(Fawzia Mahmood (Acta Non Verba Producer), Yvann Yagchi (Director) and Aurora Vögeli (Editor))

Congratulations to NFTS Directing Documentary graduate, Yvann Yagchi whose graduation documentary, Acta Non Verba has won a prestigious Grierson Award for Best Student Documentary! Additionally, seven NFTS alumni are credited across three further winning categories including Best Arts Documentary, Best Science Documentary and Best Documentary Series making 17 alumni credits in total across the four awards.

The judges described Acta Non Verba as “a masterful piece of filmmaking with a great score (composed by NFTS Composing graduate, Segun Akinola) and more layers than a Russian doll.”

Written, directed and shot by Yvann Yagchi, Acta Non Verbais an exploration of grief and suicide and the relationship between a father and a son.Producer, Fawzia Mahmood; Writers: Fiction, Kerri Davenport-Burton; Cinematography: Fiction, Thomas Doran; Production Manager, Sonia Hoogenstraaten, Production Manaer: Fiction, Daniella Rice; Editor, Aurora Vögeli; Sound Recordist, Hosea Ntaborwa; Sound Editor & Dubbing Mixer, Morgan Muse; Composer, Segun Akinola.)

Two other NFTS graduation documentaries were nominated for the same award including Chomo (directed, shot and produced by Maayan Arad) and Pride In Rags (directed, shot and produced by Tom Whitaker) and this was the seventh year running that the NFTS had the most films selected in student documentary section.

In addition, a further seven NFTS graduates are credited on three winning categories including:

Best Arts Documentary for Paula Rego: Secrets and Stories, which is written, directed and edited by NFTS alumnus, Nick Willing and produced by NFTS alumnus, Michele Camarda. The judges said: “A wonderfully intimate and human film which managed to capture the essence of the artist and their personal life with great art.”

Best Science Documentary for Forces of Nature with Brian Cox Episode 2 (NFTS credits include: Supervising Sound Editor, Jay Price; Sound, Andy Paddon). The judges praised the documentary as “confident and inspiring TV.”

Best Documentary Series for Exodus: Our Journey to Europe (NFTS credits include: Editors, Simon Sykes; Nick Fenton and Sunshine Jackson). The judges described the documentary as: “bold and timeless series offering perspective that was unprecedented in rawness and humanity.”

For more information on the National Film and Television School, please visit www.nfts.co.uk/documentary

Our new Model Making for Animation Diploma students have well and truly settled in and have been impressing everyone at the School with their amazing recreated sets from iconic film, The Shining. We caught up with Model Making course leader, John Lee to find out more. In addition to running the course, John is an experienced and active model maker in the industry and has created models for films such as Frankenweenie, Fantastic Mr Fox and Isle of Dogs and while developing the course, he was busy working on the upcoming, highly anticipated new Star Wars film, The Last Jedi, which is due for release on the 15^th December.”

(Second set from The Shining recreated by the students)

What is the process the students have gone through to make the model of the Shining set?

“Firstly, we screened the film and took frame grabs from two scenes and from those pictures, we created drawings and then worked out the scale from that information. The scale we decided to use was 1:6 because it’s a useful scale for stop frame animation models. It’s not the only scale animators use but it’s a good general scale to make detailed, accurate model sets and puppets and it looks good on camera.”

(Iconic scene from The Shining)

Why did you choose The Shining?

“I happen to really like the film; it’s iconic and it’s a film you can watch repeatedly and get something different out of it each time. Both the imagery and the production design are outstanding; I thought it would make two nice model sets.”

(Students learning how to use the laser cutter)

What techniques did they need to use/ learn?

“The students have had to learn a whole host of new techniques including how to use a wide range of industry standard machinery in our new purpose built workshop. They have learnt machining techniques on equipment such as a lathe, panel/ circular/ band or wall saws and pillar drills plus moulding and casting. The School has never had the benefit of this kind of equipment before and this as well as the Model Making students’ skills should dramatically speed up the whole filmmaking process.”

What were the challenges and how did the students overcome them?

“The challenges the students have had to overcome include learning to work accurately and respect the scale so nothing looks out of place. The purpose of The Shining build was to try and reproduce that live action set accurately at 1:6 and the level of detail necessary to make things look real. They had to accurately recreate the props, the paint finishing and achieve practical lighting so all those things come together to make the shot look real. This will really help the students when they start work on the NFTS graduation films next year as they’ve already experienced making something at that scale with that level of detail.”

What’s next for the students?

“The students have now started a two-month puppet making module. Each student will make a stop frame animated puppet based on their own design. Watch this space for more updates and photos!”

For more information about the NFTS Model Making for Animation Diploma, please visit www.nfts.co.uk/modelmaking

An incredible eight NFTS alumni have been nominated individually or as part of a team in this year’s Royal Television Society’s Craft and Design Awards, which celebrate excellence in broadcast television and aim to recognise the huge variety of skills and processes involved in programme production. It’s fantastic to see NFTS graduates representing a wide range of craft disciplines from composing and cinematography to editing, sound and digital effects. The ceremony takes place on Monday 27^th November at the London Hilton on Park Lane.

Editing MA alumna, Una Ni Dhonghaile, and Composing MA alumna, Natalie Holt are nominated in the ‘Editing Drama’ and ‘Original Score’ categories for their work on Three Girls, a three-part drama based on the true stories of victims of grooming and sexual abuse in Rochdale. Fellow Composing MA alumnus, Martin Phipps is nominated for ‘Music – Original Title’ for Victoria.

Cinematography MA alumni, Carlos Catalan and Gavin Finney are nominated in the ‘Photography – Drama and Comedy’ category for their work on Broadchurch and The State, respectively.

Both Victor Tomi and Jorge Canada Escorihuela (DFX graduates) are part of the Digital Effects Team for The Crown, which has been nominated in the ‘Effects - Digital’ category. And finally, Sound Post Production alumnus, Stuart Hilliker is part of the Sound Team for Taboo that has been nominated in the ‘Sound - Drama’ category.

The National Film and Television School (NFTS) is to live-stream brand new TV show, Two Girls One Flat on weekdays from Friday, November 10^th to Thursday, November 16^th at 5pm. The format has been developed by its first year Television Entertainment MA students and is a must-watch magazine show for social media junkies.

(Kathryn Goldsmith & Jessica Woods)

The show will be presented by Jessica Woods– YouTube presenter and actress (The Bill; Doctors; Code of a Killer; played Erica in Chitty Chitty Bang Bang at the London Palladium) - and Kathryn Goldsmith - presenter, model and actress (Post Human: An Event; Sariel) - and will centre around two flat mates who talk about the latest art, music and culture trending on social media:

“Welcome to the top floor of late night. A personal edition of arts and culture culled and curated by your two new best friends. If there ever was a time TV needed a new late night magazine show, it was years ago... but we're here now!”

