LFS Prospectus 2014-2015

PROSPECTUS 2014-2015

‘

For me, being at the London Film School in the sixties was a very special experience, and the infectious spirit of freedom and creativity continues today.

Collaboration and individuality have always been encouraged, and the school continues to stay abreast of new technology, whilst exciting new connections are being made.

Our constructive hands-on approach is there to be developed, nurtured and celebrated. Ambitious filmmakers everywhere: come and take part!

’

Mike Leigh, LFS Chairman and 1963 graduate Director Another Year, Happy Go Lucky, Vera Drake

‘

Knowing how a process works liberates the imagination.

Progress in filmmaking is inconceivable to me without a formal education in cinema – for me it was two years at LFS.

’ ’

Michael Mann, Director Last of the Mohicans, Heat, The Insider, 1967 graduate

‘

LFS is a true original – a place full of invention and passion and love of film.

Sam Mendes, Director Skyfall, American Beauty, Revolutionary Road

‘

LFS has a great record of delivering exactly what the Film Industry needs – talent.

If I were going to film school, I’d go there.

’

Danny Boyle, Director Trainspotting, Slumdog Millionaire, 127 Hours

‘ ‘

LFS is a crucial part of the marketplace and the cultural sector doing invaluable work.

’

Tessa Ross, Controller Film & Drama, Channel 4

The LFS is an extraordinary place full of its own powerful culture. Apart from the exceptional craft standards achieved, the school is able to attract students from all over the world who genuinely have something to say in their work – plus those rare things, a distinctive and original voice, and the maturity to express ideas they know they can communicate on film. And it supports them uncompromisingly.

Colin Vaines, Producer Coriolanus

’

PATRONS Tony Elliott, Roger Graef, Christopher Hird, John Hurt CBE, Hanif Kureishi, Charlie Parsons, Franc Roddam, Anthony Smith CBE, Iain Smith OBE, Tilda Swinton, Jeremy Thomas, Alan Yentob DEVELOPMENT COMMITTEE Honorary Chairs: Danny Boyle, Jim Broadbent, Sir Michael Caine, Ken Loach, Michael Mann, Sir Paul McCartney, Sam Mendes Members: David Aukin (Chairman), Don Boyd, Dan Chambers, Simon Chinn, Will Clarke, Tony Elliott, Stephen Garrett, Marc Mourre, Franc Roddam, Lisa Marie Russo, Iain Smith OBE, Colin Vaines, Amanda Walsh, Roger Wingate

THE LONDON FILM SCHOOL

CONTENTS PROSPECTUS 2014-2015

THE SCHOOL 1 3 4 5

A Tradition of Innovation LFS in Twelve Words Studying in London Facilities

PROGRAMMES 7 13 17 18

MA Filmmaking MA Screenwriting MA International Film Business/Doctoral Programme Professional Development/International

20 22 23

LFS Graduates Admissions Staff/Governors/Supporters

Prospectus design by Mike Leedham, 2D Design LFS ‘Somersault’ logo design by Chris Allies (after Marey) The London Film School reserves the right to make changes in whole or in part to the curriculum at any time without formal notice.

THE LONDON FILM SCHOOL

A TRADITION OF INNOVATION Since 1956 LFS has been a working studio, in which every student on the two year MA Filmmaking programme works on a minimum of six films. We’re accustomed to delivering in excess of 170 films and 15 feature screenplays a year. Around this work and its associated teaching we maintain an insistence on creative freedom, a drive toward innovation and a commitment to craft excellence.

find employment and help invent the cinema and television of the future. Many graduates are directors, and the majority of students come to the school expecting that they will direct. We also graduate leading cinematographers, editors, producers, sound recordists and production designers. What is important is that they will have other skills. We frequently use the term “filmmaker”, meaning a person for whom a proper command of this collaborative craft is of vital importance. In the MA Screenwriting at LFS, we want students to see writing in the context of real filmmaking, rather than as an abstract end in itself.

LFS has been selected by Creative Skillset, the UK government agency for audio-visual training, as one of three ‘Film Academies’. This recognises the school as an industrylevel graduate school in Britain offering The beauty of a good film school is that We’re not called a ‘film and television’ professional film training, and the only it invites you to make mistakes, but never school because we believe that the craft skills one in that scheme with an alldampens your enthusiasm. At LFS I and modes of expression encompassed by department Filmmaking programme. made plenty, and ignited a passion. ‘film’ provide the base from which to take on The support has made it possible for LFS Duncan Jones (Source Code, Moon), 2001 the special creative demands of other media to offer two-year bursaries for some UK graduate from television and advertising to streaming qualifying students, and to develop our web video. Rather than second-guess the teaching and our links to the film audio-visual business and its evolving markets, industry, supporting graduates as they we want to instil the creative flexibility to contribute in every area. make their first steps in building a network in the UK and abroad.

Graduation film ON THE EDGE. Dir. Sohail Kamali

‘

LFS offers courses for students with certain aims: reaching genuinely professional standards; learning to collaborate creatively – from fellow students as much as from lecturers – and to think about cinema practically; getting the habit of interrogating their assumptions rigorously and then taking their instincts seriously. The students we want are resilient, collaborative, imaginative people who learn through doing (and sometimes failing), people who will have the courage and energy to develop their ideas to the limit. The MA Filmmaking is staffed by people who believe that pre-specialization (deciding before you study film to be a director, or a cinematographer, or a sound recordist – now very common in film schools) can deprive talented students of a full education in the craft of filmmaking. We encourage them to explore and develop their special strengths while they’re here. We also believe that understanding the structures of industrial filmmaking will allow graduates the freedom to innovate, THE SCHOOL

’

There’s a fine balance between technical training, the ‘boot camp’ in which students gain key skills through making films, or writing exercises, and the area of creative development, the ‘hothouse’ in which they try and make them extraordinary. The starting-points at LFS are to learn through the work, and to remain sceptical about whether filmmaking’s creative challenges can be taught in conventional ways.

We aim to provide a fertile environment for hard work, exploration and creative dialogue. In this prospectus you’ll find course work referred to as ‘the exercises’. Turning them into ‘films’ and ‘scripts’ is our challenge to you.

BEN GIBSON, Director

1

2

THE LONDON FILM SCHOOL

LFS IN TWELVE WORDS GLOBAL The world’s international graduate film conservatoire. Seventy percent of students are from outside the UK, from more than sixty countries. A diverse range of cultures and film traditions makes for a creative hothouse. This global network, once built, lasts a professional lifetime.

