LFS Summer School Prospectus 2016

LFS SUMMER SCHOOLS

2016 PROGRAMME

BIRGIT MULLER UK, ‘Exposed! Self-Shooting’ participant, 2014

“Zillah Bowes's expertise is excellent and she creates

an atmosphere of mutual respect, fun and trust. I feel

very privileged to have been part of this course.”.”

MIA CALIC

Canada, Directing Summer School, Class of 2013

“It was much more than learning how to direct or

work with actors; it was learning how to make a story

understandable, how to work with your cinematogra-

pher and with post production, and how to answer

all the questions asked before, during and after the

shoot - all of this to help make your story. I left

knowing a lot more than anticipated.”

RICARDO UCCIOLI Italy, First Film Summer School, Class of 2015

“Everyone at LFS is so professional that it actually

feels like working on a real paid project. Each

individual taught me something that enriched me as

a director: from the basics of filmmaking to small

details and continuity issues. All of this was done

without forgetting the human side of working

together.

I believe this programme to be the ultimate filmmak-

ing experience for beginners. It's a great chance to

be a real director for two weeks, to meet and learn

from professionals, to improve your creative know-

ledge and skills and to make amazing international

friends. It is something you're going to miss so much

after you go home.”

CONTENTS LFS SUMMER SCHOOLS

2016 PROGRAMME

5 Introduction by Archie Tait, Head of Workshops

6 Why Choose LFS?

9 Select Your Course

10 SELF-SHOOTING Documentary Summer School

13 Tutor Profile: Zillah Bowes

14 THE HANDKERCHIEF: Directing Summer School

17 Tutor Profile: Udayan Prasad

18 THE THIEF: First Film Summer School

21 Tutor Profile: Jonas Grimås

23 Further Information

Prospectus based on design by Mike Leedham, 2D Design

Original photographs by Katie Garner.

The London Film School reserves the right to make changes in whole

or in part to the curriculum at any time without formal notice.

INTRODUCTION

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www.lfs.org.uk/summer

Welcome to The London Film School,

and to our 2016 Summer Schools

Prospectus.

The fact that you are here means that

you’re thinking seriously about your

career as a filmmaker. Congratulations

on taking this first step; we’re very

pleased that you’ve found LFS.

Led by enormously creative film-

makers, with highly experienced and

talented craft tutors, each of our three

summer programmes is an immersive,

professionalising experience. Your

understanding of filmmaking principles

will expand immeasurably during your

time with us. These principles will play

not just to the films you make at LFS,

but to all of the films you will make during your career.

Now entering its fifth year, Udayan

Prasad’s Directing Summer School

is already world-famous. Since the first edition in 2012, new

shooting exercises have been added and our list of central Lon-

don locations has grown. We have also expanded our team of

professional editors, doubling each filmmaker’s access to the edit

of their final film.

In 2015 we introduced a second course, the First Film

Summer School with Jonas Grimås. Aimed at younger appli-

cants (18-22 years) this course is for those who truly are on the

starting blocks, perhaps having never been given the opportunity

to make a film before.

This year we launch a third programme, Zillah Bowes’s Self-

Shooting Documentary Summer School. An expansion of

Zillah’s successful 5-day workshop ‘Exposed! A Practical Guide to

Self-Shooting Documentary’, each participant will have the oppor-

tunity to shoot and edit two films, in two different documentary

styles.

Once you have absorbed the informa-

tion in these pages we encourage you

to continue by exploring our website.

Here you will find a wealth of useful

further information, including:

• detailed testimonials written by those

who have passed through our summer

programmes, and who are now forging

successful careers right across the

globe.

• a range of video content, including

our Summer Showreel and examples of

our tutors’ work.

• production photographs from previ-

ous Summer Schools.

• answers to a whole host of questions

you may be asking as you consider

submitting an application to us.

You can find all of this at:


Finally, an important date for your

diary; Monday 29th February 2016 is the initial deadline for

applications. Apply by this date to receive priority for our 2016

programmes.

Good luck, and we hope to meet you in person very soon!