(Fitness online coach, Fiayo Okunribido)

Many of the guests will be social media stars from YouTube, Twitter and Instagram such as Russian calligrapher, Maria Shtelle who has over 3600 followers on Instagram; journalist, Ivan Radford (@iflicks on Twitter); director and photographer, Malia James; poet, Rakaya Fetuga, health and fitness online coach, Fiayo Okunribido; entrepreneur and fashion designer, Laura Jane; and food stylist, @julietalucca. There will be a different band performing on each episode including Demob Happy and Freeze the Atlantic; and a ‘news of the day’ feature called ‘What do you meme?’

(BAFTA-Winning Sound Engineer Eddy Joseph)

Show one will feature a chat with BAFTA-winning sound engineer, Eddy Joseph who won a BAFTA for Best Sound for both Casino Royale and Pink Floyd: The Wall. He also created the sounds for Quidditch in the Harry Potter films!

Two Girls One Flat will be from the NFTS at 17:00 every weekday from the 10th to 16th November 2017. For more information, please follow @2Girls1Flat on Twitter or visit YouTube channel and Twitch channel. There will also be a customized Snapchat filter available throughout the week the show is broadcast. To apply for the Directing and Producing Television Entertainment MA, please visit www.nfts.co.uk/tvent 

Register now for our upcoming Facebook Live open day for the Graphics & Titles for Film & Television Diploma , which takes place on Tuesday 30^th November at 1pm.

Join NFTS Graphics and Titles course leader and renowned graphic designer, Hugo Hansell and current student, Xanthe Bondington, who will discuss the course and answer any questions you might have about the 12 month Diploma, which starts in January 2018 and includes a work placement at Sky. So if you’ve got a question about your application, or want some top tips for your interview or just want to know how to succeed in motion graphics and title design, join us LIVE on Facebook @NFTSFilmTV on Tuesday30th November at 1pm.

Find out more about our partnership with Sky and what the students did during their work placement this year:

Read about why shows like Stranger Things and Game of Thrones have turned opening credits from “disposable moments of television” to” an art form in its own right.

Sign up for the open day at www.nfts.co.uk/opendays 

Falling Sky, a graduation game developed and directed by National Film and Television School (NFTS) Games Design and Development MA student, Jonathan Nielssen is one of five games nominated for The Games Awards inaugural Student Game Award.

Hailed by The New York Times as “The Oscars of the gaming world”, The Games Awards, which takes place in Los Angeles on Thursday, December 7^th, is one of the video game industry’s biggest nights. Falling Sky is the only game developed in the UK to be nominated in the Student Game Award category, which supports emerging game development talent and will be judged on the excellence and ambition of the game by a panel of notable Games industry figures including:

Todd Howard (Executive Producer and Game Director, Bethesda Game Studios); Hideo Kojima (Director, Kojima Productions); Illka Paananen (CEO and Co-founder, Supercell); Kim Swift (Design Director, EA Motive); Vince Zampella (CEO, Respawn Entertainment).

Jonathan Nielssen said: “It’s a huge honour to have my graduation game nominated for the first ever Student Game Award; I’ve loved every minute of developing Falling Sky with the team at NFTS and this nomination is a fantastic testament to all the hard work everyone has put in.”

Alan Thorn, NFTS Head of Games said: “I’m delighted to see Falling Sky nominated for this highly prestigious award in games. It reflects the incredible talent and hard-work of both Jonathan and his team. The NFTS Games MA is committed to building a creative climate where people from all backgrounds can develop the skills and build the connections needed to become industry leaders making innovative games.”

About Falling Sky: A cinematic 3D mystery game developed at the National Film and Television School and led by Jonathan Nielssen as the director and sole game developer, the project uses Unreal Engine and motion capture technology in the attempt to create an immersive narrative-driven drama with a Twin Peaks’ influence and elements of open world adventure. Set across the sprawling landscape of American suburbia, the story opens with Daniel – a 20 something-year-old university student who come back home one day to find his younger brother Tommy abandoned by their mom. With only a series of cryptic messages to guide them through the weird place Daniel’s hometown has become, the brothers set off on an atmospheric quest to discover the truth behind their mother’s disappearance.

The Team: Developed and directed by NFTS Games Design & Development MA student, Jonathan Nielssen; produced by NFTS Producing MA student, Nikolay Savov; written by NFTS Screenwriting MA student, Mohsen Shah; music by NFTS Composing MA student, Seymour Milton; and sound by NFTS Sound Design MA student, Breen Turner.

The 2017 Games Awards will celebrate the best games, eSports, and members of the gaming community with a live stream available on more than 16 gaming and digital streaming platforms, including localized versions for Chinese, South Korean and Japanese audiences. In addition, fans will be able to vote on select categories using Facebook Messenger, Google Search, Twitter DM, and at TheGameAwards.com.

Press Contact:

Vicky Hewlett, Head of PR and Communications, NFTS:  VHewlett@nfts.co.uk

About the NFTS Games Design and Development MA:Games Design & Development at the NFTS is a world-class MA for future games innovators and encourages students to challenge the meaning of games and interactive experiences. The courses’ diverse students are mentored by industry-experienced tutors and work with cutting-edge technology to develop their visions and ideas into a reality. By exploring the creative bridges between innovative-mechanics, emotional engagement and thoughtful storytelling, the NFTS brings together students from many departments, including screen-writing and cinematography, into a collaborative environment where they develop industry connections. There are still some places available for the MA which has a start date of January 2018 – apply at www.nfts.co.uk/games

Cabin Pressure, a film made by NFTS first year Directing Animation MA student, Matthew Lee, has won ‘Best Student Film’ at this year’s Manchester Animation Festival. The film was made as part of a first year project on ‘Character’ where the Directing Animation MA students collaborate with the Screenwriting MA students to develop characters and write a story about them meeting.

About Cabin Pressure: A safety and regulations obsessive is forced to revaluate things when a routine flight runs into difficulties.

The jury commented: “For its brilliant characterisation, great use of form and material, it is a perfectly crafted little story.”

Matthew Lee said: “It’s a huge honour to win Best Student Film at the Manchester Animation Festival, especially with a film I made as part of a first year project.”

The NFTS Team: 

Directed by Matthew Lee
Starring Wayne Forester, Emma Tate, David Holt 
Written By Matthew Lee, Conor Keane, Karim Khan
Cinematographer: Molly Manning-Walker
Set Design: Sally Hughson
Editor: Mirjam Jegorov
Sound Design: Edward Guy
Composer: Rachael Philip

Writer-Director Francis Lee was greeted by an appreciative stomping of feet amongst the applause from NFTS students who’d just watched his acclaimed film, God’s Own Country.  Audiences around the world have been falling in love with the film; a Yorkshire set romance between a sheep farmer and a Romanian migrant worker.  