PROVEN Thousands of high profile alumni over 50 years of operation include Michael Mann, Mike Leigh, Tak Fujimoto, Franc Roddam, Don Boyd, Mark Goldblatt, Bill Douglas, Les Blair, Ho Yim, Anne Hui, Joao Cesar Monteiro, Arnold Wesker, Duncan Jones and Danny Huston.

INCLUSIVE On the MA Filmmaking, five film exercises paid for including stock and equipment, plus a substantial budget for the graduation film – incorporated into your fees. Most schools quote only tuition costs, with filmmaking budgets an vague extra. Plus no high and low budget film exercises – at LFS you work within the budget you’re given.

VISIBLE Our library gets your work around the world. In 2013 LFS films played at over 150 festivals and took 30 prizes, including a BAFTA nominations. Five LFS graduates have been taken on the Cannes Residence programme since 2007. In 2013, over 25 known features by recent graduates in global distribution.

VALUE LFS is a not-for-profit educational trust committed to spending its money only on your education. UK qualifying students can apply for Creative Skillset bursaries. A unique constitution – you become a voting member of the Association.

CONNECTED LFS is two minutes walk from Soho, centre of the European entertainment industry. A rare opportunity to study in central London.

Key figures of the UK and European industries pass through very often.

The school provides mentors and career development support after graduation.

Graduation film SUNDAY MORNING. Dir. Brian O’Toole

PRACTICAL There are five exercise films and a graduation work in the MA Filmmaking programme, shot on film and digital. One film is prepared, shot, delivered and screened in every 12 weeks of your work. There’s the opportunity to offer scripts for production and to work on scripts in pre-production for MA Screenwriters.

COMPREHENSIVE The MA Filmmaking includes two years of training in Directing, Lighting, Operating, Editing, Sound, Production Design, Screenwriting and Production. Choose your specialisation at the end of the course, and for writer-directors, earn a living by crewing while developing projects.

ATTENTIVE 140 students, 22 full time faculty, scores of visiting lecturers – more student-lecturer ‘face time’ than any other graduate film school.

THE SCHOOL

RECOGNISED One of three recognised UK graduate schools in the UK Creative Skillset Film Academy Network accredited as a centre of excellence.

MA degrees recognised throughout the world, and validated by the London Metropolitan University and University of Exeter. Graduates also become ALFS, or Associates of the London Film School.

PROFESSIONAL Students are taught by working UK filmmakers. Exercise films are made on built sets, shot on professional level film and digital cameras, recorded on Nagra V, edited on Avid Composer and given a professional dub in Soho.

INNOVATIVE A school that works with the film industry, understands the market and employability – and also takes your ambitions and your originality very seriously. We want you to reinvent film form rather than copy what already exists. Programmes include 120 half day Film History/Film Style screening and analysis sessions.

3

THE LONDON FILM SCHOOL

STUDYING IN LONDON In any given week through the year there are probably more films showing for London’s seven million inhabitants than in any other capital city. The school is situated in the centre, in Covent Garden, within walking distance of West End cinemas and theatres, 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.

Both the MA Filmmaking and MA Screenwriting courses are validated by the London Metropolitan University. Students are issued with an LMU Student ID Card, which enables you to use some of their facilities, including Sports and Leisure, IT and Computer studio, libraries and their ‘Walk in’ counselling service.

Central London offers LFS students access to many informal film and media groups, events and opportunities, and the school often hosts events in collaboration with like-minded film organisations. All LFS students are members of International Students House (ISH) and can take advantage of the facilities and events they offer. Facilities include a Fitness Centre, Welfare and Advice Service, Internet Café, Bars and Restaurant. Social events run throughout each term and include cultural evenings, lectures and debates, parties and subsidised travel trips in the UK and overseas. LFS Students are admitted free to many of the film programmes at the BFI Southbank.

Graduation film GOOD NIGHT. Dir. Muriel d’Ansembourg

Sixth Term students participate in a mentoring scheme with ‘honorary executive producers’ drawn from the London independent film community, and there are many other occasions earlier in the course to benefit from the richness of the local film culture. Of course London also offers the thousands of locations, people and stories that feature in screenplays and documentary treatments for the school’s film exercises.

4

THE SCHOOL

THE LONDON FILM SCHOOL

FACILITIES The London Film School building was previously a warehouse, and has a rough workshop atmosphere which can be exciting, but is not academic and certainly not luxurious. We offer guided tours around the school on Thursday afternoons throughout the term which includes a chance to look at some student films. Facilities at the LFS include:

VLE The LFS Uses Moodle as the Virtual Learning Environment of the LFS. Students are able to view, download and print technical manuals, syllabuses, course descriptions, forms, legal agreements, school regulations and other documents, and take part in activities set up by course tutors. Wifi Access.

Studios Two studios equipped with lighting rigs are available for the film exercises, as well as a rehearsal studio, used also for drama and script workshops.

Cinemas Projection facilities for digital, 35mm and 16mm are available in two cinemas, with 110 and 35 seat capacity respectively.

Design Studio There is a fully equipped design studio with drawing boards, model making facilities, visual reference library and materials library and design computer suite.

Editing Suites The School has non-linear editing systems running Avid Media Composer. Some systems are also equipped with Final Cut Pro. The analogue film room is equipped to handle 35mm and 16mm film formats.

Library The School Library keeps and documents LFS productions. LFS shows work at over 150 film festivals around the world each year, and supports sales of films to broadcasters and distributors. The library also holds an extensive collection of films for loan, plus a small collection of core books. Students have access to the BFI Reference Library, An LFS education is not limited to which is within ten minutes walk and also the technical skills that produce new the London Metropolitan University Library. filmmakers. It’s an education that

‘

Oliver Hermanus, 2009 graduate. Oliver’s graduation feature Shirley Adams won Best Film, Best Director and Best Actress at the South African Film and TV Awards. His second feature Beauty was in official selection at Cannes.

Sound Suites There are Protools 24HD work stations for the preparation of sound tracks for Dolby digital mixes. Commentary and foley recording area.

Sound-Effects Library.

Production Office There is a production office with computers, fax, telephone and internet access. Wifi Access.

THE SCHOOL

’

challenges you to find your voice and make it heard.

Coffee Bar The school has a privately-run coffee bar on the ground floor.

Long Acre Building Our annexe building offers additional facilities for the MA Programmes, International programmes and Workshops.

Clubs and Societies The Students Union is affiliated with the NUS and LFS students are entitled to NUS Extra cards, offering a range of benefits. LFS is also affiliated to International student house/UCKISA. Our clubs and societies include the LFS Film Society and an LFS football team, which arranges matches against other film schools. LFS is a full member of CILECT, (Centre International de Liaison des Ecoles de Cinéma et de Télévision), the international confederation of film schools GEECT (European Grouping of Film and Television Schools) and NAHEMI (National Association for Higher Education in the Moving Image), the national association for British film schools.

