lfs prospectus 2011-2012

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LFS PROSPECTUS 2011-2012

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Page 1: LFS Prospectus 2011-2012

L F SPROSPECTUS 2011-2012

Page 2: LFS Prospectus 2011-2012

For me, being at the London FilmSchool in the ‘sixties was a veryspecial experience, and theinfectious spirit of freedom andcreativity continues today.Collaboration and individualityhave always been encouraged,and LFS has maintained anextraordinary internationalreputation by insisting on 35mm,on location shooting and built sets,and on down-to-earth, practicalfilmmaking. The school continuesto stay abreast of new technology,and is now entering a period ofconsolidation, whilst exciting newconnections are being made. Our constructive hands-onapproach is there to be developed,nurtured and celebrated.Ambitious filmmakers everywhere:come and take part!

MIKE LEIGH, Chairman LFS

Page 3: LFS Prospectus 2011-2012

CONTENTST H E L O N D O N F I L M S C H O O L

PROSPECTUS 2011-2012

THE SCHOOL1 A Tradition of Innovation

3 The LFS in Twelve Words

5 History

6 Studying in London

7 Facilities

PROGRAMMES9 MA Filmmaking

11 MA Screenwriting

13 MA Film Curating

14 Professional Development/International

DEPARTMENTS & STUDIES17 Cinematography

19 Sound

21 Editing

23 Production Design

25 Directing

27 Screenwriting

29 Production

31 Screen Studies

CURRICULUM33 MA Filmmaking Curriculum

38 MA Screenwriting Curriculum

40 LFS Graduates

42 Enrolment

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.

Page 4: LFS Prospectus 2011-2012
Page 5: LFS Prospectus 2011-2012

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T H E L O N D O N F I L M S C H O O L

A TRADITION OF INNOVATIONSince 1956 LFS has been a working studio, in which every student onthe two year Filmmaking programme works on a minimum of six films.We’re accustomed to delivering in excess of 170 films a year. Aroundthis work and its associated teaching we maintain an insistence oncreative freedom, a drive toward innovation and a commitment tocraft excellence. Since 2003 we have added two new MAProgrammes: MA Screenwriting and MA Film Curating.

LFS has been selected by Skillset, the UKgovernment agency for audio-visualtraining, as one of three ‘Film Academies’.This recognises the school as an industry-level graduate school in Britain offeringprofessional film training, and the only onein that scheme with an all-departmentFilmmaking programme. The support hasmade it possible for LFS to offer two-yearbursaries for some UK qualifying students,and to develop our teaching and our linksto the film industry, supporting graduatesas they make their first steps in building a network.

LFS offers courses for students with certain aims: reaching genuinelyprofessional standards; learning to collaborate creatively – from fellowstudents as much as from lecturers – and to think about cinemapractically; getting the habit of interrogating their assumptionsrigorously and then taking their instincts seriously. The students wewant are resilient, collaborative, imaginative people who learnthrough doing (and sometimes failing), people who will have thecourage and energy to develop their ideas to the limit. The MAFilmmaking 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 deprivetalented students of a full education in the craft of filmmaking. Weencourage them to explore and develop their special strengths whilethey’re here. We also believe that understanding the structures of

industrial filmmaking will allow graduates the freedom to innovate,find employment and help invent the cinema and television of thefuture. Many graduates are directors, and the majority of studentscome to the school expecting that they will direct. What is important isthat they will have other skills. We frequently use the term “filmmaker”,meaning a person for whom a proper command of this collaborativecraft is of vital importance. In the MA Screenwriting at LFS, we wantstudents to see writing in the context of real filmmaking, rather than as

an abstract end in itself. In the MA FilmCurating, we want Curators to graspfilmmaking as a complete process ratherthan position themselves as serviceproviders at one end.

We’re not called a ‘film and television’school because we believe that the craftskills and modes of expressionencompassed by ‘film’ provide the basefrom which to take on the special creativedemands of other media from television

and advertising to streaming web video. Rather than second-guess theaudio-visual business and its markets, we want to instil the creativeflexibility to contribute in every area.

There’s a fine balance between technical training, the ‘boot camp’ inwhich students gain key skills through making films, or writingexercises, and the area of creative development, the ‘hothouse’ inwhich they try and make them extraordinary. The starting-points at LFSare to learn through the work, and to remain sceptical about whetherfilmmaking’s creative challenges can be taught in conventional ways.We aim to provide a fertile environment for hard work, explorationand creative dialogue. In this prospectus you’ll find course workreferred to as ‘the exercises’. Turning them into ‘films’, ‘scripts’ and‘events’ is our challenge to you.

BEN GIBSON, Director

THE SCHOOL

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Knowing how a process works liberatesthe imagination. Progress infilmmaking is inconceivable to me without a formal education in cinema -for me it was two years at LFS.Michael Mann LFS graduate 1967Dir: Miami Vice, Heat, The Insider’

Page 6: LFS Prospectus 2011-2012

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Page 7: LFS Prospectus 2011-2012

LFS IN TWELVE WORDSGLOBAL The world’s international graduate film conservatoire. Seventy percentof students are from outside the UK, from more than sixty countries. Adiverse range of cultures and film traditions makes for a creativehothouse. This global network, once built, lasts a professional lifetime.

INCLUSIVEOn the MA Filmmaking, five film exercises paid for including stock andequipment, plus £3500 cash returned for the graduation film –incorporated into your fees. Most schools quote only tuition costs, withfilmmaking budgets a vague extra. Plus no high and low budget filmexercises – at LFS you work within the budget you’re given.

VALUELFS is a not-for-profit educational trust committed to spending itsmoney only on your education. UK qualifying students can apply forSkillset bursaries. A unique constitution – you become a votingmember of the Association.

PRACTICAL There are five exercise films and a graduation work in the MAFilmmaking programme, with at least three on 16mm and two on35mm, plus 24P digital workshops. One film is prepared, shot,delivered and screened in every 12 weeks of your work. There’s theopportunity to offer scripts for production and to work on scripts inpre-production for MA Screenwriters.

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

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

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

VISIBLEOur library gets your work around the world. In 2009 LFS films playedat 125 festivals and took 22 prizes, 5 of them ‘firsts’. Three LFSgraduates have been taken on the Cannes Residence programme since2007. In 2010, 25 known features by recent graduates in globaldistribution winning festival prizes including Michael Powel Award,Edinburgh and top 3 prizes at Durban.

CONNECTEDLFS is two minutes walk from Soho, centre of the European entertainmentindustry. A rare opportunity to study in central London. Key figures of theUK and European industries pass through very often. The school providesmentors and career development support after graduation.

RECOGNISED One of three recognised UK graduate schools in the UK Skillset FilmAcademy Network. MA degrees recognised throughout the world, andvalidated by the London Metropolitan University and Birkbeck Universityof London. Graduates become ALFS, or Associates of the London FilmSchool.

PROFESSIONAL Students are taught by working UK filmmakers. Exercise films are madeon built sets, shot with 16mm Aaton or 35mm SuperAmerica or PanaflexGold cameras, recorded on Nagra V, edited on Avid Composer andgiven a professional dub in Soho.

INNOVATIVE A school that works with the film industry, understands the market andemployability – and also takes your ambitions and your originality veryseriously. We want you to reinvent film form rather than copy whatalready exists. Programmes include 120 half day Film History/Film Stylescreening and analysis sessions. A Screenwriting degree in which everystudent has a mentor in the business. The world’s first MA qualificationin Film Curating.

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T H E L O N D O N F I L M S C H O O L

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Page 9: LFS Prospectus 2011-2012

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HISTORYT H E L O N D O N F I L M S C H O O L

In 1956 the Principal of the Heatherley School of Fine Art, GilmoreRoberts, set up a short course in filmmaking, but before the applicantscould enrol, found that his school had been sold from under him. Hedecided to continue the course independently, but could hardly haveimagined that fifty years later a thriving, multinational school, descendedfrom his embryonic idea, would be working in a converted warehouse inCovent Garden, London.

After precarious early days, the Schoolsettled in Brixton as the ‘London School ofFilm Technique’. It was set up around thebelief that the future health of filmmaking inBritain could be promoted by properlydesigned formal training for peopleentering the industry, then run on atraditional apprenticeship basis. Since therewas little sign of any official action to carryout these plans, a group of enthusiastsdecided to take the classic British way andconstitute such a school.

The approach to the old school, through agaunt passage and up winding brick stairsto a handful of rooms over shops in Electric Avenue, Brixton, was likenedby an intrepid visitor to a set from “The Cabinet of Doctor Caligari”. Inthe early 1960s the school moved to premises in Charlotte Street in theWest End. The 18th century warehouse in Covent Garden, in which the

school has been since the mid 1960s, maintains a similarly dramatic andindividual character.

In 1974 the school was re-named as LIFS, the London International FilmSchool. The LIFS constitution, which remains in force, is very unusual. TheSchool is a registered charity, a non-profitmaking company, limited byguarantee. All students become members of the Association, and,together with the other members, elect a Board of Governors on which

they have representation. The Board ofGovernors has the overall responsibility forthe management of the School. The currentChairman is the internationally renowneddirector and LFS graduate Mike Leigh. Theschool has always been completelyindependent, and remains so following thevalidation of its courses by LondonMetropolitan University.

