Archive for the ‘Workshop’ Category

“NARI TERI YAHI KAHANI TO #BoreMatKarYaar”

A SCREENWRITING WORKSHOP BY PAROMITA VOHRA ON GENDER SENSITISATION

Feminist ideas always show up as an exception in Hindi films – or most films for that matter. It is crisis, revolution, morality play around themes of rape, dowry, divorce, revenge, victimhood or heroism. But does a feminist film always come waving a flag? Or can we imagine it more interestingly, more true to life, more humorous and sexy with more smarts and heart? Could Hindi Masala RomCom be more feminist than a film about feminism? Are songs and beauty, love and interiority full of feminist possibility (Yes!)? Can we write different female characters without writing different male characters? Can we re-conceptualise ‘issue-based films’? In other words – can we imagine an effortless feminism? One that is part of every kind of film?

Paromita Vohra is a writer & a filmmaker whose work mixes fiction and non-fiction to explore themes of urban life, popular culture, love, desire and gender. Her films as writer include the internationally released feature Khamosh Pani/Silent Waters and as well as the play Ishqiya Dharavi Ishtyle. She is the founder and Creative Director of Agents of Ishq (a unique digital project about sex & love in India)

Date: November 15th, 2018 (Thursday) Time: 05:30 PM

Venue: SWA Office, 201 – 204, Richa Building, Plot No. B – 29, Off New Link Road, Opposite Citi Mall, Andheri (West) Mumbai

NOTE: Only for SWA members. To attend, RSVP by sending an email to contact@swaindia.org Limited seats (for first 45 members only – On ‘First Come, First Served’ basis).

Details: www.swaindia.org/blog/gender-sensitisation-workshop-by-paromita-vohra/

About
On public demand, Tilt Shift Labs is organising a certified workshop with National Film Award winning director Kamal Swaroop on film writing and direction.

The workshop, titled ‘Grammar of Film Making’, is a three day long (long weekend) intensive workshop for amateur, semi-pro filmmakers or even students of cinema who are looking towards making a career as a filmmaker. This three day filmmaking workshop is the most intensive, instructional program in filmmaking that can be found at any film school. In three days, students are instructed in the basics of writing, directing, camera.

Your film begins here.

What you learn
Basics of Film-Making with focus upon camera angles, composition, cutting,
continuity, constructing a screenplay, and creating a shot breakdown.

Brief
Kamal Swaroop is a dual National Award- and Filmfare Award-winning film,
television and radio director and screenwriter. In 1974 he graduated from the Film and
Television Institute of India, and even his student works met with unusual international
acclaim. He continued with postgraduate studies at the Institute. He assisted the director
Richard Attenborough in the filming of Gandhi (1982). He made documentary as well as
feature films. He is currently working on a full-length documentary titled The Battle of
Benaras, produced by Medient. Famously banned, a formal experimenter, Om-Dar-Ba-
Dar is his master work.

Kamal Swaroop was born in Kashmir. The family then moved to Ajmer, where he graduated
in biology, before moving to Pune to study film direction. He had a brief stint at ISRO,
where he used Russian fairytales to teach science to kids, and then took filmmaking
classes in a remote village of Maharashtra.

Below are the details
Workshop topics
Day 1
Camera angles
Scene, shot, & sequence
Types of camera angles
(objective, subjective, and PoV)
Subject size, angle, and camera height
Extreme long shot
Long shot
Medium shot
Two shot
Close up
Inserts
Descriptive shots
Subject angle
Came height
Level angle
High angle
Low angle
Angle plus angle
Tilt dutch angles
Employing camera angles
Area
Viewpoint
Selection of area and viewpoint
Depicting the action
Change camera angle, lens or both
Scene requirements
Aesthetic factors
Technical factors
Psychological factors
Dramatic factors
Editorial factors
Natural factors
Physical factors
Camera angles on signs and printed matter
Problem camera angles
Conclusion
Continuity
Cinematic time & space
Time & space continuity
Time continuity
Space continuity
Filming the action
Types of action
(controlled action, uncontrolled action)
Filming techniques
(master scene, triple take)
How to use master scene technique
Advantages of filming master scenes
Disadvantages of filming master scenes
Triple take technique
How to use triple take technique
Advantages of triple take technique
Disadvantages of triple take technique
Master scene vs triple-take technique
Directional continuity
Importance of establishing direction
Screen direction
Dynamic screen direction
Use neutral shots
Action axis
How camera set-ups can be used to establish & maintain proper screen direction on moving player or vehicle
Action axis on curves
Action axis on corners
Action axis through doorways
Cheating the action axis
Entrances and exits
Reaction close-up for switching screen direction
Reversing screen direction
Map direction
Location interiors
Planned screen travel
Static screen direction
Matching the look
Look on both sides of lens
Neutral look
Matching look on moving players
Matching look on master scene cut in shots
Matching look with single player
Matching looks on speaker & audience
Action axis for 3 players
Matching looks on group seated around a table
Re-positioning action axis for background cheat
Matching look on stock shots & production scenes
Reverse shots