Archie Tait

Head of LFS Workshops

“At the age of 30, I made a major

career change and decided to

become a director. I had no

experience prior to the LFS

Summer School, but it turned out

to be the intense introduction

and motivation I needed in order

to leap into the field.

LFS gave me the theoretical

knowledge and mindset – and a

good kick – to chase my dream."

Idil Ergun, Turkey, Directing Summer

School Class of 2013

WHY CHOOSE LFS?

Choosing where to train is a big decision, especially at the start of

your career. Here are six reasons why people pick LFS.

1. GLOBAL

LFS is a world-renowned institution, and studying here is guaran-

teed to be an international experience.

Our first Summer School took place in 2012. Since then, 60 film-

makers have taken part representing 31 countries in total. Add to

this list the tutors, cast and crew and the global mix is even

broader. Many stay in touch once the Summer School has fin-

ished, with some even going on to create projects together.

2. INCLUSIVE

50% of summer school participants between 2012 and 2015 were

female filmmakers This statistic is well above the global industry

average for film.

Adults of any age can attend a Summer School at LFS. Students on

Udayan Prasad's Directing Summer School have ranged from early

twenties to 64 years old (average, 31 years). Meanwhile, our First

Film Summer School with Jonas Grimås is geared specifically to-

wards those aged 18-22 years.

From those with no experience who are just starting out, to

those who have found their way into the industry and decided to

pursue it seriously - we will always endeavour to make your next

step a reality.

3. IMMERSIVE

Your time at LFS is very precious. We believe in making every

moment, and every penny of your investment, count.

On any given day during our programmes you will find every par-

ticipant engaged in some kind of activity. As a participant on our 3

-week Directing Summer School, you will receive around 130

hours of tuition, plus overnight writing and prep assignments. From script stage to post you’ll get to

write, develop and direct two films of

your own. You’ll also work on a further

six shoots, supporting your fellow partici-

pants in roles including first AD, camera

operator, clapper loader and gaffer. The

learning never stops, and each new role is

an opportunity to add to your knowledge

on-set experience.

Outside of the shoots, specialist master-

classes cover every element of filmmaking

- from script development, directing

actors and cinematography, to production

design, music, sound design and editing.

You will eat, sleep and breathe the sum-

mer school for the entire 18 days.

Our 2-week programmes are similarly

packed. It’s our job to send you away

exhausted – in the very best way possible!

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6 www.lfs.org.uk/summer

WHY CHOOSE LFS?

4. LOCATION

By choosing LFS, you're choosing to study in one of the most

exciting cities in the world.

Pick any week of the

year and there are

probably more films

showing for London’s

8.6 million inhabitants

than in any other

capital city. Our

school is situated in

the centre, in Covent

Garden, within walk-

ing distance of West

End cinemas and thea-

tres, the Royal Opera

House, the National

Gallery, the British Museum, the British

Film Institute Library,

the BFI Southbank, the Tate Modern and, even closer, Wardour

Street in Soho, nerve centre of the British Film Industry.

Our summer programmes are intense, and you'll need your days

off for relaxation. With London on your doorstep you'll never be

short of options.

5. SUPPORTIVE

Will the LFS Summer School be your first

time in London? Perhaps it will be your first

experience of living in any big city, or even

your first trip abroad. If so you're no doubt

feeling a mixture of excitement, and trep-

idation! Fear not - we have lots of people on

hand to advise, guide and look after you.

Your first enquiry - whether it's by phone or

by email - is likely to be dealt with by David,

our Summer School Production Manager. You'll also get to know

Carolyn (who runs the Workshops Department), Archie (who

designs the courses) - and of course, Udayan, Jonas and Zillah.

Together we are a team whose job it is to make your time at LFS

a big success.

6. PROVEN

Since completing the

courses our summer

school participants

have gone on to

achieve a whole range

of things. From mak-

ing a first feature, to

quitting the day job to

become a producer -

some have leapt

straight into the

career of their dreams. Others have

committed to full-time

studies in film, stepped up to first AD roles, or been inspired to

move countries and write, write, write...

Whatever your next step, we'd like to help get you there. You

can read more about our previous participants, including what

they got up to next, on or website: lfs.org.uk/summer.