50th anniversary celebrations included a majorretrospective at the National Film Theatre,debate events, international presentations,alumni masterclasses and a charitypremiere of Michael Mann‘s’Miami Vice‘.

A web “time tunnel” has been created with photographs, documents andvideo clips at www.lfs.org.uk/50th/

With thanks to Phil Mottram, formerAdministrator, lecturer and unofficialLIFS historian.

THE SCHOOL

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My own personal progression as a filmmaker has developed at an amazingpace- due largely to intense tutorialswith staff- who have challenged andprovoked me and given me confidenceand advice. I am proud to have beenpart of a very strong, visionary and passionately energetic institution. Verity Healey MA Filmmaking graduate 2008

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Page 10: LFS Prospectus 2011-2012

6 THE SCHOOL

STUDYING IN LONDONIn any given week through the year there are probably more filmsshowing for London’s seven million inhabitants than in any other capitalcity. The school is situated in the centre, in Covent Garden, within walkingdistance of West End cinemas and theatres, the Royal Opera House, theNational Gallery, the British Museum, the British Film Institute Library, theBFI Southbank, the Tate Modern and, even closer, Wardour Street inSoho, nerve centre of the British Film Industry.

Both the MA Filmmaking and MA Screenwriting courses are validated bythe London Metropolitan University. Students are issued with an LMUStudent 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 andmedia groups, events and opportunities, and the school often hostsevents in collaboration with like-minded film organisations. All LFSstudents are members of International Students House (ISH) and can takeadvantage of the facilities and events they offer. Facilities include aFitness Centre, Welfare and Advice Service, Internet Café, Bars andRestaurant. Social events run throughout each term and include culturalevenings, lectures and debates, parties and subsidised travel trips in theUK and overseas.

Sixth Term students participate in a mentoring scheme with ‘honoraryexecutive producers’ drawn from the London independent filmcommunity, and there are many other occasions earlier in the course tobenefit from the richness of the local film culture. Of course London alsooffers the thousands of locations, people and stories that feature inscreenplays and documentary treatments for the school’s film exercises.

T H E L O N D O N F I L M S C H O O L

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Page 11: LFS Prospectus 2011-2012

7

FACILITIEST H E L O N D O N F I L M S C H O O L

THE SCHOOL

The London Film School building was previously a warehouse, and hasa rough workshop atmosphere which can be exciting, but is notacademic and certainly not luxurious. We offer guided tours around theschool on Thursday afternoons throughout the term, including a chanceto look at some student films. Facilities at the LFS include:

Studios Two studios equipped with lighting rigs are available for the 35mm exercises,as well as a rehearsal studio, used also for drama and script workshops.

CinemasProjection facilities are available in two cinemas. 35 mm projectionincludes magnetic sound and Dolby StereoSR analogue sound. 2K digital videoprojection accepts most formats.

Camera Department Equipment includes 8 Aatons with prime orzoom lenses for the 1st year 16mm exercisesand 35mm cameras for the 2nd year,including Panavision Gold and 2 MovieCamSuper America, geared heads and Fisherdollies. There are also Super 16 camerasavailable for graduation films. Digitalformats range from DVCam fordocumentary exercises and research, HDcameras hired in as required for the 3rdterm, and training on RED1 and 24P in the6th term. Lighting Equipment ranges fromthe standard tungsten Openface, Fresneland HMI lamps to Kinoflo’s, dedo kits andlite pads. Incident and spot light meters are available.

PhotographyA stills wet photography darkroom and the Kodak Look Manager systemare equipped for student use. Personal 35mm and digital still camerasare highly recommended.

Design StudioThere is a fully equipped design studio with drawing boards, modelmaking facilities, visual reference library and materials library anddesign computer suite.

EditingThe School has 24 non-linear editing systems. There are 8 MacPro AvidMedia Composer suites, 14 iMac intel systems, running Avid MediaComposer and Final Cut Pro, and on-line Avid Symphony. There is also onefully equipped 35mm analogue editing room and one16mm Steenbeck.

Sound Production sound is recorded on Nagra V digital hard drive recorders.There is a full range of modern microphones, including Micron radiomics and stereo mics. Also Protools 24 work stations for preparation ofsound tracks for Dolby SR mixes. Commentary and foley recording area.

Production OfficeThere is a production office with computers, fax, telephone and internet access.

Extranet Using the Extranet students are able to view, download and print technicalmanuals, syllabuses, course descriptions, forms, legal agreements, school

regulations and other documents. The schoolis WiFi enabled.

LibraryThe School Library keeps and documents LFSproductions, producing DVD copies anddigital masters. LFS shows work at over 150film festivals around the world each year, andsupports sales of films to broadcasters anddistributors. The library also holds anextensive collection of films for loan, plus asmall collection of core books. Byarrangement with the British Film Institute,students have access to the BFI ReferenceLibrary, which is within ten minutes walk.

Coffee BarThe school has a privately-run coffee bar onthe ground floor.

Long Acre BuildingOur annexe building offers additional facilities for the MA Programmes andWorkshops. AV facilities include an Electric drop-down screen (203cm x152.4cm), an Epson EB-W8 projector with WXGA (1280 x 800 resolution),Blu-ray DVD player, and Yamaha Amplifier and JBL Speakers (Stereo).

Clubs and Societies The Students Union is affiliated with the NUS and LFS students areentitled to NUS Extra cards, offering a range of benefits. Our clubs andsocieties include the LFS Film Society and an LFS football team, whicharranges matches against other film schools. LFS Students are admittedfree to many of the film programmes at the BFI Southbank. LFS is a fullmember of CILECT, (Centre International de Liaison des Ecoles deCinéma et de Télévision), the international confederation of film schoolsand NAHEMI (National Association for Higher Education in the MovingImage), the national association for British film schools.

Given the prestige of the film school youexpect great staff, a support network ofprofessionals and guest lecturers – andyou get that - but the unexpected bonusis the range and diversity and quality ofthe students themselves. You just plungein and find your creative edge. I can’timagine there is anywhere better to discover yourself creatively.Guy LodgeMA Screenwriting 2006 graduate ’

Page 12: LFS Prospectus 2011-2012

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MA FILMMAKINGAn Introduction to the MA Filmmaking course.

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

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

This is the centre of the LFS method. Students learn best by applyingthemselves to aesthetic and practical problems generated by the actualprocess of filmmaking. This way new skills become meaningful andintegrated into an increasing repertoire. Against a background ofpractice, lectures and classes become vivid and full of recognisablecontent.

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

All students learn all the important film-making skills, and must practisethem in a working unit. There is no film career which is not greatlyenriched by an active practical knowledge of the other specialisations.This makes an LFS graduate stand out from colleagues with a singlespecialisation, at any level. On the one hand, students with a primarilytechnical bent find insights into their work through an understanding ofthe more interpretive practices, and very often find an unexpectedpotential and self-confidence as writers or directors. On the other hand,producers’, writers’ and directors’ range and sense of the possibilities oftheir art is immeasurably increased by a serious technical competence.

Students’ creative abilities are mobilised and developed by multipleapproaches:

They are taught to look at film history, and a great range ofcontemporary and classic work, in varying critical contexts, but mostimportantly 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 outfreely with colleagues, teachers and professional practitioners inworkshops designed to connect ideas and outcomes and in which theirwork is criticised without applying any further restriction than their owngrowing judgement and consciousness of effect and context.

In the film exercises students shoot their own scripts, directed in their ownway. The content of all films is fully discussed and criticised, but ultimatelythe students have complete freedom of expression. This is an opportunityto exercise their creative abilities, for them to see their ideas brought tolife, with professional actors, on film, and under production conditionsappropriate to the developing skills of the crew, culminating in the 35mmstudio film of the standard industry production.

The film exercises are programmed by the School, and are tightlyscheduled, requiring the students to learn to work under time discipline.Crews are compact, and consequently there is always need for assistantsfrom the lower terms. Up to sixty films are made each term, which meansthat whenever students are not busy with their own projects, their servicesare in demand on many others. This creates a constant sense ofexcitement, a constant presence of film-making, which becomes theatmosphere and life of the School, a tremendous motivating force.

Students are continually learning from each other and from the immenserange of practical and aesthetic problems the different films offer. Thisprocess continues all day, often through the evening, and flows betweenthe sets and locations, the viewing theatres, editing suites, the coffee barand back again, all term.

ALAN BERNSTEIN, Head of Studies

For curriculum see page 33For enrolment see page 42

T H E L O N D O N F I L M S C H O O L

PROGRAMMES

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Page 14: LFS Prospectus 2011-2012

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MA SCREENWRITINGT H E L O N D O N F I L M S C H O O L

An Introduction to our MA Screenwriting course

“The screenplay is not the last stage of a literary journey. It is the firststage of a film and the only way to become a professional screenwriter isto get in contact with a group of people who make films.”Jean-Claude Carriere (Belle du Jour; Danton)

The LFS MA Screenwriting course is anintense one-year programme with theemphasis on developing the writer’soriginal voice through small group andone-to-one mentoring from industryprofessionals. LFS aims to encouragewriting as a continuous practice, tostimulate reflective and critical approachesand to provide a specific historicalbackground to film narrative, genres, anddramaturgy.