5

6

THE LONDON FILM SCHOOL

An Introduction to the MA Filmmaking Course.

Romithe Aboulafia - Camera Assistant on BLUE COLLARS AND BUTTERCUPS, Graduation Film Production Dir: Janis Pugh Producer: James Youngs On set of a 4th term production

The LFS MA Filmmaking Course is an intense two year programme in which the full range of film-making skills are taught at appropriate professional levels.

Learning is based around short films. Each term these film exercises become more technically sophisticated, more considered and more complex in their ambitions. The School specifies the skill base for each exercise, provides the equipment and trains the students up to the new levels in each of the various craft skills. Students take all the aesthetic decisions, solving problems similar to those faced by professional units, on a steeply increasing slope of difficulty. Their work is constantly assessed and criticised. Students themselves are required to reflect on and assess their own learning in Work and Research Journals.

This is the centre of the LFS method. Students learn best by applying themselves to aesthetic and practical problems generated by the actual process of filmmaking. This way new skills become meaningful and integrated into an increasing repertoire. Against a background of practice, lectures and classes become vivid and full of recognisable content.

This is why we push through so many productions, and why students have more opportunities to work on films than they can realistically take up.

All students learn all the important film-making skills, and must practise them in a working unit. There is no film career which is not greatly enriched by an active practical knowledge of the other specialisations.

This makes an LFS graduate stand out from colleagues with a single specialisation, at any level. On the one hand, students with a primarily technical bent find insights into their work through an understanding of the more interpretive practices, and very often find an unexpected potential and self-confidence as writers or directors. On the other hand, producers’, writers’ and directors’ range and sense of the possibilities of their art is immeasurably increased by a serious technical competence.

They are taught to look at film history, and a great range of contemporary and classic work, in varying critical contexts, but most importantly as the outcome of practical strategies that they can use for framing, criticising and developing their own take on screen storytelling.

They develop their own work, and then get the opportunity to test it out freely with colleagues, teachers and professional practitioners in workshops designed to connect ideas and outcomes and in which their work is criticised without applying any further restriction than their own growing judgement and consciousness of effect and context.

MA FILMMAKING

MA FILMMAKING

In the film exercises students shoot their own scripts, directed in their own way. The content of all films is fully discussed and criticised, but ultimately the students have complete freedom of expression. This is an opportunity to exercise their creative abilities, for them to see their ideas brought to life, with professional actors, on film, and under production conditions appropriate to the developing skills of the crew.

The film exercises are programmed by the School, and are tightly scheduled, requiring the students to learn to work under time discipline.

Crews are compact, and consequently there is always need for assistants from the lower terms. Up to sixty films are made each term, which means that whenever students are not busy with their own projects, their services are in demand on many others. This creates a constant sense of excitement, a constant presence of film-making, which becomes the atmosphere and life of the School, a tremendous motivating force.

Students are continually learning from each other and from the immense range of practical and aesthetic problems the different films offer. This process continues all day, often through the evening, and flows between the sets and locations, the viewing theatres, editing suites, the coffee bar and back again, all term.

Alan Bernstein – Head of Studies

Students’ creative abilities are mobilised and developed by multiple approaches: PROGRAMMES

7

8

THE LONDON FILM SCHOOL

MA FILMMAKING CURRICULUM FIRST TERM EXERCISE: SECOND TERM EXERCISE: TwoThree and a half minute, 16mm, black and white, mute films are shot Each student scripts and directs their own film: 1-3 minutes long, 16mm on location. All students are expected to produce a script. The first term colour shot on location, with post-synchronised sound. They edit and gives students a thorough grounding in the basics of filmmaking. The design sound tracks for their film. Re-recording/mixing of soundtracks is centre of the term is the film exercise, which provides the platform for carried out in outside professional studios. The Second Term is intense basic teaching in camera skills, exposure control, and editing. The and exciting. This term introduces students to lighting skills and to sound assumption is that students all start from a recording and digital editing. Students work similar background and all need a full, fast in units of six , directing their own films and The amount of growth that I experienced introduction to professional procedures. camera operating, lighting and fulfilling other supporting roles on the films of their as a filmmaker in two years at LFS is The term is dedicated to the principle of colleagues, so that they are intimately really…unquantifiable. Not only did we learning how to tell a story in pictures. involved in all their unit’s projects. learn how to watch, shoot and discuss Scripts are subject to detailed scrutiny and film intelligently, but also we learned discussion. Students have to practise basic LFS is currently collaborating with The how to work from the inside out.. The production management skills: organising National Gallery during this term. staff are absolutely committed to location permissions, securing props and Transcriptions: LFS Shorts is an innovative cultivating their students to flourish to costumes. They have to cast and work with project which involves 2nd term students become the best filmmakers they are professional actors. In parallel, all through producing films inspired by the Gallery's capable of being. Simply the training the term, courses run in film history and in collection. Students make two visits to the both practically and emotionally, is the close analysis of directors’ strategies, Gallery for an artist led workshop in front of showing and discussing work from Hitchcock the paintings and a slide show lecture where second to none. to Lang via, say, Spike Lee and Kiarostami. selections of paintings are discussed in Barney Elliot terms of composition, colour, narrative and MA Filmmaking graduate 2003 There are classes on photo theory, directing patronage. They then choose a painting Cannes Residence Du Festival participant syntax, producing, production management, from the National Gallery's Collection to 2007 production design, camera practicals, use work from. of light meters, and editing.

An exciting element of this collaboration is that the students may respond to any aspect of the painting, following in the tradition embraced by the many directors, cinematographers and set designers who have been influenced by artists from Rembrandt, Vermeer and Caravaggio to Turner and Renoir.

MA FILMMAKING

Unit 1 Language - Image, Meaning, Style

‘

On the set of a 5th term production

On the set of a 4th term production

’

CURRICULUM

9

THE LONDON FILM SCHOOL

MA FILMMAKING CURRICULUM Unit 2 Practice - Non-Fiction and Fiction

THIRD TERM EXERCISE: A twelve to fifteen minute, HD colour documentary film, with synch sound. Students work in units of five, with each student taking on at least one of the major roles - Producer, Director, Dop/Operator, Sound Recordist and Editor. Re-recording/mixing of soundtracks is carried out at professional sound studios. Editing is done on Avid Composer.

FOURTH TERM EXERCISE: In the fourth term, students make a ten-minute B&W film shot in the studio and on location.

In Term Four the requirements and expectations from students are very high. Units consist of five students, each taking at least one major role.