“The beauty of a good film

school is that it invites you to

make mistakes, but never

dampens your enthusiasm.

At LFS I made plenty, and

ignited a passion.”

Duncan Jones (LFS Alumnus 2001)

Director WARCRAFT, SOURCE CODE,

MOON

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SELECT YOUR COURSE

SELF-SHOOTING Documentary Summer School with Zillah Bowes

Saturday 11th - Friday 24th June 2016

Duration: 2 weeks (1 day off during the course)

Capacity: 8 participants

Fee: £2,900

Find out more on pages 10-11.

THE HANDKERCHIEF Directing Summer School with Udayan Prasad

Sunday 31st July - Saturday 20th August 2016

Duration: 3 weeks (2 days off during the course)


Fee: £4,500


THE THIEF First Film Summer School with Jonas Grimås

Sunday 21st August - Saturday 3rd September 2016

Duration: 2 weeks (1 day off during the course)


Fee: £3,500


NEW FOR 2016!

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SELF-SHOOTING DOCUMENTARY SUMMER SCHOOL WITH ZILLAH BOWES

Do you want to make your own documentaries? Do you want to

learn how to shoot and edit them yourself? Do you need more

confidence to pick up the camera?

Are you a self-taught self-shooter? Do you need more training?

Are you moving from another area of media to factual film-

making?

This highly practical 2-week programme is an expansion of our

popular 5-day workshop ‘Exposed! A Practical Guide to Self-

Shooting Documentary.’ It will provide you with the skills and

confidence you need to make your own documentaries and

improve your documentary filmmaking.

The programme is open anyone who already has some filming

experience in any area. Award-winning filmmaker Zillah Bowes

will help to take you to the next level.

The course is designed to get you out filming almost immediately,

on the principle that practice, practice and more practice is the

key to improving!

You will learn how to self-shoot in a variety of situations, record

good quality sound, identify characters and stories, and edit your

own material. You will be encouraged to stretch yourself in a

collaborative, positive environment, and will receive plenty of feedback on your progress.

The programme is carefully structured around a series of enjoy-

able exercises at LFS and in the local area of Covent Garden. By

the end of the course, each participant will have shot and edited

two films (approx. 2-5 minutes each) in two different doc styles.

The first will be an observational film, where you'll film and edit a

story scene of real life. The second will be an interview film

where you'll film and edit a story sequence based on an interview.

Participants will research the final films and ideas on the course

itself. Each participant will receive editing training and the

opportunity to edit both films themselves.

The programme features:

• Creative approach to self-shooting.

• Emphasis on storytelling.

• Technical training in camera and sound.

• Latest broadcast equipment for participants’ use.

• Self-shooting in a variety of situations and styles.

• Practical, exercise-based learning.

• Individual and immediate feedback on exercises.

• Handheld and tripod camera operating.

• Emphasis on recording sound as a self-shooter.

• Basic editing training in Avid.

• Supported editing on your own edit system.

• Shooting and editing observational scenes.


NEW FOR 2016!

SATURDAY 11 - FRIDAY 24 JUNE 2016

COURSE BREAKDOWN

WEEK ONE:

Day One

• Introductions, course overview & goals.

• What are the different ways to shoot docs?

• Legal, permissions, health & safety.

• Opening night meal at a local Covent

Garden restaurant.

Day Two

• Format/technical overview.

• Camera technical training: lenses, focus,

exposure, white balance & more!

Day Three

• Sound technical training: shotgun & radio

mics, troubleshooting & more!

• Handheld operating.

• Tripod operating.

Day Four

• What is observational?

• Shooting terminology.

• Observational exercises.

• Feedback session.

Day Five

• Observational exercises.


• Research final observational film.

Day Six

• Discuss final observational film.

• Shoot final observational film.

• Discuss edit software and plan edit set-up.

Friday 17th June is a day off for you to rest!

WEEK TWO:

Day Seven

• Interview styles.

• Locations.

• Shooting general views and other material.

• Formal interview set up demo & exercise.

• Research final interview film

Day Eight

• Informal interview exercises.


• Research & discuss final interview film.