The course is aimed at developingscreenwriting skills in the context of afilmmaking community where writing is an everyday practice and acollaborative process, involving actors, directors, musicians, editors andproducers. At LFS we explore the boundaries between writing anddirecting and stimulate debate through classes in film history, cross-cultural approaches to dramaturgy and script readings with professionalactors. Regular screenings of classic and contemporary films in our ownfilm theatre and visits by contemporary filmmakers complement the corepractical work of developing a feature screenplay.

The MA Screenwriting programme provides a year of critical and creativedevelopment, a network of future contacts and a space where a writercan define their interests and particular talent. This is a course that ismore interested in content over structure, individual development overthe imposition of a universal model or set of rules. At LFS we believe thatthe study and practice of screenwriting requires an understanding of thetechnical aspects of filmmaking and of different approaches to narrative

as well as the working methods and practiceof professional screenwriters as members ofa creative team.

We are looking for writers who are excitedabout writing for the screen, who have abackground in writing for other mediums,directors who are seeking to write their ownfeature script and writers who wish toestablish long-term mentoring relationshipswith development professionals.

Course Philosophy

•To encourage writing as a state of mind and everyday practice •To stimulate a reflective and critical approach to practice •To provide an historical background to film narrative •To place the screenplay in the context of a collaborative filmmaking process •To explore the boundaries between writing, directing and producing •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.

BRIAN DUNNIGAN, Head of Screenwriting

For curriculum see page 38For enrolment see page 42

PROGRAMMES

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LFS is a vibrant, hands-on film-makingenvironment, producing 160 films ayear. Where better to learn about thepractical craft of screenwriting?Mike LeighLFS Chairman and 1963 graduateDir: Happy-Go-Lucky, Vera Drake, Secrets and Lies

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Page 16: LFS Prospectus 2011-2012

SubheadingThe School offers

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

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T H E L O N D O N F I L M S C H O O L

Page 17: LFS Prospectus 2011-2012

MA FILM CURATING

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T H E L O N D O N F I L M S C H O O L

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The MA in Film Curating was offered for the first time in 2010-2011 asa collaboration between the London Consortium (University of London)and the London Film School. It offers both an academic course with astrong element of cultural theory and film history, and a practicalintroduction to the skills, processes and problems of film curating.

The course brings together recent thinking about curating contemporaryart with the constantly evolving world of film, film festivals and the moviebusiness, and aims to provide an understanding of the role of filmcurating in an age in which digital distribution technologies aretransforming both the traditional notion of curating and the commercialfilm distribution sector. Students gain practical experience in curating,within the context of existing film festivals such as Cannes andRotterdam, both of which are visited, and through the practical curationof a film or film-related event.

The institutional partnerships of the London Consortium (in particular theinvolvement of the Tate, the Institute of Contemporary Arts and theScience Museum) make it an ideal context for students who alreadyoccupy curatorial positions, or who wish to have careers in this area. Thisnew collaboration with the London Consortium addresses the need for aspecific training in film curating.

It also recognises that, as traditional methods of film distribution arereplaced by those mandated by digital technology, film programming islikely to become a far more sophisticated and intellectually challengingactivity than it has been in the past.

The MA Film Curating seeks to make students aware of such changesand to develop skills backed up by a fund of knowledge that will enablethem to operate effectively in either sector. Students follow two corecourses provided by the London Film School (Film History, Director

Strategies) and two from London Consortium (Research Skills andMethods and Curating Theory and Practice). In addition, they areintroduced to the development of industrial models of film distributionand modern festival programming through a two-term core course onProduction/Distribution/Exhibition.

The climax of the course is an actual event which each student prepares,markets, mounts and reports back on – in a word, curates – in anappropriate London venue: an initiative which aims to take the LFS’scontribution to the capital’s film culture into new and exciting areas.

Visiting lecturers and experts have included Thierry Frémaux, DéléguéGénéral of the Festival de Cannes; Rutger Wolfson and Gerwin Tamsma,director and programmer at the Rotterdam Film Festival; ChristophTerhechte of the Berlin Forum; Sandra Hebron, director, BFI London FilmFestival; Louisa Dent, managing director of Artificial Eye Film Company;Nigel Algar, Senior Curator, Fiction, BFI National Archive; publicistCharles McDonald, producer Christopher Sheppard of AdventurePictures; and, film directors Sir Alan Parker and Robin Hessman

The course is run by veteran film journalist Nick Roddick, former editorof Screen International and regular contributor to Sight & Sound (underthe ‘Mr Busy’ byline). Roddick has chaired panels on festivalprogramming philosophies at the Cannes Film Festival and South bySouthWest in Austin, Texas and will continue to explore the changing faceof film festivals and film distribution at upcoming events.

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PROFESSIONAL DEVELOPMENT/INTERNATIONAL

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T H E L O N D O N F I L M S C H O O L

The daily life of the LFS revolves around the intensity of the MA teachingand the making of over 150 films (and 12 to 20 feature scripts) everyyear. Increasingly that work is enriched by new strands aimed atstudents and many others: UK-based film professionals, internationalpartners, practitioners of other forms, passionate enthusiasts forindependent film.

LFS WORKSHOPSLFS now delivers many evening, weekendand short CPD (“continuing professionaldevelopment”) courses, both intensive hands-on craft workshops and detailed andinspirational seminar teaching. LFSWorkshops are inspired, painstakinglydeveloped and delivered by currentpractitioners, based on professionalexperience and standards

Previous workshop tutors have included:Adam Megiddo, Adrian Smith, Aly Yeganeh,Annabelle Pangborn, Ben Gibson, BethMulter, Brian Dunnigan, Colin Pons, DavidMcHenry, Ellis Freeman, Emma Dobinson,Erin Cramer, Gustavo Costantini, HarveyFrost, Hope Dickson-Leach, Ian Neil, JanSpoczynski, Joel Cahen, Josh Appignanesi,Larry Sider, Laurence Coriat, Lesley Oakley,

Margaret Glover, Mark Solomon, Mia Bays, Nina Kellgern, Paul Cronin,Richard Kwietniowski, Roger Hyams, Ron McCullagh, Sean McCann,Simon Lambros, Steve Haynes, Stephen Deutsch, Teresa Grimsditch andThomas Mai.

We are continuously developing workshops and announcing new dates forexisting courses. A list of the courses that are currently available can befound at www.lfs.org.uk/courses/workshops.

HOTHOUSEHothouse is a new way of developingsignature UK films for world-wide audiences.The initiative, aimed at the whole creativecommunity, is built on The London FilmSchool ethos and organisational context.Although one of its key methods is to build acreative community of filmmakers for peer-to-peer support, Hothouse isn’t a course, adevelopment scheme or a writing workshop,but a professional atelier. Working from ideathrough structuring and revising, schedulingand budgeting, to packaging options,participants emerge with workable projectstied to realistic finance plans. For more information [email protected].

It was a brilliant week. I started out withtrepidation, but felt supported enough tolet go of my self-consciousness andreally play with the ideas the workshoptutor was offering. It was a safeenvironment in which we were allowedto stretch ourselves into unknownterritories; take risks, fail, succeed,whatever in the pursuit of gathering upthese tools to push our own work intonew and exciting directions.Lou Hamilton, ‘Improvisation for Directors’ workshop participant, July 2009.

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HOTHOUSE

Q&A@LFSQ&A@LFS is a termly season of screenings and conversations with leadingand emerging filmmakers. These nights help feed contemporary debatesand new work into full time teaching. Perhaps even more importantly, theseries’ over-subscribed mailing list brings the industry, short course people,independent filmmakers, London-based filmand other students and academics into theschool’s space and into the culture everyweek. Recent speakers have included BARRYACKROYD, CATHERINE BREILLAT, JOHN DEBORMAN, BRUNO DUMONT, MIKE FIGGIS,PAUL GREENGRASS, TONY GRISONI, ASIFKAPADIA, HANIF KUREISHI, SEAMUSMCGARVEY, ROGER MICHELL, SAMANTHAMORTON, NICOLAS ROEG, TESSA ROSS,IMELDA STAUNTON and PETERSUSCHITSKY.

INTERNATIONAL COLLABORATIONLFS has numerous international partnershipsincluding the annual EU MEDIA funded‘LOW BUDGET FILM FORUM’ (London2008, Budapest 2009, Les Arcs EuropeanFilm Festival 2010, Copenhagen 2011) inpartnership with La Femis, the BudapestAcademy of Film and Drama and the Danish National Film School, TheForum is designed to create a multi-national conversation about

filmmaking, focusing on low-budget feature development. The EuropeanFilm Schools Network is another MEDIA-funded partnership between LFSand La Fémis and will go online with www.cineuropa.org, creating a kindof one-stop-shop for European Film Schools. An ongoing relationship withthe European Commission Representation in the UK has produced annual

films (Voyages 2008, Fall of the Wall 2009,Exotic Europe 2010) and, in an ambitiouspartnership with the Georgian National FilmCentre, LFS is creating SILK ROAD, a 3-weeklong workshop series in Tbilisi through theMEDIA MUNDUS programme.