God’s Own Country premiered at Sundance, where Francis won the directing award.  It has gone on to win Best Film at Edinburgh, Berlin and Dinard.  It is Francis’s first film as a director, having been an actor for twenty years.  In a Q&A with NFTS screenwriting and script development tutor Ludo Smolski, Francis explained how he came to make the film. 

“Since I was a small child I always knew I wanted to write,” Francis recalled, “I was interested in stories, characters, but I wasn’t confident that I could do it.”  “So what changed?” Ludo asked, “I got older!” Francis laughed – “Rather than getting a sports car for a mid-life crisis I wrote a script!  I quit acting and got a job in a salvage yard to earn enough money to make a short film.  And I realised I was very comfortable with writing.”

After making his first short film The Farmer's Wife, Francis wrote the script for God’s Own Country.  The film is rooted in the landscape where he grew up.  Describing the countryside where his father still farms, Francis said “the landscape informed who I was emotionally and physically.  It felt incredibly creative and freeing, but also isolating and brutal and difficult, and I wanted to investigate those things.” Adding, “I also wanted to write about how difficult it is to be vulnerable enough to be loved.  I just felt compelled to write this story.”

Finding an agent through a friend who loved the script, Francis submitted it for i-features.  It was shortlisted but didn’t make the final three.  But to his delight the BFI contacted him separately to say how much they believed in the project and wanted to fund it themselves. 

Francis told the students that he was committed to making the film he wanted to make “a film that was me through and through.  So I looked for people in the cast and crew who would support that and who wanted to work in the same way.  For the intensity of the film it was super important that the Cinematographer and Boom Operator, for example, were not just brilliant at their craft, but also people the actors could trust as they were going to be so physically close to them during emotional and intimate scenes on the shoot".

Francis spent a lot of time with the actors, who were enthusiastic about his way of working to build the characters.  So that they understood the authenticity of the farming life, lead actors Josh O’Connor and Alec Secareanu spent weeks working on local farms in Yorkshire.  “They did long shifts,” Francis, a farmer’s son himself, said admiringly, “And from getting cold and tired and wet they could bring that into the physicality of their roles.”   

Francis is full of praise for all the actors, but said “they weren’t allowed to deviate from the script.  As a writer I’m very meticulous!”  He explained that he pared back the dialogue as much as possible, so that emotions and the developing romance could be told in glances. 

“I love using sound for storytelling as much as the visuals” Francis told students, “I find music can be very ‘signposting’ and so I wanted the sounds in this to be very natural and add to the immersive quality of the film.  We recorded hours of atmos at the locations, stripped it out and then built it back up.  It’s very orchestrated.  Each sound has a significance in terms of tone, emotion and storytelling. For example, a new wind sounds arrives when Gheorghe appears, and it is always there in the background when he’s there, then when he goes there’s a shadow of it, like a ghost, to remind Johnny that something is missing.”  Every bird song was carefully selected - “For me curlews are a harbinger of Spring,” Francis revealed, “so we hear one when Johnny and Gheorghe first touch – a sign of new life, like the Spring.”  God’s Own Country has just won the British Independent Film Award (BIFA) for best Sound Designer for Anna Bertmark.  The film is nominated for a further 10 BIFAs, the results will be announced later in December.     

Talking about his editor, Chris Wyatt, Francis said he was “Brilliant and taught me more about storytelling than anyone. Some days he’d go ‘I’ve done this, but don’t panic, just watch it’, and I’d always go ‘Oh, that’s fantastic!’ I'd trust Chris with my life. Again he is not just an incredible artist, but a true friend”

Francis chose to work with cinematographer Joshua James Richards, because he loved how in the previous film Joshua had shot, he connected the characters and the landscape.  Talking about the cinematography, Francis said how in the early part of the film Johnny is in single frames, moving to being in shot with Gheorghe as their relationship develops.  “And the colour palette goes from colder - the end of winter - at the beginning to warm and more hopeful at the end - the beginning of Spring. It's all very subtle. Anything I could do to enhance the tone, atmosphere, layering in the story, I did" Francis said.

Asked by one of the students about the ending of the film, Francis concluded, “I’m a big fan of hope.”

God’s Own Country is distributed by Picturehouse Entertainment and will be available on DVD, Blu-ray and Digital in January (you can pre-order your copy at http://www.godsowncountry.film/watch-at-home/).  Before its Home Entertainment release early next year there are still chances to see it in selected cinemas, including some special screenings in association with Attitude coming up on Sunday 3^rd December. Tickets are subject to availability and more information about these screenings can be found here : http://attitude.co.uk/see-acclaimed-gay-film-gods-own-country-in-cinemas/

The National Film and Television School (NFTS) is proud to announce it is the first ever film school to win a Queen’s Anniversary Prize for Higher and Further Education. The NFTS is among twenty-one universities and colleges of further education who were announced as recipients of Queen’s Anniversary Prizes in the current - twelfth biennial - round of the scheme at an event hosted at St James’s Palace by The Royal Anniversary Trust today.

Judges commented that the NFTS was chosen to receive the prestigious award as they were “impressed by the reach and influence of the School in a hugely important sector.”

Jon Wardle, NFTS Director said: “Winning a Queen’s Anniversary Prize is a huge honour for the NFTS and is a fitting testament to the fantastic work our students and staff put in to make the School such a success both nationally and on a global scale.”

The Prizes are part of the honours system and are awarded every two years by The Queen on the Prime Minister’s advice.

Work recognised in this round is wide ranging and includes rail and aviation engineering, costume design, vision problems of children with Down’s syndrome, parent-infant sleep, climate change and environmental protection, women’s health, the English language, agricultural engineering and dairy productivity, cancer drug discovery and drug safety, film and television training, photonics, food and nutrition for health and education for learners with special needs.

The Prizes, unique in the honours system in being analogous to honours to individuals but granted to an institution as a whole (irrespective of the area of work recognised), will be presented in February 2018 by a member of the royal family at a ceremony to be held at Buckingham Palace.  As a national honour the prize carries no cash value, consisting of a silver-gilt medallion and a Prize Certificate signed by HM The Queen.

Sir Damon Buffini, Chairman of the Royal Anniversary Trust said:

“The focus of the Prizes on innovation and practical benefit to people and society is a great incentive to our universities and colleges to think critically about the direction of their work and its application and relevance in today’s world.  The national recognition and prestige conferred by the Prizes also enables individual institutions to win support and leverage funding for their future plans.”

For more information on The Royal Anniversary Trust see www.royalanniversarytrust.org.uk and for the NFTS, please visit www.nfts.co.uk

Students on the NFTS Model Making for Animation Diploma have been busy learning the craft of puppet making with tuition and support from top sculptor and puppet maker, Joe Holman. Joe works regularly for course partner, animation producers and puppet makers, Mackinnon and Saunders and has worked on puppets for popular TV shows such as Postman Pat and Bob the Builder and feature films such as Wes Anderson’s Fantastic Mr Fox and Tim Burton’s Corpse Bride and Frankenweenie.