Scripts have been developed, discussed and criticised during the previous The remit of the term is wider than that of the term. Students choose scripts and crews. 'classical' documentary, and students are The programme at LFS works for people encouraged to think of the expressive from all over the world because it can be Student producers are then required to develop a set of production forms detailing functions of images of the real world and adapted to all conditions; professional all the film’s requirements, and these, their use in new forms. actors or non actors, different sized together with the scripts are presented to crews, 35mm or miniDV. What I loved production conferences with all heads of Britain has a long and rich documentary about LFS is the way we were taught to department to initiate the process. Students tradition, going back to Grierson, and kept think about films; without pretense, with design, build and dress their own sets, and alive by television. Today this tradition discipline, and centered around process there are classes and consultation sessions informs feature film making as much as and finding things out for ourselves. It’s taking them through this. Studio lighting is television reportage and current affairs. an extraordinary thing to teach film without at the heart of the exercise, and for many reducing it to techniques and rules, and students this is the major excitement of the The school recruits a 'resident Documentarist' term. By this stage, students are expected each term who will show their work, consult yet teach the rigour and effort that is to manage their lighting in a highly units on their films and provide support. necessary to improve your work. professional way. There is currently an There is a wide range of classes supporting Paz Fabrega option to shoot on 35mm or a digital film the non-fiction production: lectures on (Cold Water of the Sea, Tiger Award camera, Arri Alexa - both use a geared documentary history, showings of Rotterdam), 2006 graduate head on the studio dolly. The unit attend a contemporary non-fiction, classes in grade at a professional post-house to learn research techniques, interviewing, music in about the B&W 'look'. Recording and laying post-synchronised tracks are documentary, recording synch systems, use of synch sound on location, also an important part of the exercise. Rerecording/ mixing of synchronising rushes and editing synch material, camera practicals, soundtracks is carried out at professional sound studios. practical demonstrations of location lighting, a practice shoot with synch sound. Throughout the term script workshops are developing drama Over this and the next term there are an important series of directing scripts for the later terms. workshops, and working with actors is a major component of these. Classes are given in production design, art direction, set building, Resident Documentarists, Documentary lecturers and panelists include: production management, continuity, studio lighting theory/practicals, Peter Gordon, Michael Houldey, Elizabeth McIntyre, Cassie Braban, studio sound recording, camera practicals, laying multiple sound tracks, Nicola Gibson, Helena Appio and Alexandra Briscoe.. demonstration at external sound studios of ADR techniques, demonstrations and workshops on non-linear editing and grading.

‘

’

10

CURRICULUM

THE LONDON FILM SCHOOL

MA FILMMAKING CURRICULUM FIFTH TERM EXERCISE: To support ambitious productions students can extend their production In the fifth term students make a drama up to fifteen minutes long, on the schedule through three terms. Full support is offered, at a nominal fee.

Arri Alexa, on location and in the studio. This continues the form of the fourth term, but at a higher level. Scripts written and developed over the In addition to advising on the festival strategy for each graduation film, previous year are chosen by the students. Crews are built around the the school supports the transition from student to professional in a variety scripts. Scripts are broken down by of ways. To begin, The school’s Director producers and presented to production takes each graduating filmmaker through a conferences with heads of the various week-long workshop on international The great thing about LFS is you plot departments. Sets are designed; models industry practice, thus providing the context your own way within it. You try your built and discussed. for their entry into the profession. This is hand at every discipline, which makes followed by Job Club, for specific strategies you a better director - to know what The excitement - and successes - of lighting for opening doors and gaining experience, everybody does on a set, the difficulties are at an even higher level than the previous as well as work. In addition to this core and the technical issues. I can now sit term. The programme of directing curriculum, industry guests meet with down with any filmmaker and discuss workshops continues. As in the fourth term, graduating filmmakers to discuss any aspect of film and not be lost in a the number of films scheduled is high given presentation techniques, preparing CVs and maze of terms!! the number of students. This means that showreels, and networking. Finally, there is students work on more than one film, and the mentoring programme: students are Kemal Akhtar that students from the lower terms are invited to select a mentor and put together a (Mandela), MA Filmmaking graduate 2007 drawn in as assistants in all departments. mentoring plan in consultation with the Term The integral learning process of each film is Tutor. This programme is currently shared widely. Classes and workshops include directing actors, stereo supported by Creative Skillset. sound and preparation for the Sixth Term graduation project.

LFS is committed to supporting its graduates in developing a strategy for THE GRADUATION FILM: their entry into the expanding and fast-changing media industries.

Students are assigned a production allowance by the school to build a Through the growing network of associates LFS maintains and develops project. They can work individually or pool their production allowances contacts throughout the world to support this work. and efforts. They can shoot on any format and at any length they can budget and schedule. Students are strongly encouraged to raise funds The LFS curriculum draws on a huge range of industry figures as visiting and build coproduction deals, with production companies and/or other lecturers, speakers, panelists, mentors, DOPs in residence and honorary graduate film schools, either here in the UK or abroad.Each project’s producers. For an up to date list, visit the website at www.lfs.org.uk script, schedule and budget will be examined and discussed with the Term Tutor. The Development Process is supported through specialist workshops in directing, camera & lighting, and postproduction led by LFS faculty in collaboration with industry specialists. Pre-production is monitored by the Term Tutor and relevant Heads of Department. Before a project is given the green light all necessary paperwork must be in place and approved. Delivery requirements match those of the major international festivals.

‘

MA FILMMAKING

Unit 3 Synthesis - Industry and Independents

’

CURRICULUM

11

THE LONDON FILM SCHOOL

The MA Screenwriting programme provides a year of critical and creative development, a network of future contacts and a space where a writer can define their interests and particular talent. This is a course that is “The screenplay is not the last stage of a literary journey. It is the first more interested in content over structure, individual development over stage of a film and the only way to become a professional screenwriter is the imposition of a universal model or set of rules. At LFS we believe that to get in contact with a group of people who make films.” the study and practice of screenwriting requires an understanding of the Jean-Claude Carriere (Belle du Jour; Danton) technical aspects of filmmaking and of different approaches to narrative as well as The LFS MA Screenwriting course is an the working methods and practice of intense one-year programme with the LFS is a vibrant, hands-on film-making professional screenwriters as members of a emphasis on developing the writer’s environment, producing 160 films a creative team. original voice through small group and year. Where better to learn about the one-to-one mentoring from industry We are looking for writers who are excited professionals. LFS aims to encourage practical craft of screenwriting? about writing for the screen, who have a writing as a continuous practice, to Mike Leigh background in writing for other mediums, stimulate reflective and critical approaches LFS Chairman and 1963 graduate directors who are seeking to write their own and to provide a specific historical (Happy-Go-Lucky, Vera Drake, feature script and writers who wish to background to film narrative, genres, and Secrets and Lies) establish long-term mentoring relationships dramaturgy. with development professionals.