SPEAKEASYSpeakeasy is an invitation-only screening,dinner and discussion forum hosted monthlyat LFS. Its overall purpose is to renew andinspire critical, ambitious film thought,discussion and practice. Speakeasy bringstogether luminaries and troublemakers fromthe British and international film worlds,including directors, producers, distributors,and teachers, as well as selected writers,artists and thinkers, LFS students and recentgraduates.

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The course was informative,contemporary and exposed me to muchmore of the food chain than I haveaccess to in my current role‘Sales, Marketing and Distribution’ workshop participant.The teaching was dynamic and tailoredto the needs and progress of the group.It was great to be taught by anexperienced professional working in the industry‘Production Design and Technical Drawing’ workshop participant. ’

Page 20: LFS Prospectus 2011-2012
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17

CINEMATOGRAPHYT H E L O N D O N F I L M S C H O O L

Cinematography is the process of capturing a vision on film. As both anart and a craft, it is a dynamic process that involves the composition oflight, shadow, time and movement.

For the cinematographer this requires a synthesis of technical skills andcreative sensibility. In terms of craft, at LFS we teach photographic theory,concepts and techniques in lighting relevant to each term of the MAFilmmaking programme. We teach the practical use of our film cameras;these include Arri SRs, Aaton XTRs and Moviecam Super Americas. Weare also privileged to have on permanentloan a Gold Panaflex from Panavision. Werun 2 inhouse studios for the 35mm shootsand lighting classes. These are equippedwith lighting rigs, studio dollies and fresnalsand HMI lamps.

We combine these skills with the workingethos of a professional crew, and from thisplatform we encourage cinematography asa creative means of visual story telling.During their time at the school, thosestudents interested in becomingcinematographers will find manyopportunities to explore, experiment anddevelop their own cinematographicsensibilities.

We believe that LFS students gainenormously from the discipline of workingwith, and being educated on film. Currently,terms 1, 2, 4 and 5 originate exclusively onfilm. During the documentary 3rd term, unitscan choose a digital or film format andduring the 6th term, camera and lighting classes are offered on, and fordigital formats. Each student can choose the origination format for theirown graduation film.

In parallel students are offered in-depth master classes oncinematographic concepts, theory and history. Each term is assigned atutor who will cover the technical and skills instruction on the relevantcamera and lenses, and analysis of rushes.

There are regular Q&A and masterclass events with leading

cinematographers and a new residency scheme, bringing workingprofessionals into even closer engagement with the day–to-day teachingat the school.

LFS has an extraordinary record of camera teaching since 1956 and itsCinematography graduates include Roger Pratt, Tak Fujimoto, HowardAtherton, Terry Bedford, Curtis Clark, Bahram Manocheri, David Scott,Ivan Strasburg, Gale Tattersall and Ian Wilson.

TThhee HHeeaadd ooff CCaammeerraa iiss HHaarrrriieett CCooxx..Harriet joined the film industry in 1982 andworked on a wide range of features,commercials, promos and documentaries.Her feature credits include operating on theTerence DDaavviieess ffeeaattuurreess DDiissttaannttVVooiicceess,, SSttiillll LLiivveess and TThhee LLoonngg DDaayyCClloosseess. She completed an MA in FilmStudies and taught cinematography skills atAFECT before joining LFS in May 2001.

TTeerrrryy HHooppkkiinnss - Deputy Head ofCinematography Dept /Senior LecturerAAnnddrreeww SSppeelllleerr - Senior Lecturer/IndustryLiaisonCCaarrlloo MMuuzzii - Camera Technician RRoonnaallddoo FFaaggaarraazzzzii - StageSupervisor/Gaffer

RReecceenntt vviissiittiinngg lleeccttuurreerrss,, ssppeeaakkeerrssaanndd ““DDooPPss iinn rreessiiddeennccee”” iinncclluuddee::Barry Ackroyd, Howard Atherton, John deBorman, Oliver Curtis, Nina Kelgrin,

Seamus McGarvey, NicKnowland, Tony Pierce-Roberts, Dick Pope,David Scott, ChrisSeager, Oliver Stapleton, Ueli Steiger, IvanStrasburg, PeterSuchitzky and HarisZambarloukis.

DEPARTMENTS AND STUDIES

Lisa

Muz

zuln

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XTR

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The programme at LFS works for peoplefrom all over the world because it can beadapted to all conditions; professionalactors or non actors, different sizedcrews, 35mm or miniDV. What I lovedabout LFS is the way we were taught tothink about films; without pretense, withdiscipline, and centered around processand finding things out for ourselves. It’san extraordinary thing to teach film withoutreducing it to techniques and rules, andyet teach the rigour and effort that isnecessary to improve your work. Paz FabregaMA Filmmaking graduate 2006Selected as Skillset Trailblazer. First PrizeBuenos Aires Film Lab

Page 22: LFS Prospectus 2011-2012

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19

SOUND A large part of a film‘s meaning is carried in its soundtrack. Mostdirectors know this but few of them know how that soundtrack is created– unless they are graduates of the London Film School, where everystudent, whatever their preferred field, is taught the theory and practiceof recording and manipulating sound.

It starts with the study of how we hear sound, and indeed what sound is.Next comes practical experience with Nagra V digital recorders, togetherwith the electrical theory needed to understand how they work.

Then comes shooting sound insynchronisation with picture, also theprinciples behind a full range of modernmicrophones, mono and stereo, that arethen used on location and in the studios.

From the second term onwards, all filmshave stereo soundtracks. In the Fifth Term,shot on 35mm colour, tracks areprepared on Protools 24 work stations sothey can be mixed in Dolby SR.

At last, it might be thought, after all thatacquiring of technical knowledge ‘Sound Design’ begins. Well, withouttechnical knowledge there is nothing to design with. But imagination –hard to teach conventionally but essential to filmmaking – is alwaysrequired of a student, right from the moment in their second term whenthey start to think how their pictures and sounds might work together tostir an audience. That audience most likely will never understand howthey have been affected, but a filmmaker graduating from the school willknow, since they have learnt how to work with sound and make it workfor them.

The school employs a music consultant who holds group seminars for2nd term students and is available to all students for music consultationson a 1-to-1 basis. Students are welcome to discuss their projects at scriptstage, seek guidance during production and post-production. All music-

related matters, including spotting, stylistic choices, finding a suitablecomposer, working with composers and mixing, can be raised in thesesessions.

Head of Sound is Howard ThompsonAfter graduation (BA Oxon. English Lang. and Lit.) Howard worked in TV,then in cutting rooms and subsequently as a writer and sound recordiston many documentaries. He has also written three childrens’ featuresand ran the sound department at the legendary Royal Court Theatre.

WOJCIECH WRZESNIEWSKI - Senior SoundLecturerKAREN WARNOCK - Sound Assistant

Vasco Hexel is the current music consultant atthe LFS. Vasco is a composer and arranger forfilm, TV, advertising, and pop musicproductions. He runs the Masters Programmein Composition for Screen at the RoyalCollege of Music, which continues to provide apool of screen composers to LFS filmmakers.

T H E L O N D O N F I L M S C H O O L

DEPARTMENTS AND STUDIES

MA

FILM

MA

KIN

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STO

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The beauty of a good film school is thatit invites you to make mistakes, but neverdampens your enthusiasm. At LFS Imade plenty, and ignited a passion. Duncan Jones, MA Filmmaking graduate2001. Duncan Jones won the BAFTAOutstanding Debut Award for his featuredebut ‘Moon’, plus Best Film awards at Athens, Sitges and Edinburgh Film Festivals.

‘ ’

Page 24: LFS Prospectus 2011-2012

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Page 25: LFS Prospectus 2011-2012

EDITINGWe aim to give every student on the MA Filmmaking programme anunderstanding of the value of the editing craft and the importance ofcommunicating with other departments and technicians involved duringthe production process, in order to provide the best material for the editsuite. The focus is on the practical aspects of film editing, with instructionin the use of both digital and analogue equipment, to enable LondonFilm School students to become familiar with current professionalindustry standards. Film Editing lectures are structured around classicand contemporary films, highlighting the contribution of editing to thedevelopment of a rich and coherent film language.

For those individuals wishing to develop filmand video editing as their intended field ofwork, the Editing Department offers moreadvanced supervised instruction and experiencein cutting various formats and genres.

First term students edit 16mm monochromerushes without sound, as an exercise in purelyvisual narrative.

Second term students shoot and edit non-sync pictures. Sound is then added duringpost-production. Through the combination ofADR (additional dialogue recording), Foley(sound effects) and music scoring sessions,each editor will discover the creative use ofsound on film.

Term Three introduces students to synchronised

sound, providing new challenges in structuring picture and sound.

The Term Four editing exercise is an introduction to drama. Shot on B&W35mm. with sync sound, the films are edited on a non-linear system, andfilm prints are then conformed: the analogue film is cut with a splicer andput together to match the digital cut. The sound is dubbed to Stereo.

Term Five is an extension of the previous exercise, working on 35mm.colour negative. colour negative. After fine cut, the sound is edited onPro-tools in preparation for a Dolby SR sound mix.

Terms Four and Five finished film prints arescreened with a separate magnetic soundat the end of each term.

During Term Six, students have theopportunity to choose subjects and formatsfor their graduation films and lecturesduring this period are focused on helpingeach student to integrate all their acquiredknowledge.