• Shoot final interview film.

Day Nine

• Class computer set up.

• Introduction to editing on Avid.

• Import all material.

Day Ten

• Watch observational film rushes.

• Edit observational film assembly.

Day Eleven

• Watch assembly.

• Edit observational film.

Day Twelve

• Watch interview film rushes.

• Edit interview film.

• Exports & copies.

Day Thirteen

• Exports & copies.

• Screen & review all edited films.

• Final Q&A, goodbyes & end of course.

For application instructions see ‘Further Information’ (p. 23).

TECHNICAL INFORMATION

Filming equipment will be allocated to

participants in pairs, with each kit

expected to contain:

• Sony PMW-300 / PMW-200 Camera

• Sony 32GB SxS Cards

• Sennheiser EW100 G3 Radio Mic

• Sennheiser / Sony Directional Top Mic

with Mic Stand

• Manfrotto 504HD Tripod

Participants are encouraged to edit at

the LFS on their own laptop computers

where possible. You are welcome to

edit on software you already have, or

that you're experienced with (Final Cut

Pro X, Premiere Pro or Avid).

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TUTOR PROFILE: ZILLAH BOWES

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Zillah fell in love with images after living above a darkroom. She

studied at the National Film and Television School and worked

happily for several years as a cinematographer in fiction and docu-

mentaries before starting a career as a writer and director.

Zillah’s feature films include ENEMIES OF HAPPINESS, which

won the Grand Jury Prize at Sundance Film Festival and SHE, A

CHINESE, which won the Golden Leopard at Locarno Film Festi-

val. As a cinematographer, she has worked with acclaimed direc-

tors and artists including Xiaolu Guo, Angus Macqueen, Martin

Creed and Tacita Dean.

SMALL PROTESTS, Zillah’s debut as a director, screened interna-

tionally after premiering at Sheffield Doc/Fest, was nominated for

a Grierson Award, and won the Current Short Cuts competition

and Best Short Documentary at the London Independent Film

Festival. She has also worked as a director on, among others,

BBC series DOCTORS ARE HUMAN TOO and Channel 4 series

SUPER ME.

Zillah is currently developing several fiction projects as a writer/

director and writing her first poetry collection with a bursary

from Literature Wales. She teaches at the National Film and Tele-

vision School, and has taught at several other institutions as well

as the LFS.


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Reed feedback from Zillah’s 5-day workshop ‘Exposed! A

Practical Guide to Self-Shooting Documentary’:

“Zillah has an amazing positive energy and her atti-

tude is perhaps the best lesson in how to go about

documentary single shooting. All the participants

were pushed into new and unfamiliar territory.

Although we each had different experiences and

backgrounds, we each discovered our strengths and

the things we need to work on. I have certainly im-

proved my shooting skills immensely and also my

confidence to find the stories and subjects I want to

tell.” Ellis, participant May 2014

“Zillah's technical knowledge, advice and skills are

all fantastic, but I also really learnt a lot from her

creative advice and experience, and often think of

what she said. Like, 'if you are present in the world

with your camera then things will unfold in front of

you'. I have definitely found this to be true. She is

not just a practical and technically-able teacher

(although she is that), but she understands a creative

process and above all is very open - to her subjects

but also to the interests and enthusiasms of her stu-

dents.” Rosie M, participant May 2014

“It was thrilling to pick up a camera and go through

the process of observational filming, and to then

receive helpful feedback after each exercise. The

small group size meant we each received lots of indi-

vidual feedback, and the equipment was easy to use

and ideal for this kind of shooting. By the end of the

course I was knackered, but thrilled; it was a boost

to my confidence, and inspired me to want to pick

up a camera again and keep going!" Rosie T,

participant July 2015

THE HANDKERCHIEF DIRECTING SUMMER SCHOOL WITH UDAYAN PRASAD

Based on an exercise originally devised by FAMU (the Czech

National Film School) this 3-week summer workshop explores

the fundamentals of filmmaking from script to screen.

Using an apparently straightforward event as its starting point –

a girl drops a handkerchief and a boy picks it up – the workshop

exposes, through a systematic and rigorous process of scrutiny,

the complexities inherent in this, and indeed any scenario.

