Posts Tagged ‘Call For Entries’

India Film Project and FilterCopy has launched a new Web Writers’ Lab. The lab has been designed to take the selected participants and the scripts (for a web sketch) through a formal process of screenwriting, making it adaptive to viewers, and giving an opportunity to learn the skills which are essential to screenwriting for web. And finally, the web sketch will be produced by them.

In short, Join + Write + Learn + Give to web = Web Writers’ lab

– Once you submit your scripts, the team will curate and shortlist the 20 scripts who get a chance to attend a one-day workshop with writers of FilterCopy at their HQ, Mumbai.

– At the end of it, 5 scripts will be shortlisted for a five day scriptwriting lab at Mumbai (Travel+stay will be taken care of). The emphasis will be on fine-tuning the scripts so that they can be produced into individual sketches by FilterCopy.

– The writer whose script will be selected to be made into a video will receive a standard fee for their script

– It’s open only for comedy sketches

– Last day of submission – 31st December, 2017

-Registration fee for the lab is Rs 1,000.

– For more details, do click here.

 

You want to be a screenwriter, but you don’t know where to start.

Bombay is expensive. Is it worth going?

And on top of that, you don’t even know anyone. Even if you are in bombay, you don’t know whom to call for writing work.

These are just some of the basic questions that we all have grappled with at some point or other. There are no straight answers. Everyone finds a way.

But one thing is for sure now – it was never this easy if you have heard about AIB’s First Draft Programme. I wish there was something like this when we were starting out. It looked too good to be true – there is no fee, they take care of all the tuition expenses, and they even take care of your stay in Bombay. I have always felt that Bombay kids have an advantage. Not for anything else, but just for the rent. It’s fucking expensive! Whatever you earn, it goes in rent.

So when they started last year, it made me quite curious. Let’s see how it pans out. Been part of few script labs, i have experienced that nobody gets you till the last mile. Writing, feedback, learning, polishing – all that is good. BUT ARE YOU GETTING HIRED FOR WRITING?

Last i checked, out of the 10 writers that AIB selected, 7 of them are already writing commissioned work (film/web) for AIB which is in various stages of production. This is great. This is what all writers want.

So this year, we got one of the selected participant, Pulkit Arora to write about the whole experience.

Read. And Apply. Or Apply first, then come back and read. Last date for registration is Dec 5th, 2017. Click here for more details.

Falling In Love With Cinema / How I Learnt To Stop Worrying And Love The Screen

Last month, I went to my first film festival. As I swiftly discovered, festivals are exercises in cinema gluttony, with people catching as many as five films a day and ruing the absence of a sixth. But I felt oddly at home in queue for my next course.

18 months ago, this wasn’t the case. I’d maybe watch a film if the ticket price was less than Rs 2o0 and the run-time was under 100 minutes – that’d be about a film a month.

Most people around me at the festival had fallen in love with the movies when they were children. Stories told to you on a 50-ft screen as you chewed popcorn and slurped coke – what’s not to like? The leap from loving cinema to making cinema is substantial, but natural.

But as a vocal detractor of sitting still for more than 4 minutes, I had missed that honeymoon. I don’t think I even made it to the altar.

No one in my family had worked in art since a distant alcoholic uncle in the 80s ran production on a film with Asrani in the romantic lead. The casting choice was only slightly worse than the film itself; to this day at the dinner table, the conclusion is folks in arts are lazy drunks who didn’t score well in Science section.

On pure whim on an especially boring weekend, I stumbled onto a course called AIB First Draft, with no information on what writing for films entails. A whole Saturday off, and only a few tasks in the application – why not?

That application was a revelation. Playing around with characters can be pure fun, as if someone had given you a playground with a sandbox as big as human experience itself. The tasks took a lot longer than just that Saturday, but I did not resent it for a moment.

Upon what I continue to maintain was a miraculous selection, I sort of packed my bags and showed up expecting decent shelter and knowledge. I was fortunate to receive both.

While the course focused on writing stories for film, it throws you into a whirlwind romance with the medium of film itself.

Every day of every week was spent reading screenplays, watching cinema & writing. A lot of writing. I used my imagination more in six months than I had in every semester in college combined, especially with nine other people to imagine with.

But the biggest value of the First Draft framework was the predictability it brings – by Monday, we’d know the scheduled writing/reading/watching ratios of each day until Friday. Freed from the usual constraints of rent payments and deadlines, the only task was to learn.

But once the course spat me out of its comforts and straight into writing a high-stakes project, I found myself dwelling more and more in this sudden appreciation for an art form. I used to be a utility-and-function guy who scoffed at anyone “not contributing to making our world better” in the ways that I defined it; now I spent my days figuring out conflicts and emotional graphs for imaginary people. I was on my own little second act, figuring out how to reconcile this new job with my values.