The course is aimed at developing Course Philosophy screenwriting skills in the context of a filmmaking community where writing is an everyday practice and a collaborative process, involving •To encourage writing as a state of mind and everyday practice actors, directors, musicians, editors and producers. At LFS we explore the •To stimulate a reflective and critical approach to practice boundaries between writing and directing and stimulate debate through •To provide an historical background to film narrative classes in film history, cross-cultural approaches to dramaturgy and script •To place the screenplay in the context of a collaborative readings with professional actors. Regular screenings of classic and filmmaking process contemporary films in our own film theatre and visits by contemporary •To explore the boundaries between writing, directing and filmmakers complement the core practical work of developing a feature producing screenplay.

•To stimulate alternative approaches to screenwriting through awareness of different dramaturgical traditions •To take on writers who wish to develop a long-term mentoring relationship with working professionals •To focus on the writers individual development above issues of structure and dramaturgy •To create a context where the writer works with others involved in the filmmaking community - directors, actors, musicians, producers.

An Introduction to our MA Screenwriting Course

Brian Dunnigan teaching a Screenwriting Workshop

Stone Island, Graduation Film Dir Adriana Paramo Perez

‘

PROGRAMMES

MA SCREENWRITING

MA SCREENWRITING

’

Brian Dunnigan – Head of Screenwriting

13

THE LONDON FILM SCHOOL

MA SCREENWRITING CURRICULUM The programme is non-modular. It is composed of three units to be taken sequentially. The course is full-time only and lasts one year. Some of the component classes are term specific and others run continuously across the whole programme.

Unit 1: The Screenwriter’s Craft This unit provides an introductory and theoretical framework for the practical work with an emphasis on the writer’s personal development. It includes an overview of dramatic principles as applied to a distinctively cinematic approach to storytelling. It also encourages a critical evaluation of those principles in relation to the creative process and the development of original work for the screen.

‘ ’

The range, quality and volume of work produced in one year makes this one of the outstanding screenwriting courses in the UK.

The main practical focus of this unit is the writing of a Short Film Screenplay and the production of a Feature Film Portfolio through small group and one-to-one feedback sessions with actors, directors and development professionals.

Unit 2: The Screenwriter’s Practice Students will normally have passed Unit One before starting Unit Two. The main focus of this unit is the development of a First Draft Feature Screenplay through small group feedback and one-toone Mentoring. This unit continues to place screenwriting within the context of craft skills, film style and the filmmaking process. It also introduces the economic and industrial context for film production, distribution and exhibition and the role of the writer and the screenplay within that context.

Kate Leys, external examiner

Workshops on storytelling and film language, characterisation, scene writing and step outlines, the development of original ideas for the screen and adapting material from another medium are based around practical writing exercises. Visiting professional screenwriters discuss their methods of working with practical examples of past and present work.

Classes on film style and history, including a programme of evening screenings in the film theatre, provide a context for the written work. In addition students have the option to work on film exercises produced by students on the Filmmaking MA - while their short and feature screenplays are a valuable resource for the filmmakers. Collaboration between writers and filmmakers is continually encouraged through joint sessions, social events and the posting of projects on the screenwriters’ blog site.

Students’ reflections on the relationship between theory and practice, screenwriting and filmmaking as well as establishing a partnership with a professional writing mentor, profoundly influence the outcome of their work and the preparation for their major project. This includes the writing 14

of a Work and Research Journal which tracks their personal and project development through the inclusion of visual references and self-reflective notes on course and project work.

Class work and exercises including the Writers Gym and a National Gallery day - focus on visualisation and cinema specific aspects of screenwriting - while workshops with actors, directors and editors demonstrate how a knowledge of the filmmaking process is essential to the developing screenwriter. Alternative models of screenwriting are explored through case studies of screenplays, screenwriters and filmmakers.

The Work and Research Journal continues to provide a transparent account of the writers’ creative development and engagement with the course while the Feature Film Screenplay remains the practical, assessable outcome of that process.

CURRICULUM

THE LONDON FILM SCHOOL

Unit 3: Writing the Feature Film Students will normally have passed Unit Two before starting Unit Three.

This unit continues the series of lectures on the history of cinema with evening screenings built around debate and contact with contemporary filmmakers. Visiting writers, producers and agents with specialist workshops on television writing and adaptation provides the industrial context.

The principle focus of this unit is on the key practical work of the Masters programme the writing and development of a Feature Film project through two further drafts supported by a professional writing Mentor.

The final screenplay along with an outline of project development and the Work and Research Journal complete the assessable work for the MA programme.

Selected scenes from the graduate screenplays are presented at a Showcase event for industry professionals later in the year.

‘

’

SURVIVOR, WRITTEN BY GABRIEL VALLEJO (MA SCREENWRITING GRADUATE 2007), DIRECTED

BY NICOLE VOLAVKA (MA FILMMAKING GRADUATE 2009)

BRIAN DUNNIGAN - Head of Screenwriting

Course tutors: Brian Dunnigan (Head of Screenwriting), Roger Hyams, Amanda Schiff, Katie Rae, Merle Nygate, Jonathan Hourigan, Philip Palmer, Ellis Freeman, Jon Gilbert, Sue Austen.

Visiting lecturers and mentors have included: Tony Grisoni - Writer: Brothers of the Head, In This World, Tideland.

Mike Leigh - Director/Writer: Vera Drake, Secrets and Lies, Naked.

At LFS I’ve been exposed to ideas and Laurence Coriat - Writer: Me Without You, influences that are many times wider Wonderland. and more catholic than the industry Richard Kwietniowski - Writer/Director: Love and Death on Long Island, Owning standard McKee orthodoxy and I’ve Mahoney. enjoyed feedback, camaraderie and Olivia Hetreed - Writer: Girl With a Pearl encouragement that will continue to Earring. inform my development for many years Ronald Harwood - Writer: The Pianist. to come.

Pawel Pawlikowski - Director: My Summer of Love, Last Resort.

Jimmy Ruzicka Udayan Prasad - Director: My Son the 2007 MA Screenwriting Graduate Fanatic, Gabriel and Me. Bille Eltringham - Director: Mrs Ratcliffe's Revolution, This is Not a Love Song.

Aishling Walsh - Writer/Director: Song for A Raggy Boy. Rebecca O'Brien - Producer: The Wind That Shakes The Barley, Ae Fond Kiss.