It goes on to examine the variations and possibilities which must

be considered before the event can be translated first into a

script, and then - via all the stages of prep, shoot and post

production - onto the screen.

The primary areas covered are:

• Script writing

• Visual language

• Choosing locations

• Mise en scene

• Performance/working with actors

• Shooting

• Editing and post production

At the end of the course each participant will receive a certificate

of attendance, plus a DVD of their scenes which may be used for

showreel purposes or as part of an application portfolio.

THE STARTING POINT

Let us imagine that we have to film the following scenario:

A girl drops a handkerchief and a boy picks it up.

What is the story?

Do the boy and girl know each other? What is the nature of their

relationship? What do they want?

Why did the girl drop the handkerchief? Was it accidental? Deliberate?

When did the boy see the handkerchief? As she dropped it? Or after

she had dropped it? Does he return it? Keep it? Discard it?

What does the handkerchief signify?

Did the boy and the girl expect to see each other, or did they come

upon each other by chance?

Whose story do we want to tell? The girl’s? The boy’s? A third party?

The point, of course, is that:

EVERYTHING BEGINS AND ENDS

WITH THE STORY.


SUNDAY 31 JULY - SATURDAY 20 AUGUST 2016

COURSE BREAKDOWN

WEEK ONE

Each participant will begin by shooting an

exercise, impromptu, set in a single loca-

tion in Covent Garden. The films will be

edited and reviewed with a professional

screenwriter, followed by a masterclass on

script.

While taking part in acting workshops led

by Udayan, each participant will then write

a short script based on the ‘Dropped

Handkerchief’ scenario. The scripts will be

subject to rigorous constraints in locations,

number of set-ups and camera

movement.

The group will recce and prepare for their first shoots with a production manager,

supervised by a director of photography.

WEEK TWO

In week two the participants will split into

three groups of four to shoot their scenes.

In order to understand what an actor requires from a director,

participants will fulfill the roles of both actor and director, revers-

ing roles with their fellow participants.

After a rushes review each group will be provided with an editor

and a private editing suite, taking it in turns to prepare their first

cuts.

The twelve films will be reviewed as a group with a screenwriter,

supervising editor and director of photography. Every decision

made at each step of the production will be carefully scrutinised.

Each participant will then revise their ‘Dropped Handkerchief’

script in the light of this experience.

At appropriate moments throughout the schedule, the group will

also receive a series of illustrated seminars and masterclasses by

professional filmmakers:

• Working with Actors by Udayan Prasad

• Light, space, colour, framing and move-

ment by a Director of Photography.

• Choice and manipulation of space by a Production Designer.

• The use of Sound and Music by a Sound

Designer.

• The art and function of editing by an

Editor.

WEEK THREE

Week three is where everything gets

drawn together. Each participant will re-

shoot their handkerchief scene, this time

with professional actors and sound

recordists. Participants will be expected to

apply all of the lessons learnt from the first

two weeks to produce a piece of work

which reflects their learning at LFS.

And finally...the course will culminate with a

dedicated screening day where all twelve final films will be

thoroughly reviewed, analysed and discussed. Led by Udayan, the

participants will welcome back the team of professionals who

have been advising throughout the course for their final thoughts

and feedback.

APPLICATION REQUIREMENTS

Priority for this programme will be given to applicants aged 23+

years on 31st July 2016, or to those with some practical filmmak-

ing experience who have already committed to a career in film.

For more guidance see ‘Further Information’ (p. 23).

“What was incredible about

this experience was the

passion and the love that

all the mentors had for

their subjects, and the

power with which they

could transmit it. I realised

that before the Summer

School, I didn't really know

what being a director was.

I would recommend this

experience to everyone.” Thomas Morelli, Italy, Class of 2014

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TUTOR PROFILE: UDAYAN PRASAD

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(2008)

Born in India, Udayan Prasad came

to Britain at the age of nine. After

attending art school in Leeds and the

National Film and Television School,

he made a number of documentaries,

including A CORNER OF A FOR-

EIGN FIELD (1985), about Pakistanis

in Britain and INVISIBLE INK (1987),

about the literature produced by

writers from the Indian sub-

continent on the British in Britain. During the early nineties he

directed a number of high-prestige dramas for BBC TV, working

with Britain's top writers.