Head of Editing is JAIME ESTRADA-TORRES.Jaime started as an assistant film editorwith David Naden Associates in London’sSoho, gaining his 16mm experience on anumber of documentaries for the BBC, ITVand the then emerging Channel 4. Heworked as 2nd Assistant Editor on TimBurton’s Batman, Assembly Editor on Mike

Figgis’s Hotel, On-Line Editor for Werner Herzog’s Pilgrimage; Pictureand Sound editor on Biggie & Tupac directed by Nick Broomfield, winnerof the 2004 Grierson Best Feature Documentary Award. Jaime was Avidconsultant for Stanley Kubrick on Eyes Wide Shut, George Lucas on theStar Wars Trilogy, James Bond film Tomorrow Never Dies and The HBOseries Band of Brothers produced by Steven Spielberg and Tom Hanks.

Editing department lecturers:STEFANIA MARANGONI - Senior Editing LecturerADAM SHARMAN - Instructor/Technician

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DEPARTMENTS AND STUDIES

Shira

Pin

son

and

Hai

m L

itani

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Suite

.

MA

FILM

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LFS opened avenues for me that may not have been possible if I’d trawled upthrough the industry/runner route. Beinggiven the chance to direct the LFS traileron a professional level, using equipmentfor free that would be reserved for themost expensive ad campaigns, and dealing with a client, helped me gain my current employment as a commercials director. Azhur SaleemMA Filmmaking graduate 2006Young Director Award at the CannesAdvertising Awards 2007

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PRODUCTION DESIGN

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T H E L O N D O N F I L M S C H O O L

“The true mystery of the world is the visible not the invisible.”Oscar Wilde

Production Design is the creation of mood, atmosphere and context through theexpressive use of objects, forms and colour, in the realisation of a script. Inprofessional filmmaking a Production Designer interprets the written word for thescreen, inventing a visual world and language through objects, interiors, andarchitecture. He or she adapts and dresses locations or builds settings on a soundstage employing all aspects of art direction anddesign to dramatise and enhance the narrativevisually.

The design component of the MA Filmmakingprogramme aims to develop the student’sknowledge of the subject area as it directly relatesto film exercises and to each student filmmakerspractice. In terms 4 and 5 this involves the designand build of a set on one of the School’s soundstages. All units develop and execute ProductionDesign concepts for each script in production. Thedepartment teaches all aspects of ProductionDesign for both 35mm colour and black and whitefilm. These include classes in model making,composition and colour, set dressing and drawing.

Students learn how to develop a visual concept and how to transform it into acinematic reality. We use traditional drawing techniques alongside Photoshop,Sketch Up and Vector Works. The close proximity of London exhibitions andpermanent collections of national galleries are used as teaching resources by thedepartment.

Head of Production Design - DIANA CHARNLEY Diana’s feature film credits for Production Design and Art Direction include High

Hopes, Defence of the Realm, Clockwise andThe Dawning. She was previously head ofProduction Design and Art Direction at the NFTSand has lectured widely including CambridgeUniversity and the University of Strathclyde. Diana’swriting on Production Design has been publishedby the BFI. She gained an MA from GoldsmithsCollege in History of Modern Art and is a painter.

Senior Lecturer - HAYDEN GRIFFINHayden is an international theatre and filmproduction designer and has designed for theatre,ballet and opera. Film credits include Intimacydirected by Patrice Chereau, Painted Angelsdirected by Jon Sanders and Wetherby by DavidHare

All visiting lecturers and consultants in thedepartment are professionals in feature film production working as art directors,production designers or set decorators.

Visiting Design Lecturers: Eve Stewart, Alan MacDonald, Tom Conroy, DavidMcHenry, Adrian Smith Production Design and Costume Consultants: Jim Clay, Annie Symons Construction: Jeff Woodbridge, Ian HammondTitles and credits: Chris Allies

DEPARTMENTS AND STUDIES

INFA

NT,

200

2, d

ir. S

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Lag

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omom

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The set of APPOINTMENT

The great thing about LFS is you plotyour own way within it. You try yourhand at every discipline, which makesyou a better director - to know whateverybody does on a set, the difficultiesand the technical issues. I can now sitdown with any filmmaker and discussany aspect of film and not be lost in amaze of terms!!Kemal Akhtar MA Filmmaking graduate 2007Winner Race in the Media Awards 2006 for5th term film Zohra.

‘’

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DIRECTINGDirecting is principally taught by making films. Every term students makea film. In the second term every student directs.

In the graduation term every student has theopportunity to direct if they wish. In otherterms students alternate roles within theirsmall units.

This pattern of exercises through the courseoffers an opportunity to students to developtheir personal orientation to this mostcomplex of all arts: their syntactic narrativeskills, their understanding of the pattern ofpossibilities presented by a script, theircapacity to find their results in, and withtheir collaborators, the ability to constructexpressive mise-en-scène.

Classes supporting this area discuss andrehearse: preparation, shot lists andstoryboards, blocking, protocols of dealingwith professional actors, reading scripts, theconstruction of film sequence. In the secondyear the main teaching of directing isthrough workshops: the attitude of theschool is that the range should vary as widely as possible to give studentstheir own space to build their own repertoire of formal approaches.Workshops deal with script interpretation, directing actors, improvisation,mise-en-scène, use of camera, location shooting. LFS has evolved a uniquely practical approach to discussions of directing

in class: films are presented in terms of strategic decisions, made in acontext of historic, technical and aesthetic limitations and possibilities.

This means that students are encouraged tolook at film history and their filmenvironments in terms of developing acomplex meaning-based repertoire onwhich to found their own directing practice.

Contributors to workshops, panellists andlecturers have included: Tony Bicat, Les Blair,Don Boyd, Terence Davies, Alnoor Dewshi,Bille Eltringham, Stephen Frears, Jack Gold,Enrique Goldman, Khaled al Hagar, KevinHull, Kim Hopkins, Martin Jones, RichardKwietniowski, Rajan Khosa, Mike Leigh,Carol Morley, Lech Majewski, PawelPawlikowski, Udayan Prasad.

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DEPARTMENTS AND STUDIES

HO

USE

OF

CAR

DS

Dir:

Jean

-Phi

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Tre

mbl

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Bas

il El

-Titi

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The London Film School offers a hugecreative challenge to any artist. It forcesyou to be self-critical, hard working andambitious in a wide range of roles andon many different projects. Most importantly, it is run by people withintegrity who have a genuine and infectious belief in film as an art form.The lessons I have learned from it havebeen invaluable, not only to film makingbut to every creative discipline I haveworked in since. If only real life permitted it, I would gladly go throughthe whole thing again!Jack McnamaraMA Filmaking graduate 2005

FREN

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EXC

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SCREENWRITING

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The dual focus of screenwriting education on the MA Filmmakingprogramme is to instil the habit of writing as a valuable skill in all aspectsof filmmaking and to develop scripts for the fiction film exercises in Terms4 and 5, as well as the graduation project/

The school does not impose an institutional regime on screenwriting but allscripts explored and revised through anongoing process of discussion and criticism.We involve visiting lecturers and the wholeschool in an ongoing debate about scriptsbeing conceived and developed. We treat thescript as a blueprint for the story’s realisationas film rather than as a literary artefact.

From the second term every student is part ofa writing workshop, developing and refiningworking relationships along with the scripts.Every script that goes into production in TermsThree, Four and Five goes through rigorousdiscussion at a guest Script Panel. The panel’sadvice can be fed into further developmentand into the script choices of the term. Beforegoing into production there are further script editing sessions with all theselected projects. It is also possible to see a range of tutors on a one-to-one basis throughout the term.

Since September 2005 LFS has also been running a separate MA degreecourse in Screenwriting. The short and feature scripts written on the courseare a valuable resource for MA filmmakers who are encouraged to

develop working relationships with the writers through joint classes,evening screenings and social events. MA screenwriters are also appointedto selected 4th and 5th term projects as script editors and are available towork with filmmaking students on their graduate projects.

See page 11 for details of the MA Screenwriting programme.

Head of Screenwriting - BRIANDUNNIGANRecent contributors to script workshops,panels and assessments include: PetraCooper, Erin Cramer, Roger Hyams, KoltonLee, Amanda Schiff, Karen Street, ArchieTait, Edward Windus.

DEPARTMENTS AND STUDIES

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At LFS I’ve been exposed to ideas andinfluences that are many times widerand more catholic than the industrystandard McKee orthodoxy and I’veenjoyed feedback, camaraderie andencouragement that will continue toinform my development for many yearsto come.

Jimmy Ruzicka2007 MA Screenwriting Graduate’

‘PE

AC

E TI

ME

grad

uatio

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Dir.

Cor

in T

aylo

r

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X –

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exe

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e. D

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AN

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, Gra

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: Jam

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PRODUCTIONThe Producer’s job stretches from the widely undervalued discoverystage, where they find strong material and corral together those whowill bring it all to life, through production to sales and delivery. Througheach stage the producer has a mission: the effective, creative andcollaborative management of priorities. Every film is a prototype, andevery complex decision in film production, however familiar-seeming, isstrangely individual. Producers have the duty and privilege ofmanaging filmmaking decisions from conception to presentation. Weknow that they are the producers partly because they arrive in thisprocess first and quit last.