But now that there was infatuation, I sailed into indulgence, consuming a film a day and a screenplay every week. Every film pored over, every screenplay marked with notes. All the “do what you love” posts that I cringed at all these years ended up coming true.

Somewhere in this process, I found something that I had lacked my entire life – an understanding of the value of creating cinema, and creating art itself. We throng to theaters to feel something our lives do not provide us, and that catharsis is more important than any of our institutions teach it to be. “Story is equipment for living” is how Kenneth Burke put it, and I have stumbled upon the honor to manufacture equipment. (That analogy has worked spectacularly with the family.)

A year in, cinema and I are doing quite well together. I think about it in the day and spend time with it in my evenings. I think in frames and scenes, I see people as characters. I have a feeling this may be more than just a fling.

Pulkit Arora

(Pulkit used to run a non-profit in Delhi before First Draft. He had no experience in fiction writing before he applied for the course. He is currently writing a feature film for AIB with a course-mate from the programme)

We also asked Pulkit to give us details about stay/course/schedule. More here –

– Our accommodation was spread over three houses in Versova. One of those houses was the venue for all the lectures and screenings. We would converge there for all the group work and then split up into our own houses for writing individually.

– The curriculum was a mish-mash of several screenwriting books, guest lectures as well as Satyanshu’s personal lessons. Everything was up for discussion – we would discuss exceptions as much as the rules.

– Every Monday, we would get a schedule that lays out the week for us. It would include watching films, plays and music, reading screenplays and writing our own draft. It made life super simple, because I now knew what I’m doing five days in advance.

– As for food, AIB paid for a cook that would make three meals for all of us. We would pay for the ingredients, but that was about it)

The National Film Development Corporation officially announces Call for Entries for the 11th Year of Filmbazaar Co-Production Market.

The Co-Production Market presents a list of curated projects to the national and international film professionals attending Film Bazaar.

– The Market kicks off with Open Pitch where participants present their projects through Video Pitches to an audience of investors, producers and financiers.

– The four days of the market are earmarked for one on one meetings specially scheduled for each project.

Over the years, the dedicated team has honed its skills for matching projects with the right delegates. Dedicated online and print catalogues consisting of all project details are available for Film Bazaar attendees interested in Co-Production Market projects. The market also conducts an orientation session to familiarize participants to Open Pitch as well as the working of the Co-Production Market and Film Bazaar.

– Full length fiction feature projects with South Asian themes are invited to apply.

– The Early Bird Deadline for submissions is July 5th, 2017.

– The Regular Deadline is August 7th 2017.

– The Extended Deadline is August 21st 2017.

– The Market will be held between 20 – 24th November, 2017 at Film Bazaar, Goa.

– Click www.filmbazaarindia.com for Application Forms and more details

– For further queries, write to: coproduction@filmbazaarindia.com

CPM Projects Over the Years:

 

Lipstick Under My Burkha (CPM 2013),  Newton, Amit Masurkar (CPM 2015), Mantra, Nicholas Khargaonkar, Song of the Scorpions (Anup Singh CPM 2013), Beyond the Known World (Pan Nalin, CPM 2012), Lady of the Lake, Manto, Court, Chauthi Koot, Titli, Liar’s Dice, Arunoday, Highway,Television, Chauranga, Qissa, LSD, Paltadacho Munis, That girl with Yellow Boots, Anurag Kashyap Deool, Karma, Shanghai, Miss Lovely, Mumbai Cha Raja, As the River Flows, Shor in the City, 28.

– Some of the people who have attended the Co Production Market at Film Bazaar are Chedomir Kolar [ Producer No Man’s Land], Mustofa Sarwar Farooki [Director Television], Michael Werner [Fortissimo Films ], Chris Paton [San Sebastian Film Festival], Christian Jeune [Cannes Film Festival], Kristen Niehuus [Medien Board, Berlin-Brandenburg] Remi Burah [Arte France Cinema], Anurag Kashyap, Madhu Mantena, Manish Mundhra, Sooni Taraporewala, Sabiha Sumar [Director Khamosh Pani], Guneet Monga, Nandita Das, Govind Nihalani, Shyam Benegal, Pablo Bertolini [Venice Film Festival], Charles Tesson [Cemaine de la Crtique Cannes Film Festival], Aviva Silver [NEA cinema, Belgium], Anup Singh [Director Quissa],Catherine Dussart [Producer Chautih Koot France], Ramesh Sippy, Kabir Khan, Sheeladitya Bora, Marco Muller, [Beijing Film Festival], Benjamin Illos [Director’s Fortnight, Cannes]

 

The Film And Television Institute of India, Pune has introduced a new short course for television fiction. See the attached picture for all the basic details. And click here for more.