Tony Garnett - Writer/Director/Producer, World Productions.

Britt Harrison - Script Consultant.

Roger Smith - Script Editor: Carla's Song/ Sweet Sixteen.

Dean Craig - writer: Death at the Funeral/Caffeine.

Sandy Lieberson - Producer: Performance/Jaberwocky.

Mia Bays - Producer: Scott Walker: 30th Century Man. Rob Kraitt - Agent: AP Watt.

Mark Solomon - Editor: Chicken Run, Frankenweenie, The Tale of Desperaux.

Helen Jacey - Writer/Author of The Women in the Story.

Gub Neal - Producer: Cracker, The Fall.

Alexandra Stone - Producer: Franklyn, Kidulthood.

Dictynna Hood - Director/Writer: Wreckers.

MA SCREENWRITING

MA SCREENWRITING CURRICULUM

CURRICULUM

15

T H E

L O N D O N

HEADING HEADING Subheading The School offers

Subheading The School offers one course only – the two year, full-time Diploma Course in the Art and technique of Film Making. There are no short courses, summer schools or part-time studies. The curriculum is not organised on a modular basis, so it is not possible to take only part of the course. There is no credit system for previous qualifications.

16

THE LONDON FILM SCHOOL

The MA International Film Business unites the London Film School, the world’s key postgraduate filmmaking school, with the University of Exeter’s Film department and Business School. The marriage brings together film production and market expertise and exceptional research and teaching on film culture and history. This MA combines high level teaching skills with a unique practitioner-driven industry access program, providing students with the key business tools and contacts needed to build a career in film.

Unlike existing film-related degrees, this new MA explores the entire film business, embracing world and national cinema(s), non-Hollywood independent film production, financing, sales, distribution and marketing, alongside programming, exhibition and digital strategies for the future.

‘

EXETER/LFS DOCTORAL PROGRAMME The University of Exeter College of Humanities is able to offer doctoral studentships to fund doctoral study in Film by Practice, as a joint degree with the London Film School. These doctoral studentships are tenable for up to three years and cover full tuition fees and a maintenance allowance.

These days it’s no longer relevant to train in production alone. You need to be – or at any rate to understand being – a distributor and a sales agent as well. Otherwise, you’re not an independent producer: you’re a dependent one.

The ambitious team behind the MAIFB is dedicated to training a new generation of both producers and executives that will Ben Gibson, bring both excellence and innovation into LFS Director the film industry beyond Hollywood. By analyzing the horizontal and vertical structures that shape the film industry, in tandem with changing patterns of users and digital technology, this course explores both the existing international film industry while also embracing the current high levels of disruption and restructuring.

’

This unique and exciting new programme provides students with the best of both worlds - belonging to an internationally recognised University and College with highest quality research, and immersion into the professional world of film creation instruction offered by LFS. This programme is designed for students wishing to take their filmmaking practice beyond an MA and to integrate their technical and practical skills into a more advanced cultural, aesthetic and critical context.

MA INTERNATIONAL FILM BUSINESS

MA INTERNATIONAL FILM BUSINESS

For more information visit www.lfs.org.uk or contact humanities-pgadmissions@exeter.ac.uk

On the set of a 5th term production

Taught in London and the South-West, the MAIFB includes a networking placement program; industry mentoring supported by an advisory committee of leading UK and European film industry professionals; a research trip to the Berlin Film Festival; and an opportunity to work on an LFS graduation film as a producer.

Course leader is Angus Finney, author of THE INTERNATIONAL FILM BUSINESS and a key authority on the sector. Chair of the Advisory Group is Scott Meek and members include Camilla Bray, David Garrett, Hilary Davis, Keith Northrop. Lee Magiday, Louisa Dent, Mike Goodridge, Peter Watson, Stephen Woolley, Steve Jenkins, Sue Bruce-Smith and Terry Ilott.

Visit www.lfs.org.uk for more details.

PROGRAMMES

17

THE LONDON FILM SCHOOL

PROFESSIONAL DEVELOPMENT/ INTERNATIONAL The daily life of the LFS revolves around the intensity of the MA teaching and the making of over 150 films (and 12 to 20 feature scripts) every year.

Increasingly that work is enriched by new strands aimed at students and many others: UK-based film professionals, international partners, practitioners of other forms, passionate enthusiasts for independent film.

immersive programme. It’s aimed at anyone who is serious about developing a career in film. For aspiring producers, our Fast Forward programme is an opportunity to learn from recognised industry experts the detailed reality of each stage of production, and how it connects to the stages before and after.

We are continuously developing new workshops and announcing dates for LFS WORKSHOPS existing courses. Visit www.lfs.org.uk/courses/workshops for our current LFS Workshops is a rapidly expanding programme of evening, weekend schedule. and short CPD (“continuing professional development”) courses. Approximately fifty Q&A@LFS courses are offered each year; intensive Q&A@LFS is a termly season of screenings An incredible learning experience that hands-on craft workshops sit alongside and conversations with leading and engaged every part of me. Mentally, detailed and inspirational seminar teaching, emerging filmmakers. These nights help physically and creatively, every day was with every craft area catered for. LFS feed contemporary debates and new work a new challenge and a new experience.

Workshops are inspired, painstakingly into full time teaching. Perhaps even more The detail, energy, enthusiasm and developed and delivered by current importantly, the series’ over-subscribed generosity the tutors was impressive and practitioners, based on professional mailing list brings the industry, short course experience and standards. humbling. Even after the official end of people, independent filmmakers, Londonbased film and other students and the course, Udayan was still teaching For those about to apply to a major film academics into the school’s space and into us more. school like LFS, or anyone wishing to improve the culture every week. Recent speakers their understanding of the craft before have included BARRY ACKROYD, Directing Summer School participant, 2012. embarking on their own short film, our 3CATHERINE BREILLAT, JOHN DE BORMAN, week Summer School with feature director DANNY BOYLE, BRUNO DUMONT, Udayan Prasad is a highly practical

‘

18

Introduction to Location Sound

Drawing Board to Screen: Production Design and Technical Drawing

Directing Summer School

’

INTERNATIONAL COLLABORATION LFS is one of the most active film schools in the EU for funded inter-collaborative training and in 2013/14 is involved in six panEuropean film school collaborations funded by the EU MEDIA programme. The projects launched and run by the school are The Low Budget Film Forum, for graduating students with their first feature idea (www.lowbudgetfilmforum.eu) and Making Waves: Independent Film Distribution & Exhibition strategies held in parallel to the Berlinale (www.makingwavesworkshop.eu).