Joe has taken time out of his busy schedule and is spending several weeks with the students to help with the course’s ‘Introduction to Puppet Making Module’. During the module, students build a 1:6 scale animatable puppet to their own design. They learn the process of designing for puppet making and work with ball and socket and wire armatures and make costumes and props to go with their puppets.

The ball and socket armatures the students are working with are made by one of our experienced industry contacts, Julian Clark Studios. Students learn how to make adjustments to the armature such as changing the length of the limbs. Plastacine is used to sculpt and mould a maquette around a wire armature and then a ball and socket armature is added into the mould for movement.

The puppet designs the students have chosen are wide ranging – some are inspired by Mad Max and some are more suitable for children! The next plan is for the Model Making students to collaborate with the Directing Animation MA students to do some animation tests with the puppets prior to starting their graduation films. We are hopeful that next year we will be able to do some animation tests prior to starting work on the graduation.

For more information about the Model Making for Animation Diploma, please visit www.nfts.co.uk/modelmaking

(NFTS students on location filming Gentleman Thief)

The NFTS has introduced a new Certificate Course in Location Management for Film & TV Production– the only one of its kind in the UK – to meet industry demand. We caught up with experienced Location Manager and 1^st AD, Richard Lingard to find out more about the 12-week course, which starts in May 2018:

Why has the NFTS introduced a Location Management Certificate Course? "We identified that location management was a missing piece of the production jigsaw at NFTS. All departments are represented from Production Management to Assistant Directing but we’ve never had a dedicated locations department. This function has previously been undertaken by producers and production managers but by the time the graduation films come around in the summer, they have too much on their plate with getting the shoot up and running so a dedicated locations department will be an enormous help as well as a great career launch pad for budding location managers.

There is also a big demand in the industry for trained location managers. Whilst it’s a career option that is often overlooked by the industry, location managing can be very successful and rewarding. A good location manager can be very hard to come by, especially at the moment given the recent boom in productions so there are plenty of opportunities out there."

(NFTS students on location in Germany filming Good News)

How is the course structured and what will students learn? "The 12-week course is timed to overlap with NFTS graduation films by 4-5 weeks. The first 4 weeks will consist of intensive workshops seminars and visits from key industry players including heads of production and  organisations such as Film London. Students will learn essential skills such as how to photograph locations well and how to present locations to a director. They will learn how to work within budgets and manage contracts and health and safety issues.  In a nutshell, the course offers students really good ground up tuition and provides practical experience of scouting, prepping and shooting films."

(NFTS students filming graduation film, Wild Horses)

Who should apply? "Applicants don’t need any formal education requirements but it’s helpful to have some experience with productions or locations. We’re looking for candidates who understand how locations work within the overall pattern of filmmaking and have an idea of what the locations department does. There are also lots of good career progression opportunities; location managers often continue on to be production managers or executive producers. It opens a lot of doors as you become integrated into the whole production team. It’s also important to be able to interpret a brief and work creatively. The location manager’s work is featured on the screen; they help choose the look and feel of the film or production as a whole."

(NFTS first year film, Present, being filmed in TV show, Grand Designs' presenter, Kevin McCloud's favourite house, Jacob's Ladder)

Why study Location Management at the NFTS? "This course is unique and the School is a production power house; we’re shooting something all the time so there are many opportunities to get involved and build experience. All the production facilities and contacts are right here at the School and the Production Managers and Producers you meet here could be valuable employers in the future. We also have great support for the course from Location Management company, Salt Locations who have helped design the curriculum and will help provide work placement opportunities for the students."

What’s are the highlights of being a Location Manager? "A location manager is integral to the production. It’s a hugely responsible and key role, which makes an important contribution to the look and feel of the film and ensuring the film runs to budget. If you can’t get the right location for the right price, you’ve got a problem."

(NFTS students filming in Germany on location for graduation project, Good News)

How does the Location Manager fit into the overall team? "The location manager works hand in glove from prep to the final wrap; they are long-term players on any production. At NFTS, they will work closely with all production roles including, directors, producers, cinematographers and designers, providing all the information and support necessary for a successful location shoot from initial scout to wrap and reinstatement."

(Recent NFTS grads filming on location in Cornwall for a Bridge to Industry project for fashion brand, Jigsaw)

How did you start out? "I started 25 years ago working as an in-house runner at film and TV advertising production company, RSA Films, set up by Ridley and Tony Scott. At first, I made the tea and did photocopying but by the end I was finding locations for commercials. From there, I went freelance and combined location managing with being a 1^st Assistant Director so I know exactly what goes into making any production work on location. I also had great fun working with American portrait photographer, Annie Leibovitz, finding locations for photoshoots for the likes of John Cleese, Judi Dench and Uma Thurman! I continue to do AD work while at NFTS on TV productions, features and commercials."

Applications are open for the Certificate Course in Location Management for Film and TV Production until the 15^th March 2018 and the course starts in May 2018. For more information and to apply, please visit www.nfts.co.uk/locationmanagement

Oscar, BAFTA and Golden Globe winning screenwriter, Simon Beaufoy (Slumdog Millionaire; The Full Monty; 127 Hours; Salmon Fishing in the Yemen) delivered a thought provoking masterclass at the NFTS hosted by the School’s Head of Screenwriting, Brian Ward. Prior to the Q&A, students were treated to a screening of his well-received latest film, Battle Of The Sexes, which is directed by Little Miss Sunshine directors Valerie Faris and Jonathan Dayton and is based on the true story of the 1973 tennis match between world number one, Billie Jean King and ex-champ and serial hustler, Bobby Riggs.

Critics have widely praised the film with Variety describing it as “boisterously entertaining” and Empire summing it up as “a light, funny, blissfully entertaining flick about heavy, sadly still relevant themes”. It is to the relevance of the time that Simon spoke to first: “Every issue that Billie Jean King was fighting against then has popped up again.” Simon met with Billie Jean King to discuss the project and persuaded her that the film couldn’t be made without dramatizing her private life as well as the match between her and Bobby Riggs. He explained: “It was very important to get that part right and makes it possible for non-tennis fans to enjoy the film as it’s about relationships. She was so open and up for the challenge of telling her story; she was a fantastic collaborator.”

Brian asked Simon how he dealt with researching Bobby’s character as he is no longer with us. Simon replied: “I took my cues from Billie as she was friends with him until he died which is strange given the awful things he said. Billie described Bobby as a clown and an actor playing a part and his coach who I also spoke to said everyone loved him and that he had a strange innocence and nothing was done with malice. It was the Jack Kramers (Head of the US Lawn Tennis Association) of life according to Billie who were the real misogynists and hard to combat.”