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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.

NFDC Screenwriter's LabNFDC Film Bazaar 2016 is calling for entries for Industry Screenings.

  • The regular deadline for submissions is October 15, 2016.
  • This year, the Film Bazaar will be held from November 20-24 at the Goa Marriott Resort alongside the International Film Festival of India (IFFI) 2016.
  • Industry Screenings provides an opportunity to showcase your film to some of the top film Festival programmers, Sales agents, Distributors and Producers from across the world.
  • Films of any length and genre are eligible to apply for Industry Screenings. Short films can also be submitted to the Industry Screenings.

– For booking an Industry Screening, a Film Bazaar Delegate Registration is necessary. Once you register, you get access to the Market Guide, which contains contact details of International Sales agents, Distributors, Festival curators and Producers attending the Bazaar.

– Opportunity to showcase your film on a wide-screen format in digital theatres for potential buyers and collaborators.

– The films that were a part of the previous editions of Industry Screenings at Film Bazaar have had world premieres at leading International Film Festivals, won National Awards and some have had successful theatrical releases. These include: Ruchika Oberoi’s Island City (International Premiere at 72nd Venice International Film Festival, FEDEORA Award (Best Debut Director), Best Screenplay Award at New York Indian Film Festival 2016), Rajat Kapoor’s Ankhon Dekhi (Opening Film at 8th Mosaic International South Asian Film Festival 2014, Winner of Best Film (Critics), Best Actor (Critics) and Best Story Filmfare Awards), Nagraj Manjule’s  Fandry (Grand Jury Prize at Mumbai International Film Festival, Best First Film – Director at 61st National Film Awards 2014), Qaushik Mukherjee’s Tasher Desh (International Premiere at 7th Rome International Film Festival 2012), Anup Singh’s Qissa – The Tale of a Lonely Ghost (NETPAC Award for Best Asian Cinema-Contemporary at Toronto International Film Festival 2013, DIORAPHTE Award at International Film Festival Rotterdam 2014), Karan Gour’s Kshay (Jury Award at Indian Film Festival of Los Angeles 2012, International Premiere at Chicago International Film Festival 2011), OP Srivastava’s Life in Metaphors: A Portrait of Girish Kasaravalli (Best Biographical Film at 63rd National Film Awards), Gyan Correa’s The Good Road (Indian entry for the Best Foreign Film at 86th Academy Awards, Best Gujarati Film at 60th National Film Awards 2013)

– Please click here to visit the official site for booking Industry Screenings.

– For further queries, write to : screenings@filmbazaarindia.com

NFDC Screenwriter's Lab

NFDC Film Bazaar 2016 is calling for entries for the Viewing Room and the Work-in-Progress (WIP) Lab.

– Film Bazaar will be held from November 20-24, 2016 at the Goa Marriott Resort alongside the International Film Festival of India (IFFI) 2016.

– The Early Bird Deadline for submissions is August 31, 2016, which will offer a discount on the submission fees. The regular deadline is September 30th 2016.

WIP Lab

– Submissions are invited for the two WIP Labs – WIP Fiction and WIP Documentary.

– In each WIP Lab, up to five projects in their rough-cut stage will be selected to be presented to a panel of international film experts for their feedback.

– The WIP Documentary Lab will only consider creative feature length documentaries in the rough cut stage which are aimed at a theatrical release.

– Feature-length films of any genre in the rough-cut stage are invited to apply to the WIP lab.

Viewing Room

The Viewing Room will present films seeking finishing funds, world sales, distribution partners and film festivals to investors, world sales agents and film festival programmers attending the film bazaar. Here, films are viewed on individual computer terminals in private booths via a specially designed software which allows the users to contact the director or producer of the film via email.

– Films of all genres and lengths in rough or final cut are invited to apply to the Viewing Room.

– Feature length films in the rough cut are eligible to apply to both WIP lab and Viewing Room.

– Short films can also be submitted to the Viewing Room.

– For application form and other details, click here.

– The films that were a part of the previous Work-in-Progress Labs at Film Bazaar have had their world premieres at leading international film festivals and some have even gone on to enjoy a successful theatrical run. These include Raam Reddy’s Thithi, Ashwiny Iyer Tiwari’s Nil Battey Sannata, Kanu Behl’s Titli, Avinash Arun’s Killa, Ashim Ahluwalia’s Miss Lovely, Anand Gandhi’s Ship of Theseus, Ajay Bahl’s BA Pass.