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
5
INT
RO
DU
CT
ION
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:
www.lfs.org.uk/summer
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!
Wo
rld m
ap h
ighlig
hti
ng
the 3
1 c
ountr
ies
repre
sente
d b
y LFS
Sum
mer
Sch
oo
l par
tici
pan
ts s
ince
2012.
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
7
WH
Y C
HO
OS
E L
FS
?
www.lfs.org.uk/summer
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)
Capacity: 12 participants
Fee: £4,500
Find out more on pages 14-15.
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)
Capacity: 12 participants
Fee: £3,500
Find out more on pages 18-19.
NEW FOR 2016!
9
SE
LE
CT
YO
UR
CO
UR
SE
www.lfs.org.uk/summer
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.
10 www.lfs.org.uk/summer
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.
• Feedback session.
• 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.
• Feedback session.
• 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).
11
DO
CU
ME
NT
AR
Y S
UM
ME
R S
CH
OO
L
www.lfs.org.uk/summer
TUTOR PROFILE: ZILLAH BOWES
Zill
ah B
ow
es
talk
s to
UC
L s
tudents
in L
ondo
n a
bo
ut
sho
oti
ng
the film
EN
EM
IES
OF
HA
PP
INE
SS
.
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.
13 www.lfs.org.uk/summer
Still
fro
m E
NE
MIE
S O
F H
AP
PIN
ES
S (
2006)
DO
CU
ME
NT
AR
Y S
UM
ME
R S
CH
OO
L
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.
14 www.lfs.org.uk/summer
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
15
DIR
EC
TIN
G S
UM
ME
R S
CH
OO
L
www.lfs.org.uk/summer
TUTOR PROFILE: UDAYAN PRASAD
Kri
sten S
tew
art, W
illia
m H
urt
and E
ddie
Redm
ayne in T
HE Y
ELLO
W H
AN
DK
ER
CH
IEF
(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).
17
DIR
EC
TIN
G S
UM
ME
R S
CH
OO
L
www.lfs.org.uk/summer
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.
18
"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
www.lfs.org.uk/summer
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).
19
FIR
ST
FIL
M S
UM
ME
R S
CH
OO
L
www.lfs.org.uk/summer
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
21
FIR
ST
FIL
M S
UM
ME
R S
CH
OO
L
www.lfs.org.uk/summer
Still
fro
m T
HE
TH
IEF
, dir
ect
ed b
y S
erb
an
Raco
vit
ean
u (
Ro
man
ia, Fi
rst
Film
Sum
mer
Sch
oo
l, C
lass
of 2015)
NE
XT
: H
OW
TO
AP
PLY
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
+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
23
FU
RT
HE
R I
NF
OR
MA
TIO
N
www.lfs.org.uk/summer
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:
Web: www.lfs.org.uk
lfs.org.uk/summer
The London Film School is a Creative Skillset Academy
Top Related