One of the students asked Simon how he gets people to open up and achieve such a level of honesty in his films. Simon puts this down to starting life as a documentary director, “I am just nosey! For example, with Slumdog Millionaire, I couldn’t just parachute into Mumbai and say I understand your life. I asked people there what they would shoot a film about. In fact all the stories in Slumdog came from other people. I could have written that film five times over with the stories I heard. I’ve learnt how to shape the stories and decorate them. Everyone’s life is fascinating, you just have to dig around and listen. With Battle of the Sexes, I had my arcs of story for each of the themes: Sports, love story and politics and had to create a symphony of them interweaving.”

Billie was very clear she wanted her husband, Larry to come across as a good man. Simon took this request to heart so much that he is “one of my favourite things in the film; he comes across with so much dignity.” 

Simon then talked about how he likes his films to have layers but also attract the broadest possible audience: “For example, with The Full Monty, people thought they were going to see a film about stripping but the stripping was the Trojan horse as the film was really about the disenfranchisement of men.” And on how to deal with a story where the audience knows the outcome, Simon had the following to say: “You have to get people so involved in the story so they forget what’s coming up whether it’s the guy in 127 hours cutting his arm off or Billie winning the match with Bobby.”

Replying to a Directing student asking about how to best work with screenwriters, Simon said: “I’ve realised that storytelling is very elastic; you can push it, squeeze it, twist it and still get what you want but also get what others want into the bargain. My job as a writer is to find the middle ground. It took me a while to have the confidence to see that a story can be told in a million different ways and not to be defensive. You need the ability to stay on course while being flexible; it’s the screenwriter’s job to navigate through to the screen without losing your way.”

Another student commented that all Simon’s films have a love story at their heart and asked if that was intentional. Simon replied: “It’s all about love and hope. They are the two things that keep me going in life. All the great stories are about love and hope.”

Simon’s next project is a 10-part TV series called Trust, which is directed by Danny Boyle and is currently filming. 

The Guardian’s film critic, Peter Bradshaw has once again presented his shortlist of the year’s movies, directors, actors, writers and screenplays he considers most awards-worthy and we are proud to announce that a fabulous 14 NFTS alumni are credited. Additionally, Destination Unknown directed by NFTS Directing Documentary tutor, Claire Fergusson is included in Peter’s ‘Best Documentary’ list.

Credits include:

Film of the Year:

The Death of Stalin: Editor, Peter Lambert; Graphic Designer, Louise Begbie

Blade Runner 2049: DoP, Roger Deakins

I Am Not a Witch: Producer, Emily Morgan; Associate Producer/Location Manager, Gabriel Gauchet; Composer, Matthew James Kelly; Supervising Sound Editor, Maiken Hansen; Sound Effects Editor, Ania Przygoda; Dialogue Editors, Raoul Brand and Jens Rosenlund Petersen

Best Documentary:

Whitney: Can I Be Me: Writer/Producer/Co-Director, Nick Broomfield; Cinematographer, Sam Mitchell

Best Cinematography:

Roger Deakins for Blade Runner 2049

Urszula Pontikos for Film Stars Don’t Die in Liverpool

Not only are there a fantastic nine NFTS alumni credited on the highly anticipated Star Wars: The Last Jedi, but our very own Model Making for Animation Diploma course leader, John Lee was Prop Maker on the film. We caught up with him to find out what it was like making props for one of the most talked about films of the year.

(NFTS alumni credits include: Production Sound Mixer, Stuart Wilson; Boom Operator, Tom Fennell; Compositing Supervisor, Dan Snape; Compositor, Adam Arnot; Location Coordinator, Caterina Boselli; Stand-By Art Director, Huw Arthur; Concept Designer, Kim Frederiksen; Concept Artist, Tim Browning and Junior Set Designer, Paul Savulescu.)

What was it like working as prop maker on Star Wars: The Last Jedi ?

John:“It was fantastic; we all had to keep pinching ourselves at the time! By the time we started on The Last Jedi, I had already done Rogue One, so I knew what I was letting myself into. I worked with a large team of prop makers at Pinewood Studios, under the supervision of Jamie Wilkinson (Prop Master) and Mark Rocca (Head of Department, Prop Making). At times, there were up to 60 of us working on everything from weapons, hand props, and set decoration, which is where my speciality lies. The scale on a production like this is epic! The main difference of course is that everything is full size rather than in miniature, so there are scale challenges, plus the sheer size and weight of the objects all has to be taken into consideration. The whole process takes months, so the very long hours tend to have an effect, so it’s all about trying to pace yourself.”

What kind of props were you making and did you face any particular challenges making them?

(Rian Johnson directs Daisy Ridley in a scene from Star Wars: The Last Jedi standing in front of one of the large scale props John made for the film.)

John: “I was concentrating on set decoration, so I worked closely with the Art Department. Most of the items and sets I worked on were full size and part of the sets rather than hand props which generally have much more engineered elements. I’m no engineer, and in any case, the department has specialists who did an amazing job in that area.  The main challenges are always time based, as there is always a rush for everything. Each department on a film of this size follows the shooting schedule from main and second units, so depending on where they are shooting, or whether they are on location, that dictates our workflow.”

What kind of materials/ techniques did you use and are you teaching your students any of these on the NFTS Model Making Diploma?

(NFTS Model Making for Animation Diploma students at work)

John: “The interesting thing about model making and prop making is that you are using the same transferrable skills all the time, so the kind of techniques I’m teaching here will be transferable, so should the students go onto working on bigger film projects, they will have put into practice the basics. The main difference is scale. Often, it is not necessary to put the same level of detail into a prop on Star Wars, as it’s going to be a few feet from camera as part of a large cockpit or set, and in any case, the audience should be looking at the actors and not the props. On the stop frame model sets here at The NFTS, we have to show all the detail, because the set is a scale  miniature, and the end result will be blown up onto the big screen, so the level of detail has to be in there and made to a very high standard. The kind of materials we are using are pretty much the same – Acrylics, MDF, etc.

Can you reveal any behind the scenes prop making secrets?

Ha…! Not really…..! We have to respect the NDA’s which we all sign when we sign up to a film such as The Last Jedi, however, I will say that you always have to think two steps ahead, and generally expect the unexpected, because the very nature of the film making process is that it is fluid throughout the build process, and directors change their mind! So it always good to be able to offer an alternative Plan B should this arise. The other thing is try to get some sleep as you’ll need it!

For more information about the NFTS Model Making for Animation Diploma, please visit www.nfts.co.uk/modelmaking

The oft-described ‘King of Satire’, Oscar nominated and BAFTA winning writer-director, Armando Iannucci (The Thick of It; Veep; In The Loop), delivered an insightful masterclass to NFTS students along with NFTS alumnus and tutor, BIFA nominated, Pete Lambert (The Twilight Saga: New Moon; X&Y) who edited The Death of Stalin, Armando’s latest film.