Film school units, with their overwhelmingflavour of creative ferment and theirlimited resources, tend to call peopleProducers who in fact have the limitedcreative power of Production Managers.Production Management is a key part ofthe whole production role, which takes itsplace alongside Script Editing, Crewingand Casting, Contracts and Distributionand other key areas. What’s important isto create a genuine creative understandingfrom which to collaborate, and avoid the vital role of Producer gettingcaught up in the all enveloping powerbase of the Director.

Filmmaking is a collaborative art built on real dialogue betweencreative partners, and for this reason we emphasise the role of theProducer. For instance, we don’t like taking script meetings without theProducer present. In a small unit fiction producing can be effectivelycombined with just about any job - other than Director.

Most LFS Production teaching is about project development, script andresource issues. The school teaches the essential detail of productionmanagement: preparation, script breakdown, budgeting, scheduling,

unit management and the tasks that will beundertaken in the Production Department,from First Assistant Director to Continuity.We offer production forms and agreementsthrough the student intranet to back up thiswork. Producers are also Script Editors,feedback monitors in the cutting room, andlobbyists to the school and outsidesupporters.

Production is taught in the school by BenGibson, the Director, Margaret Glover,Senior Lecturer, and by visiting tutors.

Recent visiting lecturers, Honorary Executive Producers and panelistsinclude: Mia Bays, Don Boyd, Chris Collins, Natasha Dack, EmmaDobinson, Mike Downey, Mike Elliott, Peter Ettedgui, Bertrand Faivre,Robin Gutch, Laura Hastings-Smith, Sally Llewelyn, Janine Marmot,Eliza Mellor, Keith Northrop, Rebecca O’Brien, Kate Ogborn, NikkiParrott, Sarah Radcliffe, Lisa-Marie Russo, Iain Smith, Sylvia Stevens,Jeremy Thomas, Stephen Woolley.

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DEPARTMENTS AND STUDIES

ON

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Ben

Ene

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Dan

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MA

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Film schools should not be factorieswhich produce filmmakers on an assembly line. A good film school shouldbe a laboratory where students look fortheir own language. The London FilmSchool gives you this space.Remi Borgeaud MA filmmaking graduate 2007First prizes at Corto In Bra and Mexico forgraduation film Un Riff Para Lazaro.’

WH

AT IS

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BUIL

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G IN

TH

ERE,

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4 f

ilm e

xerc

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Dir:

Pat

rick

Gra

ham

Pro

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r: S

alil

Fern

ande

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SCREEN STUDIESFilm History. Director Strategies. Politics and Culture.

Film History: This is a survey course. The emphasis is on thedevelopment of the technology and thestylistic use of new possibilities created bythese advances.

The primary series is aimed at the First Term,but the course is repeated and varied on asix term cycle, so that over two yearsstudents have access to more than eightyfilm history sessions.

Director Strategies: Each term a director orgroup of films is selected: a film is showneach week, usually in 35mm, and analysedfrom the point of view of the complexpattern of directing strategies it reveals, setin the contexts of technical possibilities, thedirector’s other work, and the possible andimpossible options presented by film,cultural and social history. Across the twoyears there are nearly seventy differentclasses.

Politics and culture: Film as the voice of a society and its ideas, rangingfrom the early days of Hollywood, through global cinema in the silent

and sound eras, and new cinema of the “third world”. Screen studies istaught by Alan Bernstein, Head of Studies and First Term Tutor, Dr. BarrySalt, Fourth and Fifth Term Tutor, and Visiting Lecturer Simon Louvish.

There are many other classes given asindividual sessions, by staff or visitinglecturers, individually or as short series.Some of these are regular presentations andsome take advantage of a particularspecialist’s availability.

During the first four weeks of term theSchool’s Film Society plays host to a numberof evening masterclass presentations of newwork, classic films reconsidered andprogrammes of short films.

All students on the MA Filmmaking, MAScreenwriting and MA Curatingprogrammes are welcome to attend ScreenStudies classes.

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DEPARTMENTS AND STUDIES

BRA

IDS

ON

A B

ALD

HEA

D G

radu

atio

n fil

m,

Dir.

Isha

ya B

ako

MA

FILM

MA

KIN

G/M

ASC

REEN

WRI

TIN

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A P

IAN

O IN

WA

RSA

W,

Term

4 f

ilm e

xerc

ise

Dir:

Tho

rste

n W

ien

Prod

ucer

: Sa

mue

le R

oman

o

Stud

ents

atte

ndin

g a

rush

es v

iew

ing

The amount of growth that I experiencedas a filmmaker in two years at LFS isreally…unquantifiable. Not only did welearn how to watch, shoot and discussfilm intelligently, but also we learnedhow to work from the inside out.. Thestaff are absolutely committed to cultivating their students to flourish tobecome the best filmmakers they arecapable of being. Simply the trainingboth practically and emotionally, is second to none.Barney ElliotMA Filmmaking graduate 2003Cannes Residence Du Festival participant2007.

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T H E L O N D O N F I L M S C H O O L

MA FILMMAKING CURRICULUM

CURRICULUM

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FIRST TERM EXERCISE:A three and a half minute, 16mm, black and white, mute film made onlocation. All students are expected to produce a script. From these aselection is made and the final script filmed by students working in unitsof three.

The first term gives students a thorough grounding in the basics offilmmaking. The centre of the term is the film exercise, which provides theplatform for basic teaching in camera skills, exposure control, andediting. The assumption is that students all start from a similarbackground and all need a full, fast introduction to professionalprocedures.

The term is dedicated to the principle of learning how to tell a story inpictures. Scripts are subject to detailed scrutiny and discussion. Studentshave to practise basic production management skills: organising locationpermissions, securing props and costumes. They have to cast and workwith professional actors. In parallel, all through the term, courses run infilm history and in the close analysis of directors’ strategies, showing anddiscussing work from Hitchcock to Lang via, say, Spike Lee andKiarostami.

There are classes on photo theory, directing syntax, producing,production management, production design, practicals on the AatonXTR, use of light meters, and editing.

MATERIALS FOR EACH UNIT: 16mm Aaton XTR + prime lenses, 400 feet of Kodak 7217film fordelivery as monochrome TK; edit on Avid Media Composer.

SECOND TERM EXERCISE:Each student scripts and directs their own film: 1-3 minutes long, 16mmcolour shot on location, with post-synchronised sound. They edit anddesign sound tracks for their film. Re-recording/mixing of soundtracks iscarried out in outside professional studios.

The Second Term is intense and exciting. This term introduces students tolighting skills and to sound recording and digital editing. Students workin units of five or six , directing their own films and camera operating,lighting and fulfilling other supporting roles on the films of theircolleagues, so that they are intimately involved in all their unit’s projects.

MATERIALS FOR EACH STUDENT: 16mm Aaton XTR + prime lenses, 200 feet of 16mm Kodak colour film;lighting kit; Nagra V recorder; edit on Avid Media Composer; outsidedubbing theatre.

This Second Term project involves students producing films inspired bypaintings in an art gallery. Students are taken on a conducted tour ofselections of paintings which are discussed in terms of composition,colour, narrative and patronage. They then choose a painting from thegallery’s collection as an inspiration for their film.

An exciting element of this exercise is that the students may respond toany aspect of the painting thus following in a tradition embraced bymany directors, cinematographers and set designers who have beeninfluenced by artists from Rembrandt, Vermeer and Caravaggio to Turnerand Renoir.

Previous work can be viewed at www.nationalgallery.org.uk/education.

Unit 1 - Image, Meaning, Style

MA

FILM

MA

KIN

G

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T H E L O N D O N F I L M S C H O O L

MA FILMMAKING CURRICULUMTHIRD TERM EXERCISE:A ten minute, 16mm, colour documentary film, with synch sound. Studentswork in units of five, with each student taking on at least one of the majorroles - Producer, Director, Lighting Camera, Camera Operator, SoundRecordist and Editor. Re-recording/mixing of soundtracks is carried out atprofessional sound studios. Students shoot their own titles on the 16mmrostrum camera. Students are also offered the option of shooting on HDusing the Sony EX1 camera. Editing is done on Avid Composer.

The remit of the term is wider than that of the ‘classical’ documentary, andstudents are encouraged to think of the expressive functions of images ofthe real world and their use in new forms.

Britain has a long and rich documentary tradition, going back toGrierson, and kept alive by television. Today this tradition informs featurefilm making as much as television reportage and current affairs.

The school recruits a ‘Resident Documentarist’ each term who will showtheir work, consult units on their films and provide support. There is a widerange of classes supporting the non-fiction production: lectures ondocumentary history, showings of contemporary non-fiction, classes inresearch techniques, interviewing, music in documentary, recording synchsystems, use of synch sound on location, synchronising rushes and editingsynch material, practical demonstrations of location lighting, a practiceshoot with synch sound, lecture/demonstrations and practicals on videocamerawork, and practicals on the 16mm rostrum camera. Throughoutthe term script workshops are developing drama scripts for the later terms.

MATERIALS FOR EACH UNIT OF SIX STUDENTS: Film: Aaton XTR with Zeiss 10/100 or Cooke 9/50 zoom lens; 2,000 ft of16mm Kodak colour negative; Location lighting kit. HD: Sony EX1 or similarwith integral zoom lens; 2 Sony SxS Pro Memory cards (100 min. per card);Location lighting kit; Nagra V recorder; Edit on Avid Media Composer.