The latest addition to the roster is Serial Eyes, a full time ten month training in TV serial writing and producing (run by the dffb with LFS) based in Berlin (www.serial-eyes.com).

‘

It was a brilliant week. I started out with trepidation, but felt supported enough to let go of my self-consciousness and really play with the ideas the workshop tutor was offering. It was a safe environment in which we were allowed to stretch ourselves into unknown territories; take risks, fail, succeed, whatever in the pursuit of gathering up these tools to push our own work into new and exciting directions.

Adapting for Cinema

Lou Hamilton, ‘Improvisation for Directors’ participant.

’

All programmes are open to application by LFS students or recent graduates.

SPEAKEASY Speakeasy is an invitation-only screening, dinner and discussion forum hosted monthly at LFS. Its overall purpose is to renew and inspire critical, ambitious film thought, discussion and practice. Speakeasy brings together luminaries and troublemakers from the British and international film worlds, including directors, producers, distributors, and teachers, as well as selected writers, artists and thinkers, LFS students and recent graduates.

LBFF Copenhagen

The school is also partner in A Clear View, a two part residential training in Berlin on Grading and digital workflow for 5th term students from LFS and other European film schools (www.a-clear-view.com), Adapting

PROGRAMMES

for Cinema (A4C), a 3 part residential training for writers, producers and visual artists/directors run by Scuola Holden in partnership with LFS and MOME (www.adaptingforcinema.com) and the European Film School Network, run by La fémis with LFS and VSMU Brastislava.

PROFESSIONAL DEVELOPMENT

MIKE FIGGIS, WILLIAM FRIEDKIN, STEPHEN FREARS, EBRAHIM GOLESTAN, PAUL GREENGRASS, LASSE HALLSTRÖM, ASIF KAPADIA, HANIF KUREISHI, YORGOS LANTHIMOS, SEAMUS MCGARVEY, ROGER MICHELL, SAMANTHA MORTON, SHIRIN NESHAT, NICOLAS ROEG, TESSA ROSS, STELLAN SKARSGÅRD, IMELDA STAUNTON and PETER SUSCHITSKY.

19

THE LONDON FILM SCHOOL

LFS GRADUATES The film industries of almost every country in the world are liberally sprinkled with graduates of the School, who are entitled to call themselves ALFS (Associates of the London Film School). A very short list might include: Brad Anderson Howard Atherton Terry Bedford Les Blair Philipp Blaubach Don Boyd Ole Bratt Birkeland Curtis Clark Harley Cokeliss George P. Cosmatos Boaz Davidson Bill Douglas Julian Doyle Steve Dubin Sara Duvall Mark Forstater Tak Fujimoto Nic Gaster Mark Goldblatt Pedro González-Rubio Eduardo Guedes Oilver Hermanus Marius Holst Anne Hui Danny Huston John Irvin Babak Jalali Ahmed A. Jamal Knut Erik Jensen Duncan Jones

20

Director / Writer / Editor / Cinematographer Director of Photography Director / Director of Photography Director / Writer, Producer, Editor Director of Photography Director / Writer / Producer Director of Photography Director of Photography Director / Director of Photography Director Director / Writer / Producer Director / Writer Editor / Director Visual Effects Producer / Director / DoP Producer Producer Director of Photography Editor Editor Director / Cinematographer Director Writer/Director Director Director Director / Actor Director Witer/Director Director Director / Writer Director

The Killing, Boardwalk Empire, Transsiberian, The Wire (TV), The Machinist Fatal Attraction, Bad Boys, Lolita Monty Python and the Holy Grail, Jabberwacky, Slayground H3, Bad Behaviour, Jump the Gun The Disappearance of Alice Creed, The Escapist Andrew and Jeremy Get Married, My Kingdom, Twenty-One The Arbor, Helen The Draughtsman’s Contract, Extremities, Nicky and Gino An Angel for May, Black Moon Rising, Dream Demon Tombstone, Rambo: First Blood Part II, Cobra The Expendables, Bad Lieutenant, Brooklyn’s Finest My Childhood, Comrades, My Way Home Brazil, Life of Brian, The Wind In The Willows The Lord of The Rings, The Chronicles of Narnia, I Robot Fried Green Tomatoes At The Whistle Stop Cafe Monty Python and the Holy Grail, Between The Devil and the Deep Blue Sea Signs, The Sixth Sense, The Silence of the Lambs The Invisible Woman, Moon, Venus, Enduring Love Rise of the Planet of the Apes, Terminator, X-Men, Armageddon Alamar, Toro Negro Rocinante, Bearskin, An Urban Fairytale, Facas e Anjos Shirley Adams, Beauty (Skoonheid) Cross My Heart and Hope to Die, Dragonflies, King of Devil’s Island A Simple Life, The Postman Life of My Aunt, Ordinary Heroes, A Simple Life Magic City, Children of Men, The Constant Gardener, 21 Grams Tinker Tailor Soldier Spy (TV), The Dogs of War, Hamburger Hill Frontier Blues The Journalist and the Jihadi: The Murder of Daniel Pearl, Mad Dogs, Majdhar Cool and Crazy, Passing Darkness, Burnt By Frost Moon, Source Code

THE LONDON FILM SCHOOL

LFS GRADUATES Flora Lau Mike Leigh Robert Leighton Luis Mandoki Michael Mann Bahram Manocheri Alexandra McGuiness Anu Menon Joáo César Montieiro Horace Ove Maysoon Pachachi Kant Pan Ron Peck Migual Pereira Roger Pratt Alessandro Di Robilant Franc Roddam Shimako Sato David Scott Menelik Shabazz Geoffrey Simpson Iain Smith Ueli Steiger Ivan Strasburg Gale Tattersall David Thompson Leticia Tonos Herschel Weingrod Arnold Wesker Erik Wilson Ian Wilson Ho Yim

Director Director / Writer Editor Director Director / Writer / Producer Director of Photography Director Director Director Director Editor Director / Writer Director / Writer Director of Photography Director Director / Producer Director / Writer Director of Photography Director Director of Photography Producer Director of Photography Director of Photography Director of Photography Film Historian Director/Producer Writer Playwright Director of Photography Director of Photography Director