The Q&A was hosted by NFTS Director, Jon Wardle following a screening of the critically acclaimed film, which is described in Peter Bradshaw’s 5-star review in The Guardian as a “brilliant horror-satire”. The Death of Stalin has also been nominated for 13 British Independent Film Awards, including ‘Best Film’, ‘Best Director’, ‘Best Screenplay’ and ‘Best Editing’ and took home awards for 'Best Supporting Actor' for Simon Russell Beale, ‘Best Production Design’, ‘Best Makeup’ and ‘Best Casting’ . 

Armando opened the masterclass by saying he had been thinking of doing something on dictators for some time and had considered all the ‘greats’ from Mao to Mussolini! The Death of Stalin was adapted by Armando, David Schneider and Ian Martin from the French graphic novel series by Fabien Nury and Thierry Robin.

Pete explained he got the editing job after receiving an email from the film’s Post Production Supervisor and as soon as he saw the words, ‘Iannucci, Simon Russell Beale and Stalin’, he jumped at the chance. On working with new people, Armando said: “It’s nice to work with people you’ve already worked with but there’s a danger you don’t move on if you don’t have new faces. I find people by asking around if I have seen something I like or I ask for recommendations.”

Many of the scenes in the film involve complex, often slap stick sequences and Armando prepared for those by arranging a robust rehearsal period a few weeks before the shoot with the full cast. He explained: “We worked out the blocking and comedy timing for the big scenes; if you have all those conversations on set, it’s very expensive!”

The decision to let the cast use their own accents or choose accents, such as Jason Isaacs plumping for a Yorkshire brogue for Soviet Army Officer, Zhukov, was made right from the start. Many movies about Stalin feature actors using Russian accents and Armando describes this as “unrealistic. The characters from this period all had different dialects.”

There are many dialogue heavy scenes in The Death of Stalin and Pete explained how he finds these more complex to edit than action scenes. Armando praised Pete’s work: “The first time I saw the assembly put together by Pete, I was bowled over. The pacing of the scene where the committee members vote ‘unanimously’ on a series of decisions and move through Michael Palin’s monologue is brilliantly done.” On how Pete and Armando worked together on the editing, Armando said: “I don’t want to see anything until it’s done. Occasionally Pete sent me a query about shooting an extra continuity scene but I’m not into watching stuff straight back. During the shoot, we are constantly rewriting so by the end of it, I’m tired and want to clear my head so I’m ready for the next day and sharp on set.”

Pete continued: “I spent most of my time on getting the tone right and focussing on balancing the horrific against the funny.”

One of the students asked Armando’s view on author and scriptwriter, John O’Farrell’s assertion that satire ‘serves the powerful and helps normalise politicians with extreme views.’ Armando replied: “You’re on a hiding to nothing if you think anything you write will change anything” and referred to a quote from comedian, Peter Cook who founded The Establishment Club in 1961 and said it was to be a satirical venue modelled on “those wonderful Berlin cabarets which did so much to stop the rise of Hitler and prevent the outbreak of the Second World War.”

Another question came in about improvisation. Armando said there wasn’t much improvisation in The Death of Stalin but “if something is funny, we’ll go with it. With anything collaborative, you have to dump your ego at the cloakroom. Story Is key – you have to ask, is this funny and interesting and does it keep developing? Once you’ve locked that all in, I’m all in favour of trying things so long as it doesn’t change the story.”

And on where to draw the line with offensiveness in comedy, Armando said: “There’s no hard and fast rule. You can get away with more if the joke is really good. I do also think, what’s wrong with being offended? People should be able to defend their beliefs. We’ve lost the sense of engaging people who disagree with us – it isn’t healthy. Not to say we should be as offensive as possible for the sake of it, that’s lazy.”

Armando’s next project, David Copperfield, is casting now and due to shoot next summer. The Death of Stalin is showing in UK cinemas now and due for release in the US in March 2018.

(Carol Salter with her BIFA Award)

Huge congratulations to NFTS alumni Emily Morgan and Carol Salter who won prestigious BIFA awards at the 2017 British Independent Film Awards.

(Emily Morgan)

Emily won in the ‘Breakthrough Producer’ category for her work on Film4-backed satire, I Am Not A Witch, which is about an 8-year-old girl who is convicted of being a witch. In addition to Emily winning Breakthrough Producer, the film’s director, Rungano Nyoni won both the ‘Best Director’ prize and the ‘Douglas Hickox Award for Best Debut Director’.

(Still from I Am Not a Witch)

NFTS Editing MA graduate, Carol Salter won ‘Best Documentary’ for her film, Almost Heaven, about a trainee mortician working in one of China’s largest funeral homes.

(Still from Almost Heaven)

All subjects of recent NFTS masterclasses, Gods Own Country, Lady Macbethand The Death of Stalin were big winners on the night.

Gods Own Country, directed by Francis Lee, took the top prize on the night, winning ‘Best British Independent Film’ as well as ‘Best Debut Screenwriter’ for Francis and Best Actor for Josh O'Connor (the film had already won ‘Best Sound’ in the BIFA Craft Categories).

Lady Macbeth, directed by William Oldroyd and produced by NFTS alumna, Fohla Cronin O’Reilly who was also nominated in the ‘Breakthrough Producer’ category, added to its ‘Best Cinematography’ and ‘Best Costume Design’ Craft Awards with ‘Best Screenplay’ (Alice Birch), ‘Best Actress’ (Florence Pugh) and ‘Most Promising Newcomer’ (Naomi Ackie).  

Armando Iannucci’s The Death of Stalin took the ‘Best Supporting Actor’ Award for Simon Russell Beale and had already won Craft Awards for ‘Best Production Design’, ‘Best Makeup’ and ‘Best Casting’ and NFTS alumnus, Pete Lambert was nominated for ‘Best Editing’. 

It’s that time of year when many of us like to settle down to watch a festive film so we thought we’d ask our students for some alternative suggestions to the typical fare shown over Christmas and they’ve come up with some crackers!

On Her Majesty's Secret Service, directed by Peter R. Hunt - 1969

Editing MA student, Connor Meechan: “On Her Majesty’s Secret Service” is the rogue bullet in the Bond canon, presenting a scaling down of gadgetry and stripping James Bond of his treasured masculinity. The Alpine photography is stunning and the ice cold finale remains true to the Fleming novel.” The film soundtrack also includes “Do you know how Christmas trees are grown?” by Nina.

Carol, directed by Todd Haynes - 2015

Henry Young, Cameras, Sound and Vision Mixing Diploma student: “The film plays out against the backdrop of Christmas and New Year, and the beautiful images created by Ed Lachman A.S.C. make you feel warm and cosy inside - just like any good Christmas film.”