His creative partnership with Simon Gray was particularly fruitful

resulting in: THEY NEVER SLEPT (1990), a merciless parody of

the British secret service during World War II starring Edward

Fox; FEMME FATALE (1992), with Simon Callow and Donald

Pleasence; RUNNING LATE (1992), starring Peter Bowles in a

picaresque black comedy which won a Golden Gate Award for Best TV Feature at the San Francisco International Film Festival.

He won a second Golden Gate Award for 102 BOULEVARD

HAUSSMANN (1991), starring Alan Bates and scripted by Alan

Bennett. 102 Boulevard Haussmann was also nominated for a

BAFTA for best single TV drama.

In 1998 he again collaborated with Alan Bennett,

this time directing TALKING HEADS – PLAYING

SANDWICHES. This resulted in a second BAFTA

nomination for best single TV drama. His first the-

atrical feature was the critically acclaimed, BROTH-

ERS IN TROUBLE (1995), a tragi-comic story set in

the Sixties of an illegal immigrant struggling to sur-

vive in a grim northern English town. Brothers In

Trouble won the Golden Alexander Award for best

first feature at the Thessaloniki International Film

Festival. His second theatrical feature, MY SON

THE FANATIC, was selected for Directors' Fort-

night at the Cannes Film Festival in 1997 and won

the best feature award at the Potsdam Film Festival.

The film was distributed in Europe and the United

States to great critical acclaim. GABRIEL & ME, his

third feature, starring Billy Connolly and Iain Glen, was followed

in 2001 by a documentary, ACCORDING TO BERYL. About Dr

Samuel Johnson’s relationship with Mrs Thrale, the film featured

Dame Beryl Bainbridge and was centred around her novel Ac-

cording To Queenie. In 2005 he made his fourth feature, OPA!,

starring Matthew Modine and Richard Griffiths, which premiered

at the Toronto International Film Festival the same year.

Udayan’s fifth and most recent feature was THE YELLOW

HANDKERCHIEF (2008) starring Eddie Redmayne, William Hurt,

Maria Bello and Kristen Stewart. Produced by Arthur Cohn and

shot in Louisiana, the film was his US debut, and had its premier

in January 2008 at the Sundance Film Festival. The Yellow Hand-

kerchief was released, to critical acclaim, in 2010 in the United

States by Samuel Goldwyn Films.

In 2013 Udayan directed two episodes of THE TUNNEL for Sky

Atlantic and Canal Plus - the Anglo French adaptation of the

Danish/Swedish serial THE BRIDGE. The production company

was Kudos Film & Television.

When not actively involved in production, Udayan is a frequent

visiting lecturer at several film schools including The London Film

School, The National Film & Television School (UK); The Wajda

School and the National Film, Television and Theatre School

(both in Poland).

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THE THIEF

FIRST FILM SUMMER SCHOOL WITH JONAS GRIMÅS

If you've always wanted to make a film, but haven’t known where

to start, our First Film Summer School with Jonas Grimås will give

you the tools to create your very own masterpiece.

Launched in 2015, this 2-week summer intensive will teach you

everything from developing your ideas into a

script to working with other filmmakers to

shoot and edit your story.

You'll discover how professional filmmakers

work with actors to create clear and consis-

tent characterisation. You will be immersed in

hands on production exercises, and finally,

you will write and direct your own film - and

all in just two weeks.

Aimed at those with little or no practical

filmmaking experience, this latest programme

has been carefully designed to complement

our more advanced 3-week summer course, with Udayan Prasad.

THE THIEF BRIEF

You will arrive at LFS with your own story for a 2-minute, 2-

character, single exterior location film entitled THE THIEF. In

your movie the Thief might steal an apple from a shop, and elude

the storekeeper. The Thief could steal an idea, or someone’s

show, or someone’s thunder. The Thief could steal someone’s

heart…The possibilities are endless.

