (BAFTA), Gabrielle Kelli is Adjunct Professor of Film Studies at USC teaching screenwriting, and also teaches film producing at UCLA and the LA Film School. Gabrielle will take us through the role of the Film Producer step by step, covering how a producer functions both in the independent and studio systems.

"In four days we will cover the process of generating a film idea and taking it through the stages of script and development, casting, attaching a director, putting together a crew, production, distribution and marketing including Festival promotions and publicity." - GABRIELLE KELLY.



STEWART PEARCE - THE ALCHEMY OF VOICE - Praktika Theatrem, SEPTEMBER 2-3, 2006


"Suit the word to the action, the action to the word"- HAMLET


THE INTERNATIONAL FILM WORKSHOP is proud to announce that Stewart Pearce will conduct a two-day master-class entitled THE ALCHEMY OF VOICE in September 2006.


Stewart was trained as a Classical Actor before his career as one of the world's premier English-speaking Voice Coaches began under the auspices of Cicely Berry. Two of the many prestigious positions he holds are those of the Master of Voice at 'Shakespeare's Globe Theatre' (London) and Head of Voice at the 'Drama Centre' (London).


For 17 years he was head of voice at the Webber Douglas Academy of Dramatic Art, where he trained aspiring talents like Minnie Driver, Ross Kemp and Julia Ormond. His client list now includes Kevin Spacey, Maria Aitken, Minnie Driver, Kathryn Hunter, Josie Lawrence, Julia Ormond, Vanessa Redgrave, Simon Callow, Jack Davenport, Jerome Flynn and Mark Rylance.


Stewart is also in huge demand as a presentation consultant in the corporate market. His unique seminars cover stress management, self-empowerment, personal projection and creativity enhancement. He has presented the Milan Fashion Show for Dirk Bikkembergs, and has been a keynote speaker for BT, Vidal Sassoon UK and US, Momentum PR Dubai and the Well Being Show Dubai 2006 alongside Paul Mc Kenna and Shelley von Strunckel. Stewart's client list has included the London 2012 Olympic Bid, BT, McKinsey & Co, L'Oreal, Redken, Vidal Sassoon, Regis, WPP Programs, Merrill Lynch, Goldman & Sachs, The Isis Center Denmark and the BBC.


Stewart works through a series of Masterclass programmes known principally as 'The Alchemy of Voice' which share the title of his popular book.


The perspective of Stewart's creative work with actors is to identify what is the most human, what is the most natural vocal expression for the actor's intention. A voice that is free of inhibition, informed by inner life and spirit, utterly true to the instinct of the moment and the creative process of playing the word.


"Each one of us has a voice at the very core of our humanity, if we disregard its power, we risk losing our very identity. Furthermore, we each have our own unique signature note, lying at the very heart of our physical being. If we are unable to breathe and sound the fullness of this note we often become imbalanced throughout our whole being ~ this leads to being 'off key' or out of tune physically, emotionally, mentally and spiritually.


"Throughout the ages mankind developed aural traditions that kept the potential of our voice and sound alive. However, the mechanistic, scientific trends of the last three centuries have stifled many of us from the power of our voices. Today, many of our young are unfamiliar with the sensations of reading aloud and speaking our great poets and writers. We are in danger of losing the ancestral lines of our aural traditions; they guided both our secular and sacred voices. My work attempts to release the creative potential from within the actor channeling it through the voice and illuminating the word." - STEWART PEARCE


Stewart's Moscow workshop - intended exclusively for professional actors - offers:

- Breathing & Energy Centring Techniques
- Discovery of your body's Signature Note
- Inspirational & Magnetic Speaking
- Body Architecture & Persona
- The Four Elements & Sona Chambers
- The Classical Archetypes
- Harmony and your creative potential


"This is pure delight, Ancient Wisdom made palatable for the Modern Actor."
MARK RYLANCE
Actor & Globe Artistic Director




ENROLLMENT BY INVITATION OR PROFESSIONAL RECOMMENDATION ONLY. (MAXIMUM 14 ATTENDEES)






DIARY



CONTACTS



MOSCOW:

International Film Workshop,
tel: +7 495 940 45 05
fax: +7 495 940 45 08



LONDON:

International Film Workshop,
tel: +44 (207) 629 18 18


LOS ANGELES:

International Film Workshop,
tel: +1 (818) 981 3607
fax: +1 (818) 986 6540



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