Love and Peace, directed by Sion Sono – 2015

Giada Liu, Film Studies, Programming and Curation MA student: “My favourite alternative Christmas film would be Love and Peace by the Japanese director Sion Sono. It tells a fantastic Christmas fable about a wish-realising turtle and how it grows bigger and bigger as the protagonist's wishes come true. The film depicted an alternative imagination of Santa, while showing a deep reflection on greed and loneliness. A refreshing family film that kids would see more of the fantasy and the adults more of the allegory.”

Hook, directed by Stephen Spielberg - 1991

Briony Tanner, Marketing, Distribution, Sales and Exhibition MA student: “Just reminds me of being a kid and the family getting together to watch the film. I now watch the film each year with my daughter.”

Dans Paris, directed by Christophe Honoré - 2006

Carine Hejazi, Marketing, Distribution, Sales and Exhibition MA student: “A story about two brothers before Christmas at their father's house in the course of a day. The eldest, played by Romain Duris, has just moved back home after a break up and spends the day in bed, depressed while the younger (Louis Garrel) merrily goes from girl to girl.”

Labryinth, directed by Jim Henson - 1986

Stephanie Bradshaw, Assistant Directing and Floor Managing Diploma student: “Labyrinth reminds me of my childhood and watching this over and over! David Bowie and his tight pants are legendary!”

In Bruges, directed by Martin McDonagh - 2008

In Bruges is recommended by both Directing Fiction MA student, Ben Hunter, and Sound Design MA student, Odinn Ingibergsson. Ben picks it for its irreverent quote: "You're an inanimate f***ing object" and Odinn because “it is set in a beautiful fairytale-esque old town and Brendan Gleeson's character is warm and forgiving, just like Santa(!)”

Bad Santa, directed by Terry Zwigoff - 2003

Bad Santa also gets two recommendations. Film Studies, Programming and Curation MA student, Roberto Gonzalez loves it for its “irreverence” and Editing MA student, Stella Heath Keir picks this quote: “Next, goddammit. This is not the DMV, alright? Move it along” and describes Billy Bob Thornton’s character as “the best scrooge there ever was!”

Fanny and Alexander, directed by Ingmar Bergman - 1982

Producing MA student, Ludovico Zanette: “Fanny and Alexander is not only one of the director's masterpieces, but it also features one of the most wonderful and fascination representation of the Christmas celebrations. The way Bergman manages to capture the spirit of Christmas from the prospective of his two young protagonists, while at the same time showing the tension, jealousy, and conflict within the family is unique and unparalleled.”

Rudolph the Red-Nosed Reindeer, directed by Larry Roemer - 1964

Katia Lom, Directing Animation MA student: “Under the guise of a children's film, this movie is truly an allegory. With a gay elf and a reindeer with a shining red nose as protagonists this film highlights the issues raised by the civil rights and gay rights movement in the US and is an anthem to how being different is a gift and is the makeup of society and community. In light of the current political and cultural climates around the world, this film is more pertinent than ever!”

Scrooged, directed by Richard Donner – 1988

Directing Commercials Diploma student, William Markarian-Martin picks Scrooged simply: “Because Bill Murray!”

Merry Christmas from everyone at NFTS!

With one of the most highly anticipated films coming out this weekend, NFTS students were thrilled to be treated to a masterclass with the Producer of Star Wars: The Last Jedi, Ram Bergman (Brick; Looper). According to a roundup of reviews on the BBC website, the critics are “in raptures” using words like "rousing", "thrilling" and "addictively bold” to describe the film.

The session was hosted by director, screenwriter and Empire’s Contributing Editor, Nev Pierce, who opened by asking Ram what it was like to work on one of the biggest franchises of all time. Ram reflected back to his childhood where he grew up in Israel and was 8 or 9 when the first Star Wars movie came out: “It was the first time I realised what you can do in movies. A whole new world opened up for me. That was the period that got me interested in making movies.”

On how the opportunity came about, Ram explained, “Lucasfilm president, Kathleen Kennedy approached Rian (Rian Johnson is Star Wars: The Last Jedi director and Ram’s long-time collaborator) and asked him to direct episode 8 before JJ had even started filming episode 7. He was shocked! He then called me. We had never made a big studio movie or a studio movie, period. We wanted to make sure we would have a good experience but we were so excited and thought we’ve got to do this! Three and a half years later, I can honestly say we had the best experience in the world.”

According to Ram, Disney and Kathy gave them as much freedom as they wanted in making the film: “It felt like we were making a Rian movie. We got complete freedom and I cannot speak more highly of the experience. There was really no difference between making this film and our movie, Brick. Apart from the budget and the scope, the day to day process felt intimate and just like the indie filmmaking process we were used to.”

Nev asked Ram what kind of challenges he faced in making the film. Ram replied: “There were 125 sets, which is a lot! With a 100 day shoot, that meant more than one set a day and some of the sets were huge! We took over the whole of Pinewood and that still wasn’t enough space for us. But we had a phenomenal crew. I really appreciated the craftsmanship of every department from the art department to the creature department. From construction to VFX, we were working with the best people in the business, which was hugely rewarding.”

Ram and Rian brought in DoP, Steve Yedlin and Editor, Bob Ducsay. The rest of the crew were either hired by Rian and Ram or had already worked on Star Wars. Ram continued: “It’s part of my job as Producer to create an environment that’s best for the movie and to make sure everyone works together in the best way. I like to work with people who have a point of view and are not afraid to share it. People who push you rather than simply implementing the director’s vision ultimately lead to a better result.”

One of the students asked Ram about making his first feature with Rian, Brick. Ram said: “Rian was trying to make Brick for seven years but hadn’t managed to get anywhere with it. I read the script and said the way he was trying to make it was wrong. He was going after the wrong budget level. The seven years meant he knew every detail of the movie so by the time we shot it, he had a clear vision and was very prepared.”

Nev asked Ram how he chooses who to work with. Ram explained: “As I progressed in my career, I decided I only wanted to work with talented people who are good human beings, which is a rare combination in our industry. Rian is a truly good human being and a unique filmmaker. If I just work with Rian for the rest of my left, I’ll be happy. There’s no ego, it’s purely about the work.”

On working with editor, Bob Ducsay, Ram said: “Bob played an integral part in Star Wars. He is a guy with great energy and is not afraid to give his point of view. So much is about dynamics, to know when and how to say, we should do it this way.”

Nev wrapped up the session by asking Ram to give the students some advice for their future careers. Ram pondered and then said: “All I know is hard work pays off. You need a vision of what you want to be doing and then you need to figure out how to get there. Be committed to your vision. Connecting the dots isn’t as hard as committing to what to do.”

Star Wars: The Last Jedi is out in cinemas from today.

Are The Kids Alright is a film programme curated by NFTS Film Studies, Programming and Curation student, Nicolas Raffin in partnership with the Institut français.

The programme takes place on the 12th and 13th January 2018 at Ciné Lumière in London and centres around three coming of age feature films as well as a selection of some of the best recent European shorts curated by a group of young people led by Nicolas.