Briefed by tutor Jonas Grimås, teamed with your fellow partici-

pants and supported by a full-time production

manager, you will dive straight into the deep

end of the pool. It is the beginning of a 2-

week roller coaster ride, led by Jonas and a

team of guest filmmakers who will present

masterclasses in screenwriting, editing, cine-

matography and sound.

Your idea will be scrutinised, turned inside

out and worked on, until it has realised its full

potential. Your idea will be put under the

microscope, in a first ‘test’ shoot, before

being taken back to the editing room and

analysed by a professional editor, to work out

how it can be refined even further. And then…the real actors will step onto the set.

Your shoots will take place in the courtyards, alleyways, gardens

and piazzas of Covent Garden.

During these two intensive weeks you will learn the fundamentals

and get a clearer understanding of what it is that makes a good

film: the idea and - above all - the teamwork.

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"I learned more in two

weeks at LFS than I did

in four years as a film

minor at university. It

was such a great crash

course on how to make

a film.” Misha Schwarz, USA, Class of 2015


SUNDAY 21 AUGUST - SATURDAY 3 SEPTEMBER 2016

COURSE BREAKDOWN

WEEK ONE:

Day One

• Making a Film - An Introduction by Jonas: The Team, the

Technology, the Creative Relationships.

• How It All Works: The Diagram of Production.

• Group Supper at a local Covent Garden restaurant

Day Two

• Practical Approaches to Storytelling: How to tackle the short

film format.

• Writing Masterclass.

• Editing Masterclass.

• Choosing Locations.

• Overnight Assignment: Write the first draft of your script.

Day Three

• Working with Actors 1: A table-read of your scripts;

participants learn to be actors, then learn how to direct actors.

• Overnight Assignment: Write the second draft of your script.

Day Four

• Cinematography Masterclass .

• The Recce: How to assess your location.

Day Five

• Shoot 1: In three teams of four, each participant directs their

script while the others work the camera and act.

Day Six

• Vewing the Cuts: Understanding what went right/wrong.

• Individual Writer Surgeries and Shooting Exercises.

Day Seven

• Writing Day: Produce the final draft of your short film script.

Sunday 28th August is a day off.

WEEK TWO:

Day Eight

• Reviewing the scripts.

• Working with Actors 2: A table read of all the final scripts, this

time with the professional actors who will be starring in your

films.

• Group Polish: Putting the 'finishing touches' to the scripts.

• Overnight Assignment: Finish polishing your script.

Day Nine

• Production Meetings: The shoots are prepared in detail.

• Sound Masterclass.

Days Ten & Eleven

• Shoot 2: Take turns to direct your final scripts with professional

camera operators, sound recordists and actors.

Day Twelve

• Editing Day: Each director works with a professional editor to

refine the final cut, colouring and soundtrack of their film.

Day Thirteen

• Screening Day: Final screenings of all twelve films, including

group discussion and notes from the consultant writer,

cinematographer, editor, and Jonas.

• Farewell Dinner at a local Covent Garden restaurant.

APPLICATION REQUIREMENTS

Priority for this programme will be given to applicants aged 18-22

years on 21st Aug 2016, or to those with little or no practical

filmmaking ex-perience. For more guidance see ‘Further Informa-

tion’ (p. 23).

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TUTOR PROFILE: JONAS GRIMÅS

Named Cultural Personality of the

Year 2011 by The StockholmsKultur

Foundation, Jonas is a Swedish film

director living in London since 1988,

educated at Dramatiska Institutet in

Stockholm 1984-87 and the Royal

College of Art, London.

Jonas won the BAFTA Film Award

for best short film with ARTISTEN

(The Artist). He was also nominated for best short film with

MAROONED. He has made a name for himself making British

crime dramas having directed episodes of HAMISH MACBETH

with Robert Carlyle, SILENT

WITNESS and SECOND SIGHT:

KINGDOM OF THE BLIND star-

ring Clive Owen, HOPE & GLORY

with Lenny Henry and THE HELLO

GIRLS for BBC. He was also a regu-

lar contributor to ITV’s HEART-BEAT having directed thirty

episodes.