Resident Documentarists, Documentary lecturers and panelists include:Helena Appio, Don Boyd, Antonia Caccia, David Glover, Peter Gordon,Mike Grigsby, Ann Hawker, Kevin Hull, Marc Isaacs, John Krish, PatrickKeiller, Victoria Mapplebeck, Hugh Purcell, Witold Starecki, Joram tenBrink, Michael Whyte, Elizabeth Wood.

FOURTH TERM EXERCISE:A ten-minute, 35mm, black and white sound film, shot in the studio andon location. Units consist of five students, each taking at least one majorrole. The films are shot with synchronised sound. Recording and layingpost-synchronised tracks are also an important part of the exercise.Rerecording/ mixing of soundtracks is carried out at professional soundstudios.

In Terms Four and Five the requirements and expectations from studentsare very high. The London Film School is one of the few schools in theworld offering 35mm studio film making as an integral feature of thecurriculum. Scripts have been developed, discussed and criticised duringthe previous term.

Students choose scripts and crews. Student producers are then requiredto develop a set of production forms detailing all the film’s requirements,and these, together with the scripts are presented to productionconferences with all heads of department to initiate the process. Over thisand the next term there are an important series of directing workshops,and working with actors is a major component of these.

Other classes include production design, art direction, set building,production management, continuity, studio lighting theory/practicals,studio sound recording, 35mm editing, practicals on MoviecamSuperamerica cameras, laying multiple sound tracks, demonstration atexternal sound studios of ADR techniques, practicals on 35mm rostrumcamera and demonstrations and workshops on non-linear editing.Students design, build and dress their own sets, and there are classesand consultation sessions taking them through this. Studio lighting is atthe heart of the exercise, and for many students this is the majorexcitement of the term. By this stage students are expected to managetheir lighting in a highly professional way.

MATERIALS FOR EACH UNIT: 35mm Moviecam Superamerica + primelenses; 2800 feet of Kodak Double X; studio and location lightingequipment; Nagra V digital recorder; edit and tracklay on Avid Mediacomposer.

CURRICULUM

Unit 2 - Non-Fiction and Fiction

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T H E L O N D O N F I L M S C H O O L

MA FILMMAKING CURRICULUM

CURRICULUM

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Unit 3 - Industry and Independents

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GFIFTH TERM EXERCISE:In the fifth term students make a drama up to fifteen minutes long, incolour and 35mm, on location and in the studio. This continues theform of the fourth term, but at a higher level. Scripts written anddeveloped over the previous year are chosen by the students. Crewsare built around the scripts. Scripts are broken down by producers andpresented to production conferences with heads of the variousdepartments. Sets are designed; models built and discussed.

The excitement - and successes - of lighting are at an even higher levelthan the previous term. The programme of directing workshopscontinues. As in the fourth term, the number of films scheduled is highgiven the number of students. This means that students work on morethan one film, and that students from the lower terms are drawn in asassistants in all departments. The integral learning process of each filmis shared widely. Classes and workshops include directing actors, stereosound and preparation for the Sixth Term graduation project.

MATERIALS FOR EACH UNIT:35 mm Panavision Gold for studio, 35mm Moviecam Superamerica forlocation; 3600 feet of Kodak Colour; studio and location lightingequipment; Nagra V digital recorder; edit on Avid Media Composer;Tracklay on ProTools HD Digital Audio Work Station. Final mix in Dolby SR.

SIXTH TERM EXERCISE:THE GRADUATION FILM:

THE GRADUATION FILM:Students are assigned a budget by the school to build a project. Theycan work individually or pool their budgets and efforts. They can shooton any format and at any length they can budget and schedule.Students are strongly encouraged to raise funds and build coproductiondeals, with production companies and/or other graduate film schools,either here in the UK or abroad.

Each project’s script, schedule and budget will be examined anddiscussed with the Term Tutors. The Development Process is supportedthrough specialist workshops in directing, camera & lighting, and post-production led by LFS faculty in collaboration with industry specialists.Pre-production is monitored by the Term Tutor and relevant Heads ofDepartment. Before a project is given the green light all necessarypaperwork must be in place and approved. Delivery requirementsmatch those of the major international festivals.

In addition to advising on the festival strategy for each graduation film,the school supports the transition from student to professional in avariety of ways. To begin, the school’s Director takes each graduatingfilmmaker through a week-long workshop on international industrypractice, thus providing the context for their entry into the profession.This is followed by job club, for specific strategies for opening doorsand gaining experience, as well as work. In addition to this corecurriculum, industry guests meet with graduating filmmakers to discusspresentation techniques, preparing CVs and showreels, andnetworking. Finally, there is the mentoring programme. Students areinvited to select a mentor and put together a mentoring plan inconsultation with the Term Tutors. This programme is currentlysupported by Skillset.

LFS is committed to supporting its graduates in developing a strategyfor their entry into the expanding and fast-changing media industries.Through the growing network of associates LFS maintains and developscontacts throughout the world to support this work.

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MA SCREENWRITING CURRICULUM

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T H E L O N D O N F I L M S C H O O L

CURRICULUM

The programme is non-modular. It is composed of three units to be takensequentially. The course is full-time only and lasts one year. Some of thecomponent classes are term specific and others run continuously acrossthe whole programme.

Each unit will carry 60 credits at MA level. The result for the first two unitsshall be pass or fail. The result for the third unit shall be pass withdistinction, pass or fail. The corresponding awards will be MAScreenwriting (Units 1-3 passed), Post-graduate Diploma (Units 1-2passed) and Post-graduate Certificate (Unit 1 passed).

Unit 1: The Screenwriters Craft This unit provides an introductory and theoretical framework for thepractical work with an emphasis on the writer’s personal development. Itincludes an overview of dramatic principles as applied to a distinctivelycinematic approach to storytelling. It also encourages a criticalevaluation of those principles in relation to the creative process and thedevelopment of original work for the screen.

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

Classes on film style and history, including a programme of eveningscreenings in the film theatre, provide a context for the written work. Inaddition students have the option to work on film exercises produced bystudents on the Filmmaking MA - while their short and featurescreenplays are a valuable resource for the filmmakers. Collaborationbetween writers and filmmakers is continually encouraged through jointsessions, 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 theirwork and the preparation for their major project. This includes the writingof a Work and Research Journal which tracks their personal and projectdevelopment through the inclusion of visual references and self-reflectivenotes on course and project work.

The main practical focus of this unit is the writing of a Short FilmScreenplay and the production of a Feature Film Portfolio through smallgroup and one-to-one feedback sessions with actors, directors anddevelopment 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 FeatureScreenplay through small group feedback and one-to-one Mentoring.This unit continues to place screenwriting within the context of craft skills,film style and the filmmaking process. It also introduces the economicand industrial context for film production, distribution and exhibition andthe role of the writer and the screenplay within that context.

Class work and exercises including the Writers Gym and a NationalGallery day - focus on visualisation and cinema specific aspects ofscreenwriting - while workshops with actors, directors and editorsdemonstrate how a knowledge of the filmmaking process is essential tothe developing screenwriter. Alternative models of screenwriting areexplored through case studies of screenplays, screenwriters andfilmmakers.

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

Unit 3: Writing the Feature FilmStudents will normally have passed Unit Two before starting Unit Three.This unit continues the series of lectures on the history of cinema with

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evening screenings built around debate and contact with contemporaryfilmmakers. Visiting writers, producers and agents with specialistworkshops on television writing and adaptation provides the industrialcontext.

The principle focus of this unit is on the keypractical work of the Masters programme -the writing and development of a FeatureFilm project through two further drafts -supported by a professional writing Mentor.The final screenplay along with an outline ofproject development and the Work andResearch Journal complete the assessablework for the MA programme.

Selected scenes from the graduate screenplaysare presented at a Showcase event for industryprofessionals later in the year.

BRIAN DUNNIGAN - Head ofScreenwriting

Course tutors: Ellis Freeman, Roger Hyams,

Amanda Schiff, Hope Dickson Leach, Jonathan Hourigan, Philip Palmer,Nadine Marsh-Edwards, Roxy Spencer, Ed Windus, and Hugh Stoddart.

Visiting lecturers and mentors have included: Tony Grisoni - Writer: Tideland, In This World, Red Riding Trilogy

Mike Leigh - Director/Writer: Vera Drake,Secrets and Lies, Another YearLaurence Coriat - Writer: Me without You,Wonderland, GenovaRonald Harwood - Writer: The Pianist,Diving Bell and the ButterflyWilliam Nicholson - Writer: Shadowlands,GladiatorOlivia Hetreed - Writer: Girl with a PearlEarring, Wuthering HeightsTony Marchant - Writer: Crime andPunishment, The Mark of CainGuy Hibbert - Writer: Five Minutes ofHeaven, Blood and OilRichard Kwietniowski - Writer/Director: Loveand Death on Long IslandPawel Pawlikowski - Director: My Summerof Love, Last Resort

Udayan Prasad - Director: My Son the Fanatic, Gabriel and MeSandy Lieberson - Producer: Performance, Stars and BarsAndy Paterson - Producer: Hilary and Jackie, Girl with a Pearl EarringAishling Walsh - Writer/Director: Song for A Raggy BoyRebecca O’Brien - Producer: The Wind That Shakes the Barley, A Fond KissMark Solomon - Editor: Chicken Run, Frankeweenie, The Tale ofDesperauxRoger Smith - Script Editor: Land and Freedom, Route Irish

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CURRICULUM

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An LFS education is not limited to the technical skills that produce newfilmmakers. It’s an education thatchallenges you to find your voice and make it heard.Oliver Hermanus 2009 MA Filmmakinggraduate. Oliver’s graduation feature‘Shirley Adams’, co-written by 2008Screenwriting graduate Stavros Pamballis,won Best Film, Best Director and BestActress at the South African Film and TV awards and first prizes at Dubai, Amiens and Durban.

