An amazing 185 NFTS students and graduates are credited across the feature films and short films selected for this year’s prestigious Edinburgh International Film Festival. This year, an outstanding seven NFTS graduation films – five animations, one fiction and one documentary - have been selected for the event, which is the the world’s longest running festival of its kind. (If you are a budding animator, applications are open for our Directing Animation MA until 6th July - apply at www.nfts.co.uk/animation. We also have a new Model Making for Animation Diploma, which starts in September - apply by 6th July at www.nfts.co.uk/modelmaking)
Three NFTS graduation animations will compete for the McLaren Award for Best New British Animation including:
· Don’t Think of a Pink Elephant (animation), directed and written by Suraya Raja and produced by Rebecca Smith
· Homegrown (animation), directed and co-written by Quentin Haberham, produced by Caroline Bartleet and co-written by Tim Fraser.
· Poles Apart (animation), directed and written by Paloma Baeza and produced by Ser En Low.
NFTS Animation MA graduate Daisy Jacobs whose graduation film, The Bigger Picture was nominated for an Oscar, also has a film competing for the McLaren award, The Full Story.
Wild Horses (fiction), directed and written by Rory Alexander Stewart and produced by Rebecca Smith will be shown as part of this year’s EIFF SHORTS strand as part of the UK-Spectrum selection.
A programme of student shorts entitled (Be)longing have been curated by the MSc Film, Exhibition and Curation course at the University of Edinburgh, ‘where animation, fantasy, and reality collide. Moving from sandy beaches to icy landscapes, from Finland to Texas, and a universe made of wool, the films are each a carefully placed detail to the exploration of relationships across generations’. NFTS graduation films include:
· Fishwitch (animation), directed and co-written by Adrienne Dowling, produced by Helene Sifre and co-written by Jenna Jovi.
· A Love Story (animation), directed by Anushka Naanayakkara, produced by Khaled Gad and written by Elena Ruscombe-King.
· Markku and Me (documentary), directed, produced and cinematography by Lauri Danska
Feature Film Credits:
(Still from The Marker)
Access All Areas: Composer, Roger Goula
Daphne: Sound Maintenance, Howard Peryer (Michael Powell Award)
The Dark Mile: Dialogue Editor/Rerecording Mixer, Jens Rosenlund Petersen
Darkland: Production Designer, Sabine Hviid
Double Date: DoP, Laura Bellingham; Sound Mixer, Tarn Willers; Boom Operator, Doug Templeton
Edie: ADR Editor, Adele Fletcher (Audience Award)
Final Portrait: Foley Editor, Dario Swade; Sound Assistant, Nina Rice
God’s Own Country: Production Designer, Stephane Collonge; Art Director, Pedro Moura (Michael Powell Award)
Hyena: DoP, Benjamin Kracun; Production Co-ordiinator, Hussain Ahmed
Kaleidoscope: Boom Operator, Doug Templeton; Composer/Orchestrator/Conductor, Evan Jolly (Michael Powell Award)
The Last Photograph: Boom Operators, Thomas Markwick, Howard Peryer & Michael Sinden (Michael Powell Award)
Let Me Go: Stand By Art Director, Isobel Dunhill
The Marker: DoP, Liam Landoli; Editor, Carmela Landoli; Production Managers, Stephanie Paeplow & Catherine McNamara; ADR Mixer, Raoul Brand; Sound Maintenance Engineer, Caroline Singh (Michael Powell Award)
Maudie: Director, Aisling Walsh (Best International Feature Film)
Modern Life is Rubbish: Digital Compositor, Andy Quinn
A Private Function [1984]: Director/Co-Writer, Malcolm Mowbray; Co-Editor, Scott Thomas
My Pure Land: Supervising Sound Editor, Vicente Villaescusa; Senior Colourist, Susumu Asano (Michael Powell Award)
The Oath: Editor Sigvaldi J Karason (Best International Feature Film)
The Receptionist: Editor, Hoping Chen; Sound Effects Editor, Matis Rei
Romans: DoP, Felix Wiedemann (Michael Powell Award)
That Good Night: Boom Operator, Kyle Pickford (Michael Powell Award)
This Beautiful Fantastic: Sound Effects Editor, Jens Rosenlund Petersen; Boom Operator, Alex Bryce; Digital Compositor, Andy Quinn
Time Bandits [1981]: Additional Music Composer, Trevor Jones; Assistant Art Director, Celia Barnett
Tom of Finland: Sound Mixer, Joonas Jyrala (Audience Awards & Best International Feature Film)
Wakefield: Art Department Coordinator, Kimberley Pope
Non NFTS Shorts Credits:
(Still from Britain)
1745: Producer, John McKay
Alarm: DoP, Ben Hecking; Sound Production, Xan Marquez
Black-Eyed Susan: Sound Recordist, Nina Rice
Britain: Director/Animator, Bexie Bush
Chicken/Egg: Editor, Carmela Landoli
Creeling: DoP, David Pimm; Composer, Freya Thomsen
Dad’s Dead: Animator/Compositor, Leigh Hodgkinson
Firecracker: Editor, Fiona DeSouza
The Flight of an Ostrich (Schools Interior): DoP, Annika Summerson
The Full Story: Writer/Director/Animator, Daisy Jacobs; DoP, Max Williams; Editor, Vera Simmonds; Sound, Jonas Andreas Jensen; Composer, Huw Bunford; Compositor, Allar Kaasik
Life Between Lives: DoP, Ben Hecking; Sound Production, Xan Marquez
Mall 84: Director/Animator, Gervais Merryweather
My Dad: Sound Mixer, Michael Wyeld
Real Gods Require Blood: DoP, Nick Cooke; Sound Designer/Supervising Sound Editor, Tom Jenkins; Main Title/Credits, Susumu Asano
Struck: DoP, Ben Hecking; Sound Production, Xan Marquez
Sympathy for the Lemon: DoP, Ben Hecking; Sound Production, Xan Marquez; Production Manager, Stephanie Paeplow
Tick Box: DoP, Ben Hecking; Sound Production, Xan Marquez
Work: Director, Aneil Karia
If you are inspired by our animators, there is still time to appy for our Directing Animation MA and our Model Making for Animation Diploma, applications are open until 6th July 2017.