Still based in London, Jonas has

taken on Swedish projects directing

two WALLANDER films: THE

TRICKSTERS and THE PHOTO-

GRAPHER, RADIO SHADOW,

THE COMMISSION for SVT plus the high profile job of turning

Camilla Läckberg best-selling novels ISPRINSESSAN (The Ice Prin-

cess) and PREDIKANTEN (The Preacher) into television.

He recently completed MIKE THE MIDWIFE, a comedy pilot for

Channel Four, a string of observational documentaries: 300 /

FAKING IT / ELGAR'S TROMBONE / A SHOT OF GLASS /

DELPHINE'S TOP / PAINTING EURYDICE / OUR SCHOOL

DAYS / '100'.

He has filmed the performance of MOZART PIANO CONCERT

no 9, transferred the stage play LOCKED UP to the screen and

since 2008 made sixty short films under the title MY UNEVENT-

FUL LIFE. For info, showreels and clips visit jonasgrimas.com.

"Jonas is a wise and wonderful mentor

who, along with the guest tutors, the

production manager David and the

whole crew, created such a collabora-

tive and relaxed environment in which

to learn and share ideas.” Annie Zhang, Australia, Class of 2015

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FURTHER INFORMATION

HOW TO APPLY:

We are now accepting applications for our 2016 Summer

Schools.

Application is via an online form available from the LFS website.

You will be asked to submit:

• your CV

• a personal statement explaining why you're applying for the

Summer School, what you hope to gain from it etc.

• proof of your date of birth e.g. passport scan, uploaded photo

of an ID card (Directing & First Film applicants only)

• brief details of your shooting, camera and/or editing experience to date (Documentary applicants only)

Directing Summer School applicants: Those who wish may also

upload a film they've already made. Films should be max. 10 min-

utes in length, or the first 10 minutes of a longer piece.

AGE RESTRICTIONS (DIRECTING & FIRST FILM

APPLICANTS):

In 2015 we added the First Film Summer School to our schedule

with the specific aim of creating two groups of filmmakers whose

knowledge and experience were more closely aligned.

Those with little (or no) practical filmmaking experience are now

encouraged to consider the 2-week programme with Jonas

Grimås. For applicants aged 18-22 years, this will almost certainly

be the most appropriate course, but not necessarily.

For those with some experience behind them we recommend the

3-week course with Udayan Prasad. This course is not restricted

to those with on-set credentials or technical knowhow. Partici-

pants could be post grads, have an extensive work history or a

background in a different creative field.

If you need some help in choosing which course to apply for,

please contact us for advice.

THE OFFER & PAYMENT PROCESS:

Places for all three courses will be offered from Thursday 10th

March 2016, with priority given to those who apply by Monday

29th February.

In the event that we are oversubscribed with suitable applicants,

the equivalent number of offers will be made. Those wishing to

accept must secure their place by submitting a non-refundable

20% deposit.

There is no deadline for submitting deposit payments.

The first eight Documentary and twelve Directing & First Film

applicants to submit a deposit will secure a place. They will then

each be given a deadline by which to pay the remainder of the fee.

Once eight/twelve participants have been confirmed, a standby list

will be in operation for all subsequent applicants.

VISA INFORMATION:

If you’re applying for one of our summer programmes from out-

side the UK, you can check if you need a visa by visiting the UK

Border Agency website. (Link available from the LFS website.)

CONTACT US:

David Anderson

Summer School Production Manager

[email protected]

+44 (0)207 836 9642

Our website offers the most detailed, up-to-date source of Further Information on

our 2016 Summer Schools: lfs.org.uk/summer-programmes/faqs

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The London Film School

24 Shelton Street

London

WC2H 9UB

U.K.

Registered in England

No. 1197026

Registered Charity

No. 270302

Telephone:

+44 (0)20 7836 9642

Fax:

+44 (0)20 7497 3718

Email:

[email protected]

Web: www.lfs.org.uk

lfs.org.uk/summer

The London Film School is a Creative Skillset Academy

LFS Summer School Prospectus 2016

Documents

Transcript of LFS Summer School Prospectus 2016