Are The Kids Alright is part of a series of film programmes curated by finalist students from the NFTS MA in Film Studies, Programming and Curation , led by Sandra Hebron. The season comprises eight exhibition projects running until January 2018. They range from themed programmes and national cinema seasons to expanded cinema and online initiatives.

What is the inspiration behind your graduation project?

Nicolas: “I have nurtured two main interests during my MA in Film Programming and Curation: Film literacy and European cinema. I think these interests come from my personal assessment that both are not supported enough in the UK. The lack of film tuition in schools delays the exposure of British students to foreign-language films, and partly explains why it is so hard for the films to then perform well in UK cinemas. The tense political climate the UK is going through will not help European films get released; the UK film industry might even be withdrawn from European funding schemes.  

In reaction to this, my intention was to bring those elements together and shape an event that would both expose teenagers to European cinema, and have a wide reach. With support from the Alec Reed Academy in Ealing, I have been running workshops with a small group of teenagers, and we have programmed two shorts sessions that will screen at the event. These shorts, all European, have toured in international festivals in the past couple of years. In addition to these two shorts programmes, three feature films will screen, each portraying teenage life in a unique way.”

Which films have you selected and why?

Nicolas: “The programme is voluntarily eclectic and aims to provide the audience with a sense of what European cinema has recently produced. The short films selected are very diverse and will be revealed on December 15th on social networks and on the website.” 

“The Latvian film Mother, I Love You will open the event. This touching coming-of-age drama, winner of the Grand Prize of the Generation Plus section of the Berlinale, follows 12 year-old Raimond through his rather unstable everyday life, punctuated by minor crimes and a rocky relationship with his mother. Director Janis Nords delivers a strong social commentary about growing up in Latvia. This is a rare screening of a film that has not been released in the UK.”

“The second film from French animator and film director Sylvain Chomet, L’illusioniste, is one of the great French animated films of this century. Adapted from an original script of Jacques Tati, the film portrays an ageing illusionist suffering from the disappearance of music-halls and moving to London full of hope. He will encounter Alice in a Scottish pub, a young lady that will impact his future. It is a melancholic film, essentially about growing up and discovering, with fascination, a new form of art.”

“The event will close with a special screening of Sami Blood, a powerful Swedish drama that won the Lux Prize at the European Parliament last November. It tells the story of 14 year-old Ella-Marja, belonging to the Sami community, mostly present in the North of Scandinavia. Director Amanda Kernell talks about exclusion, minorities, and acceptance in 1930s Scandinavia, and, as we understand that we have not achieved much since in regard to these topics, her film also comments about us today.”

How can I book?

Tickets can be booked at a reduced fee of £5 per screening at the following link:

https://www.institut-francais.org.uk/cine-lumiere/whats-on/festivals-series/are-the-kids-alright/

Picture: Still from the film Mother I Love You, showing as part of the programme

(NFTS students on location filming Gentleman Thief)

The NFTS has introduced a new Certificate Course in Location Management for Film & TV Production– the only one of its kind in the UK – to meet industry demand. We caught up with experienced Location Manager and 1^st AD, Richard Lingard to find out more about the 12-week course, which starts in May 2018:

Why has the NFTS introduced a Location Management Certificate Course? "We identified that location management was a missing piece of the production jigsaw at NFTS. All departments are represented from Production Management to Assistant Directing but we’ve never had a dedicated locations department. This function has previously been undertaken by producers and production managers but by the time the graduation films come around in the summer, they have too much on their plate with getting the shoot up and running so a dedicated locations department will be an enormous help as well as a great career launch pad for budding location managers.

There is also a big demand in the industry for trained location managers. Whilst it’s a career option that is often overlooked by the industry, location managing can be very successful and rewarding. A good location manager can be very hard to come by, especially at the moment given the recent boom in productions so there are plenty of opportunities out there."

(NFTS students on location in Germany filming Good News)

How is the course structured and what will students learn? "The 12-week course is timed to overlap with NFTS graduation films by 4-5 weeks. The first 4 weeks will consist of intensive workshops seminars and visits from key industry players including heads of production and  organisations such as Film London. Students will learn essential skills such as how to photograph locations well and how to present locations to a director. They will learn how to work within budgets and manage contracts and health and safety issues.  In a nutshell, the course offers students really good ground up tuition and provides practical experience of scouting, prepping and shooting films."

(NFTS students filming graduation film, Wild Horses)

Who should apply? "Applicants don’t need any formal education requirements but it’s helpful to have some experience with productions or locations. We’re looking for candidates who understand how locations work within the overall pattern of filmmaking and have an idea of what the locations department does. There are also lots of good career progression opportunities; location managers often continue on to be production managers or executive producers. It opens a lot of doors as you become integrated into the whole production team. It’s also important to be able to interpret a brief and work creatively. The location manager’s work is featured on the screen; they help choose the look and feel of the film or production as a whole."

(NFTS first year film, Present, being filmed in TV show, Grand Designs' presenter, Kevin McCloud's favourite house, Jacob's Ladder)

Why study Location Management at the NFTS? "This course is unique and the School is a production power house; we’re shooting something all the time so there are many opportunities to get involved and build experience. All the production facilities and contacts are right here at the School and the Production Managers and Producers you meet here could be valuable employers in the future. We also have great support for the course from Location Management company, Salt Locations who have helped design the curriculum and will help provide work placement opportunities for the students."

What’s are the highlights of being a Location Manager? "A location manager is integral to the production. It’s a hugely responsible and key role, which makes an important contribution to the look and feel of the film and ensuring the film runs to budget. If you can’t get the right location for the right price, you’ve got a problem."

(NFTS students filming in Germany on location for graduation project, Good News)

How does the Location Manager fit into the overall team? "The location manager works hand in glove from prep to the final wrap; they are long-term players on any production. At NFTS, they will work closely with all production roles including, directors, producers, cinematographers and designers, providing all the information and support necessary for a successful location shoot from initial scout to wrap and reinstatement."

(Recent NFTS grads filming on location in Cornwall for a Bridge to Industry project for fashion brand, Jigsaw)

How did you start out? "I started 25 years ago working as an in-house runner at film and TV advertising production company, RSA Films, set up by Ridley and Tony Scott. At first, I made the tea and did photocopying but by the end I was finding locations for commercials. From there, I went freelance and combined location managing with being a 1^st Assistant Director so I know exactly what goes into making any production work on location. I also had great fun working with American portrait photographer, Annie Leibovitz, finding locations for photoshoots for the likes of John Cleese, Judi Dench and Uma Thurman! I continue to do AD work while at NFTS on TV productions, features and commercials."

Applications are open for the Certificate Course in Location Management for Film and TV Production until the 15^th March 2018 and the course starts in May 2018. For more information and to apply, please visit www.nfts.co.uk/locationmanagement