Bends, Dry Rain Another Year, Happy-Go-Lucky, Vera Drake, Mr Turner The Bucket List, For Your Consideration, Stand By Me When a Man Loves a Woman, Message in a Bottle, Amazing Grace Public Enemies, Collateral, Heat Bleak Moments, Boxed, Johnny West Lotus Eaters London Paris New York Recollections of the Yellow House, God’s Wedding, Come and Go Pressure, Playing Away, Reggae Return to the Land of Wonders, Living with the Past, Iranian Journey The Crying Game, Solomon and Gaenor, Kicks Empire State, Nighthawks, Fighters The Man Who Came to a Village, Che Ernesto, Veronica Cruz The Karate Kid, Dorian Gray, Harry Potter and the Goblet of Fire Il Nodo Alla Cravatta, Ill Giudice, Raazzino, Forever Quadrophenia, K2, Auf Wiedersehen Tales of a Vampire, k20: Legend of the Mask, Yasha Il Giudice Ragazzino, Il Nodo Alla Cravatta Burning an Illusion, The Story of Lover’s Rock Shine, Fried Green Tomatoes at the Whistle Stop Cafe, The Sessions Cold Mountain, Alexander, Children Of Men The Day After Tomorrow, Godzilla Shooting Dogs, Bloody Sunday, Endurance The Commitments, House, Ghost Ship Gillian Anderson Actress Amma Asante Writer / Director Cristo Rey, Love Child Jim Broadbent Actor Twins, Trading Places, Kindergarten Cop Mike Figgis Writer/Director Chicken Soup with Barley Stephen Frears Director Submarine, Tyrannasaur, The Imposter Philip French Film Critic The Crying Game, A Way of Life, Emma William Friedkin Director Wo ai chu fang, Tian guo ni zi Jack Gold Director Cedric James Focus Puller Abbas Kiarostami Writer / Director Richard Lester Director Ken Loach Director Samantha Morton Actress / Director Rebecca O’Brien Producer Pawel Pawlikoski Writer / Director Roy Pointer Cinematographer Tessa Ross Channel 4 Film and Drama Controller Rita Tushingham Actress Lynne Ramsay Writer / Director Jeremy Thomas Producer Colin Tucker Producer / Script Editor

HONORARY ASSOCIATES

21

THE LONDON FILM SCHOOL

ADMISSIONS A new MA Filmmaking Course starts each term, so it is possible to enrol for entry in September, January or April/May. MA Screenwriting and MA International Film Business start in September each year.

For up to date enrolment information and application forms, please visit the website www.lfs.org.uk The need to follow and understand the intensive course of lectures, and the high pressure of group work make it imperative that all students must have a satisfactory knowledge of the English language. Please check the website for guidance on evidence required.

Evidence of such knowledge would be: •Minimum TOEFL at grade 550.

•Minimum IELTS with a score of 6 and no element below 5.5.

•Minimum Cambridge Proficiency Grade C. •Other evidence of spoken or written fluency.

Candidates resident in the United Kingdom may be required to attend for an interview. Candidates resident abroad should make themselves available for interview in the event that they visit the United Kingdom and intend to submit, or have already submitted, an application. We also conduct interviews by telephone and skype.

A new MA Filmmaking Course starts each term, so it is possible to enrol for entry in September, January or May. MA Screenwriting and MA International Film Business start in September each year.

Minimum qualification for an application to be considered are a three year university degree or equivalent professional experience in a relevant area.

The average age of students is in their middle or late twenties, but the range is great and we welcome applications from older students.

The School welcomes applications from disabled people, including those with specific learning difficulties such as dyslexia. We will endeavour to remove barriers to access and to success in postgraduate film education for disabled people.

If you have been accepted on a full-time MA course, you can apply for a visa. The London Film School has its own Highly Trusted Status through the UKBA, therefore issuing its own CAS numbers to students.

Disabled Access The School welcomes applications from disabled people, including those with specific learning difficulties such as dyslexia. While we cannot claim to have all the facilities and services that will meet each need for students undertaking our programmes, we will endeavour to remove barriers to access and to success in post graduate film education for disabled people.

22

LFS STAFF AND GOVERNORS Carolyn Atherton Workshops Manager Alan Bernstein Deputy Director/Head of Studies/Term 1 Tutor Les Blair Term 2 and 3 Course Tutor Dawn Taylor Financial Controller Diana Charnley Head of Production Design Roger Chinn Front Office, Estates and Facilities Manager Harriet Cox Head of Cinematography Brian Dunnigan Head of Screenwriting Alex Duxbury Assistant to the Director Jaime Estrada-Torres Head of Editing Ronaldo Fagarazzi Stage Supervisor and Gaffer Ben Gibson Director Suzy Gillett International Relations Manager Britt Harrison Term 6 Tutor Jane Hewitt Programming Officer Terry Hopkins Deputy Head of Cinematography Kate Hughes Head of Marketing Umpha Koroma Projectionist Louise Lawrence Film Librarian Carlo Muzi Camera Department Equipment Supervisor Stefania Marangoni Senior Editing Lecturer Moshe Nitzani IT Manager Barry Salt Film History Lecturer/Term 4/5 Tutor Becky Shaw PA to Head of Operations/Student Services John Sibley Admissions Co-ordinator Andrew Speller - GBCT/ACO Senior Cinematography Lecturer Annette Streete Admissions Manager Shirley Streete-Bharath Head of Operations Archie Tait Head of LFS Projects Howard Thompson Head of Sound Department Karen Warnock Sound Assistant Kate Wilson Head of Development Wojciech Wrzesniewski Senior Sound Lecturer Keren Zahymsky Academic Registrar

Mike Leigh OBE – Chairman Margaret Matheson – Vice Chairman Sir Michael Wakeford OBE Peter Armstrong David Aukin Don Boyd Dan Chambers Graham Easton

Satwant Gill John Howkins Steve Jenkins Ruth Lesirge John Rendall Lisa Marie Russo Sue Bruce-Smith Amanda Walsh

SUPPORTERS A BIG THANK YOU TO ALL OUR SUPPORTERS AND PARTNERS 2D Design Arri Arts Council England Avid Barbican BBFC BFI British Council Buzzacott Cirro Lite Columbia School of the Arts Courtauld Institute of Art Creative Skillset Danish Film School DeJonghe Labs dffb ENO ESCAC Essex Insurance Brokers European Commission Fisher Goodman Derrick LLP Hampshire Street Studios Harbottle and Lewis HiBrow Image Systems Institut Francais Kodak

La femis Lee & Thompson London Film Festival London Metropolitan University Magic of Persia MEDIA MOME Panalux Panavision PEC Pinewood Studios Group Pinsent Masons RADA Ronford Scuola Holden SFZE TankTV Taymour Grahne Gallery TCSoho The Digital Orchard The Leathersellers’ Company The Leverhulme Trust The National Gallery Time Out UNATC University of Exeter Visual Impact 23

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: info@lfs.org.uk Web: www.lfs.org.uk

lfs.org.uk The London Film School is a Creative Skillset Film Academy