Day 2
Types of film editing
Continuity cutting
Compilation cutting
Cross cutting
Cutting on activity
Cutting and composition
Moving shots and static shots
Timing moving shots
Loose camera shots
Protection shots
Dissolves
Sound editing problems
Sound flow
Editorial requirements
(aesthetic, technical, and esthetic)
Narrative factors

Composition
Still v/s motion picture composition
Compositional rules
Compositional language
(lines, forms, masses, & movements)
Balance
(formal and informal)
Centre of interest
Lighting, tonal values, & colors
Selective focusing
Eye scan
Image placement
Image size
Integration with angles
Linear and aerial perspective
Background
Framing
Dynamic composition
Suspense composition
Catalog pictures
Compose in depth

Day 3
Process of writing
Discussing individual scripts
Story boarding process
Production planning
The need for story-telling
Visualization strategies
Dramatic strategies
Characterization strategies
Dialogue strategies
Melodrama, docudrama, hyper-drama
The experimental narrative

Venue
The District – Bungalow No. 96
Jankidevi School Rd, Versova, Andheri West, Mumbai, Maharashtra 400061, India

Date and Time
19-20-21st October (10 AM Onwards Daily)
Duration of the event: 3 Days

More Details
https://insider.in/grammar-of-film-making-by-kamal-swaroop-oct19-21-2018/event
Ticket inclusions: Workshop Kit, Mentoring by Kamal Swaroop, Lunch, and Notes.

Tilt Shift Labs is organising its first ever certified workshop with National film award winning director Kamal Swaroop. The workshop titled ‘Grammar of Film Direction’ is a two-weekend intensive workshop for amateurs/students of cinema who are looking towards making a career in films.

– In two short weekends, students will be instructed on the basics of writing, directing, camera, and each student will write a short film project which will be guided and mentored by Kamal Swaroop.

– About the director:
Swaroop is a well acclaimed filmmaker and screenwriter. He graduated from Film and Television Institute of India in 1974, and later on did his postgraduate studies at the Institute. In 1982, he assisted Sir Richard Attenborough in the filming of Gandhi. His feature, Om-Dar-B- Dar (1988) is still considered a path breaking film, and it has a massive cult following among cinephiles.
Swaroop’s career, spanning 42 years, covers a broad range of films, channel promos for Channel V India, ads and Radio Spots. In 2014, he directed The Battle of Benaras, produced by Medient, and went on to release Tracing Phalke in 2015 for Films Division of India. Later on, he made Pushkar Puran (2016), and Atul (2016), based on the world renowned Dadaist artist Atul Dodiya.
Battle for Benaras premiered at Cinema Du Reel, Paris, while Atul premiered at the Cochin Biennale. He is currently working on a musical, Miss Palmolive All Night Cabaret and The Third Police Man, a metaphysical murder mystery.