‘ ’

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LFS GRADUATES

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T H E L O N D O N F I L M S C H O O L

Brad Anderson Director, Writer, Editor, Cinematographer Transsiberian, The Wire (TV), The MachinistHoward Atherton Director of Photography Fatal Attraction, Bad Boys, LolitaTerry Bedford Director / Director of Photography Monty Python and the Holy Grail, Jabberwacky, SlaygroundLes Blair Director / Writer, Producer, Editor H3, Bad Behaviour, Jump the GunPhilipp Blaubach Director of Photography The Disappearance of Alice Creed, The EscapistDon Boyd Director / Writer / Producer Andrew and Jeremy Get Married, My Kingdom, Twenty-OneOle Bratt Birkeland Director of Photography The Arbor, HelenCurtis Clark Director of Photography The Draughtsman’s Contract, Extremities, Nicky and GinoHarley Cokeliss Director / Director of Photography An Angel for May, Black Moon Rising, Dream DemonGeorge P. Cosmatos Director Tombstone, Rambo: First Blood Part II, Cobra Boaz Davidson Director / Writer / Producer The Expendables, Bad Lieutenant, Brooklyn’s FinestRoss Devenish Director Bleak House (TV), Dalziel and Pascoe (TV), Between The Lines (TV)Bill Douglas Director / Writer My Childhood, Comrades, My Way HomeJulian Doyle Editor / Director Brazil, Life of Brian, The Wind In The WillowsSteve Dubin Visual Effects Producer / Director / DoP The Lord of The Rings, The Chronicles of Narnia, I RobotSara Duvall Producer Fried Green Tomatoes At The Whistle Stop Cafe Mark Forstater Producer Monty Python and the Holy Grail, Between The Devil and the Deep Blue SeaTak Fujimoto Director of Photography The Silence of the Lambs, The Sixth Sense, SignsNic Gaster Editor Moon, Venus, Enduring LoveMark Goldblatt Editor Terminator, X-Men, ArmageddonPedro González-Rubio Director / Cinematographer Alamar, Toro NegroEduardo Guedes Director Rocinante, Bearskin, An Urban Fairytale, Facas e AnjosAnne Hui Director The Postman Life of My Aunt, Ordinary Heroes, July RhapsodyDanny Huston Director / Actor Children of Men, The Constant Gardener, 21 GramsJohn Irvin Director Tinker Tailor Soldier Spy (TV), The Dogs of War, Hamburger Hill Ahmed A. Jamal Director The Journalist and the Jihadi: The Murder of Daniel Pearl, Mad Dogs, Majdhar

The film industries of almost every country in the world are liberally sprinkled with graduates of the School, who are entitled to callthemselves ALFS (Associates of the London Film School). A very short list might include:

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LFS GRADUATES

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T H E L O N D O N F I L M S C H O O L

HONORARY ASSOCIATESAmma Asante Writer / DirectorJim Broadbent ActorStephen Frears DirectorCedric James Focus PullerAbbas Kiarostami Writer / DirectorSamantha Morton Actress / DirectorPawel Pawlikoski Writer / DirectorRoy Pointer CinematographerTessa Ross Channel 4 Film and

Drama ControllerLynne Ramsay Writer / DirectorJeremy Thomas ProducerColin Tucker Producer / Script Editor

Knut Erik Jensen Director / Writer Cool and Crazy, Passing Darkness, Burnt By FrostDuncan Jones Director Moon, Source CodeFaris Kermani Director The Sabri Brothers, Karachi Kops (TV)Mike Leigh Director / Writer Another Year, Happy-Go-Lucky, Vera Drake Robert Leighton Editor The Bucket List, For Your Consideration, Stand By MeLuis Manoki Director When a Man Loves a Woman, Message in a Bottle, Amazing GraceMichael Mann Director / Writer / Producer Public Enemies, Collateral, HeatBahram Manocheri Director of Photography Bleak Moments, Boxed, Johnny WestJoáo César Montieiro Director Recollections of the Yellow House, God’s Wedding, Come and GoHorace Ove Director Pressure, Playing Away, ReggaeKant Pan Editor The Crying Game, Solomon and Gaenor, KicksRon Peck Director / Writer Empire State, Nighthawks, FightersMigual Pereira Director / Writer The Man Who Came to a Village, Che Ernesto, Veronica Cruz Roger Pratt Director of Photography The Karate Kid, Dorian Gray, Harry Potter and the Goblet of Fire Alessandro Di Robilant Director Il Nodo Alla Cravatta, Ill Giudice, Raazzino, ForeverFranc Roddam Director / Producer Quadrophenia, K2, Auf WiedersehenShimako Sato Director / Writer Tales of a Vampire, k20: Legend of the Mask, YashaDavid Scott Director of Photography Il Giudice Ragazzino, Il Nodo Alla CravattaGeoffrey Simpson Director of Photography Shine, Fried Green Tomatoes at the Whistle Stop Cafe, Little WomenIain Smith Producer Cold Mountain, Alexander, Children Of MenUeli Steiger Director of Photography The Day After Tomorrow, Godzilla, Austin Powers: The Spy Who Shagged MeIvan Strasburg Director of Photography Shooting Dogs, Bloody Sunday, EnduranceGale Tattersall Director of Photography The Commitments, House, Ghost ShipDavid Thompson Film HistorianHerschel Weingrod Writer Twins, Trading Places, Kindergarten Cop Arnold Wesker Playwright Chicken Soup with BarleyIan Wilson Director of Photography The Crying Game, A Way of Life, EmmaHo Yim Director Wo ai chu fang, Tian guo ni zi

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ENROLMENTAll applicants must complete the relevant Application Form, ReferenceForms, and Special Needs monitoring Form. EU students must completethe Ethnicity form.

The need to follow and understand the intensive course of lectures, andthe high pressure of group work make it imperative that all students musthave a satisfactory knowledge of the English language.

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.

Acceptances are conditional on a suitable knowledge of English. Studentsmay be refused entry on presenting themselves if their command ofEnglish is considered to be insufficient. Students so refused entry will beinvited to attend a language school and, after three months, will beentitled to enrol, provided that by then they have reached the requiredstandard.

Candidates resident in the United Kingdom may be required to attend foran interview. Candidates resident abroad should make themselvesavailable for interview in the event that they visit the United Kingdom andintend to submit, or have already submitted, an application. They may beinterviewed by telephone.

MA FilmakingA new MA Filmmaking Course starts each term, so it is possible to enrolfor entry in September, January or May. With the application they mustsubmit a script for a short film about three minutes in length, consistingof approximately twenty to thirty shots. Each shot must be illustrated by asketch or photograph of not less than 6cm by 8cm in size. All work onsuch scripts must be the original work of the candidates. Please enclosea personal statement of not more than 750 words. This should includean account of why you think you are suitable for the course and how itmight support your future plans.

Any experience in photography, music, theatre, AV, journalism, painting,graphics etc. is also valuable and should be detailed. You may supportyour application by submitting a portfolio of examples film, photography,art or literary work. If you prefer to bring material to an interview, pleasenote this on the application.

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

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

MA ScreenwritingEntry is in September each year. With their application the candidatemust supply the following:

•A script for a short 10-15 minute film. •1 - 2 page synopsis for an original feature film plus an opening sequence with dialogue.

•Three half page pitches for original features. •A description of your life up to the point of applying for the course (max 1000 words).

For applications forms and for information on fees and fundingplease see our website www.lfs.org.uk

Enrolment details for MA Curating and for LFS workshops are alsoavailable on the website.

Disabled Access The School welcomes applications from disabled people, including thosewith specific learning difficulties such as dyslexia. While we cannot claimto have all the facilities and services that will meet each need for studentsundertaking our MA Filmmaking or MA Screenwriting programme, wewill endeavour to remove barriers to access and to success in postgraduate film education for disabled people.

T H E L O N D O N F I L M S C H O O L

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SPONSORS

THANKS TO OUR FRIENDS IN THE INDUSTRYWITHOUT WHOM OUR WORK WOULD BE IMPOSSIBLE

Page 48: LFS Prospectus 2011-2012

The London FilmSchool 24 Shelton StreetLondon WC2H 9UBU.K.

Registered in EnglandNo. 1197026Registered CharityNo. 270302

Telephone: +44 (0)20 7836 9642Fax: +44 (0)20 7497 3718Email:[email protected]: www.lfs.org.uk

lfs.org.uk