Weekend I 

Session I
Camera Angles
Scene, Shot & Sequence
Types Of Camera Angles: Objective, Subjective, Point-Of-View
Objective Camera Angles
Subjective Camera Angles
Subject Size
Subject Angle
Camera Height
Extreme Long Shot
Long Shot
Medium Shot
Typical Two Shots
Close-Up
Inserts
Descriptive Shots
High Angle
Low Angle
Angle Plus Angle
Dutch Angle
Selecting Area And Viewpoint
Other Angles

Weekend I

Session II
Continuity
Cinematic Time And Space
Filming The Action (Controlled And Uncontrolled)
Filming Techniques (Master Scene And Triple Take)
Screen Direction (Dynamic And Static)
Neutral Shots
Reverse Shots
Screen Travel
Pictorial Transitions (Fades, Dissolves And, Wipes)
Sound Transitions

Weekend II

Session I
Process Of Writing
Back Story
Internal Need
Inciting Incident
External Goal
Preparation
Opposition
Self Revelation
Obsession
Battle
Resolution

Weekend II

Session II
Process Of Writing
Discussing Individual Scripts
Story Boarding Process
Production Planning
The Need For Story-Telling
Visualization Strategies
Dramatic Strategies
Characterization Strategies
Dialogue Strategies
Melodrama, Docudrama, Hyperdrama
The Experimental Narrative

Dates : July 29 – 30 | Aug 5 – 6 |

Time : 10AM-5pm

Seats : Only 15

Venue : Lowfundwala Productions, Andheri (West)
Bungalow No.96, SVP Nagar, MHADA, 4 Bungalows,Andheri West, Mumbai, Maharashtra 400053

Fees : Rs 8470

– For further details, and to book your seat, click here.

 

2wwi_swa_screenwriting_workshop

2016 can be called the year of the Indian screenwriter! With a slew of films powered by some scintillating scripts blazing new trails, the scramble for good scripts gets a shot in the arm. Writers’ visions seem to be driving storytelling in the Hindi film industry. Those who were part of this trail-blazing year are happy to share their knowledge, experience and guidance, via interactive masterclasses in the workshop!

With the aid of new examples, references and illustrations, the Workshop Instructor will cover all the useful principles of screenwriting, the navrasa theory, Indian mythology, copyright law, writers’ contracts, and offer professional guidance.

WORKSHOP INSTRUCTOR

Anjum Rajabali (Drohkaal, Ghulam, The Legend of Bhagat Singh, Raajneeti): Head of Screenwriting at Whistling Woods, erstwhile honorary head of Screenplay Writing at FTII, and an activist of SWA. Conducts workshops, script labs, seminars and fellowships for screenwriters in India and abroad.

Guest Speakers

Jaideep Sahni (Chak De India),  Shakun Batra (Kapoor & Sons), Nitesh Tiwari (Dangal) (TBC), Gauri Shinde (Dear Zindagi), Juhi Chaturvedi (Piku), Ashwiny Iyer Tiwari (Nil Battey Sannata), Sriram Raghavan (Badlapur), Shridhar Raghavan (Dum Maro Dum), Nikhil Mehrotra (Dangal), Shreyas Jain (Dangal)

FEE

For SWA members: Rs. 8500/- (Inclusive of taxes, tea/coffee and lunch on all days)

For non-SWA members: Rs. 11000/- (Inclusive of taxes, tea/coffee and lunch on all days)

*If you wish to become an SWA member, please visit www.fwa.co.in

VENUE

5th Veda Auditorium, Whistling Woods International, Film City, Goregaon East, Mumbai – 65

– For more information and to register for the workshop, please call 30916003 or email: kanchi.parikh@ whistlingwoods.net

emb1

NFDC Screenwriters’ Lab, a 2-part workshop is designed to prepare screenwriters’ with original Indian stories for working with the international filmmaking market place. It aims at improving a completed screenplay in its final stages and to increase the international marketability of the same.

ELIGIBILITY
  • Open only for Indian citizens residing in India
  • Open only for feature length fiction films
HOW TO APPLY
  • Create a MyFilmBazaar Account.
  • Use this ID to access the online application form.
  • The Regular Deadline for applications is 3 March 2017 (6 pm IST).
  • The Extended Deadline for applications is 13 March 2017 (6 pm IST).
  • Applications will not be considered complete till the payment has been processed.
  • Email/hardcopy applications will not be accepted.
SUBMISSION REQUIREMENTS
Before you begin, please make sure you have the following:

  • Logline
  • Short Synopsis (500 – 600 words)
  • Writer’s Statement (500 words)
  • Updated Bio

In addition, you have the option of submitting either

  • Full Screenplay

OR

  • Story Synopsis (6 -10 pages | 12 point font, single spaced, 1” margin)
  • First 20 pages of the Screenplay ( in industry accepted format)

Shortlisted applicants will be called for an interview, either in person or on Skype (in the month of April)

DATES FOR THE LAB
  • Session 1 – end of May 2017
  • Session 2 – 6 weeks after Session 1 concludes
  • Session 3 – 8 weeks after Session 2 concludes
  • 20 – 24 Nov, 2017 – Film Bazaar
FEE
  • INR 3000 for applications submitted on or before the Regular Deadline, 3 March 2017 (6 PM IST).
  • INR 5000 for applications submitted after the Regular Deadline from 4 March to 13 March 2017 (6 PM IST).
CONTACT
  • For further clarifications, write to screenwriters-lab@filmbazaarindia.com.
  • For more details, and to apply, click here.

mfc-mami-v3

As most of us at mFC have been busy watching back to back films at the Mumbai Film Festival, none of us could manage to attend the 2-day Movie Mela. But thanks to Suchin Mehrotra, all is not gone. He attended the Day 2 of the mela and here’s a post on the same.

(click on any pic to start the slide show)

What’s particularly interesting about the Jio MAMI film festival as against other global film festivals, is how it showcases facets of world cinema and indie cinema, but also merges this with a celebration of mainstream Hindi cinema. The Movie Mela is an example of the latter and described as ‘India’s only movie carnival’. I chose to attend day 2 of the Mela, given I found it had the more appealing line-up of events; however I was also really aware of the full day of film watching being sacrificed.

Session 1: Virtual Reality and Filmmaking

A fascinating session hosted by the charismatic Shakun Batra on virtual reality and its implications and applications to storytelling, featuring panelists Gabo Arora – creative director at the UN, filmmaker Anand Gandhi and Raja Koduri – the man behind the VFX of the gargantuan Baahubali. The discussion explored what exactly virtual reality is and the opportunities it offers the world of filmmaking, with words and phrases like ‘immersive’ and ‘you-are-physically-in-the-story’ being frequently thrown around. Although the panel repeatedly proclaimed, almost matter-of-factly, that VR is a game-changer and the definitive future of filmmaking, I remain unconvinced given the same was said years ago about IMAX and 3D, the hype behind which eventually fizzled out. However, this is still no-doubt a fascinating new dimension to the medium of cinema, and definitely one which all film buffs should be aware of. In fact, most Hollywood studios are investing in a VR arm of some sort, with big names likes Steven Spielberg said to be toying with the medium in their future projects.

Gabo Arora’s presence on the panel was for both his renowned VR films like Clouds Over Sidra, as well as his insight on the implications of VR on the humanitarian field. Research conducted on the effectiveness of charity donation collectors who randomly approach people on the street for a donation, found that only 1 in 12 ever receive funds. However, by giving each of these collectors a VR headset which allowed them to show a short film such as Clouds Over Sidra to passersby, the chances of receiving a donation almost doubled. Simply put, people were more generous when given a visual experience of the very conditions they were being asked to help change. Arora also announced live at the panel that the UN would be picking up Gandhi’s VR production, Cost of Coal, and including it in their distribution network, making it India’s first ever VR studio acquisition. Aside from this, Gandhi made a wonderful appeal to one and all asking for anyone who has a meaningful story to tell using VR, should just walk into his company’s Mumbai office to pitch ideas, and if they connect with it, they will provide all the necessary tools and infrastructure to go out and make the film.

However, as interesting as the possibilities of VR may be, the session went on for far too long, with a far greater focus on technology than filmmaking, and proved largely exhausting by the end. Suffice to say, I was strongly craving the feeling of a movie theatre by this point.

Session 2: Short film premier: Ouch by Neeraj Pandey

Ouch – the aptly titled comedy, starring Pooja Chopra and Manoj Bajpayee – who is fast becoming the face of the Indian short film, proved to be a fun little film which hinges on Bajpayee’s great comic timing and keeps you chuckling. Apart from some overpowering music and the slightly stretched narrative, it’s a refreshing change to the recent slew of short films made by mainstream filmmakers. However, I couldn’t help but feel this didn’t qualify to be it’s own standalone session considering the film could be viewed on Youtube at a later stage. (It was released on Youtube later the same day).

 

Session 3: Director’s panel – In conversation with Zoya Akhtar, Vishal Bhardwaj, Gauri Shinde, Shoojit Sarcar and Rohit Shetty

Undoubtedly the session that made the entire day worth it and how! A pure cinematic delight that had me giddy with excitement. Hosted by Anupama Chopra and Rajeev Masand, it was an enjoyable mix of focus on the movies and filmmaking, as much as it was on the more light-hearted aspects of personal experiences. The delightful discussion covered their behaviours and demeanor on set, their attitude towards stress, their relationship with failure as well as their approach to dealing with actors.  A few excerpts and fun facts from the session:

When asked what the best advice on filmmaking she ever received, Zoya Akhtar recalled something Mira Nair (whom she has assisted in the past) had told her about three things to never forget –

  1. Always be true to the story you are telling
  2. Never let go of your femininity in an effort to be the boss. You can wear  a skirt and lipstick and still be the boss
  3. Never hook up with your actors.

Rohit Shetty was in full form and stole the show with his frank and direct answers. Although I don’t hold his brand of cinema in very esteem at all, I couldn’t help but respect the man for his honesty which included stating that ‘Golmaal 2 was a crap film’, ‘The villain in Singham 2 just didn’t work’, and admitting that he didn’t think much of Dilwale particularly because of the love story arc between SRK and Kajol which let the film down.

A few fun facts:

  • Shoojit Sarcar has special-made Darjeeling tea that is specifically plucked and delivered from Darjeeling for him which he sips on all day on set
  • Zoya Akhtar’s one golden rule on her sets is “strictly no littering” to ensure the crew respect all the locations they shoot at.
  • Vishal Bhardwaj maintains that none of his films have ever set the box office on fire or even gone onto make money, which is just startling to consider! He said the most any film has ever managed is recovering its money.
  • None of the directors claim to drink coffee which was a particularly shocking revelation given how stressful a job of a director is, and more so given how much caffeine I had to ingest just to be able to make it to the event and hear them speak.

Session 4: In conversation with Shahid Kapoor

Although it is in no way an easy task to follow up a panel discussion featuring some of the exciting filmmakers in the country, Shahid Kapoor’s session proved to be equally as engaging, largely down to how candid the actor was about his career. He openly discussed how the majority of his films aren’t ‘good films’ as such, and how he’s really come into his own in the last few years and is clear about the kinds of films he wants to be a part of. It was ultimately hard not to be charmed and I’m certainly excited to see what the reinvigorated actor offers up with his future projects. He is next to be seen in Vishal Bhardwaj’s Rangoon followed by Sanjay Leela Bhansali’s Padmavati.

Overall the Mela proved to be fine day for any cinephile that helped provide a much-needed dose of variety to the festival proceedings!

(Suchin Mehrotra is a freelance writer and critic, who left the corporate world to pursue his love of cinema because he watched one too many films for his own good. He is based out of Bombay and can be reached at @suchin545)

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mfc-mami-v3

Among the many new things that has been added to the programming of Mumbai Film Festival this year, a filmmakers bootcamp was much needed. This was the first year of the bootcamp. The day-long event had three back to back interesting panels with lunch, snacks and dinner break.

But before you scroll down, do check out the Movie Mela schedule too. Two days full of back to back interesting panels.

Movie Mela

Back to bootcamp! The three sessions were –

Session I: Journey of the First Script
A dive into the avenues available to filmmakers with their first script draft.

– Bianca Taal (curates the Voices section of IFFR), Konkona Sensharma, Vikramaditya Motwane, Siddharth Roy Kapur, Kanu Behl and Amit Masurkar

Session II: Navigating Film and Co-production Markets
What do these platforms offer? How can a filmmaker/producer maximize this space?

– Neeraj Ghaywan, Nirupama Kotru (former director (films) of Ministry of I & B), Chris McDonald (President, Hot Docs), Ajit Thakur (CEO, Eros Trinity Pictures)

SESSION III: Digital Distribution : A Real Alternative To Theatrical Release?

– Vasan Bala, Kiran Rao, Pratiksha Rao (Head, Media-Partnership, Twitter), Paolo Agostinelli (Chief Content Officer, Tata Sky Ltd)

And here are some of the interesting notes from the sessions..