PROSPECTUS 2014-2015

LFS has a great record of delivering exactly what the

Film Industry needs – talent. If I were going to film school, I’d go there. Danny Boyle, Director Trainspotting, Slumdog Millionaire, 127 Hours

For me, being at the London Film School in the

sixties was a very specialexperience, and the infectiousspirit of freedom and creativitycontinues today.Collaboration and individualityhave always been encouraged,and the school continues to stay

abreast of new technology, whilst exciting newconnections are being made.Our constructive hands-on approach is there to bedeveloped, nurtured and celebrated. Ambitiousfilmmakers everywhere: come and take part!Mike Leigh, LFS Chairman and 1963 graduateDirector Another Year, Happy Go Lucky, Vera Drake

Knowing how a process works liberates the imagination.

Progress in filmmaking isinconceivable to me without aformal education in cinema – forme it was two years at LFS.Michael Mann, Director Last of the Mohicans, Heat,The Insider, 1967 graduate

The LFS is an extraordinary place full of its own powerful

culture. Apart from theexceptional craft standardsachieved, the school is able toattract students from all over theworld who genuinely havesomething to say in their work –

plus those rare things, a distinctive and originalvoice, and the maturity to express ideas they knowthey can communicate on film. And it supportsthem uncompromisingly. Colin Vaines, Producer Coriolanus

LFS is a crucial part of the marketplace and the cultural

sector doing invaluable work.Tessa Ross, Controller Film & Drama, Channel 4

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’LFS is a true original – a place full of invention and

passion and love of film. Sam Mendes, Director Skyfall, American Beauty, Revolutionary Road

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PATRONS Tony Elliott, Roger Graef, Christopher Hird, John Hurt CBE, Hanif Kureishi, Charlie Parsons, Franc Roddam, Anthony Smith CBE, Iain Smith OBE, Tilda Swinton, Jeremy Thomas, Alan Yentob DEVELOPMENT COMMITTEE Honorary Chairs: Danny Boyle, Jim Broadbent, Sir Michael Caine, Ken Loach, Michael Mann, Sir Paul McCartney, Sam Mendes Members: David Aukin (Chairman), Don Boyd, Dan Chambers, Simon Chinn, Will Clarke, Tony Elliott,Stephen Garrett, Marc Mourre, Franc Roddam, Lisa Marie Russo, Iain Smith OBE, Colin Vaines, Amanda Walsh, Roger Wingate

CONTENTSTHE LONDON FILM SCHOOL

PROSPECTUS 2014-2015

THE SCHOOL1 A Tradition of Innovation

3 LFS in Twelve Words

4 Studying in London

5 Facilities

PROGRAMMES7 MA Filmmaking

13 MA Screenwriting

17 MA International Film Business/Doctoral Programme

18 Professional Development/International

20 LFS Graduates

22 Admissions

23 Staff/Governors/Supporters

Prospectus design by Mike Leedham, 2D Design

LFS ‘Somersault’ logo design by Chris Allies (after Marey)

The London Film School reserves the right to make changes in whole or in part to

the curriculum at any time without formal notice.

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THE LONDON FILM SCHOOL

A TRADITION OF INNOVATIONSince 1956 LFS has been a working studio, in which every student onthe two year MA Filmmaking programme works on a minimum of sixfilms. We’re accustomed to delivering in excess of 170 films and 15feature screenplays a year. Around this work and its associatedteaching we maintain an insistence on creative freedom, a drivetoward innovation and a commitment to craft excellence.

LFS has been selected by Creative Skillset, the UK government agencyfor audio-visual training, as one of three ‘Film Academies’. Thisrecognises the school as an industry-level graduate school in Britain offeringprofessional film training, and the onlyone in that scheme with an all-department Filmmaking programme.The support has made it possible for LFSto offer two-year bursaries for some UKqualifying students, and to develop ourteaching and our links to the filmindustry, supporting graduates as theymake their first steps in building a network in the UK and abroad.

LFS offers courses for students with certain aims: reaching genuinelyprofessional standards; learning to collaborate creatively – from fellowstudents as much as from lecturers – and to think about cinemapractically; getting the habit of interrogating their assumptionsrigorously and then taking their instincts seriously. The students wewant are resilient, collaborative, imaginative people who learnthrough doing (and sometimes failing), people who will have thecourage and energy to develop their ideas to the limit. The MAFilmmaking is staffed by people who believe that pre-specialization(deciding before you study film to be a director, or a cinematographer,or a sound recordist – now very common in film schools) can deprivetalented students of a full education in the craft of filmmaking. Weencourage them to explore and develop their special strengths whilethey’re here. We also believe that understanding the structures ofindustrial filmmaking will allow graduates the freedom to innovate,

find employment and help invent the cinema and television of thefuture. Many graduates are directors, and the majority of studentscome to the school expecting that they will direct. We also graduateleading cinematographers, editors, producers, sound recordists andproduction designers. What is important is that they will have otherskills. We frequently use the term “filmmaker”, meaning a person forwhom a proper command of this collaborative craft is of vitalimportance. In the MA Screenwriting at LFS, we want students to seewriting in the context of real filmmaking, rather than as an abstract end

in itself.

We’re not called a ‘film and television’school because we believe that the craft skillsand modes of expression encompassed by‘film’ provide the base from which to take onthe special creative demands of other mediafrom television and advertising to streamingweb video. Rather than second-guess theaudio-visual business and its evolving markets,

we want to instil the creative flexibility to contribute in every area.

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

BEN GIBSON, Director

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The beauty of a good film school is thatit invites you to make mistakes, but neverdampens your enthusiasm. At LFS Imade plenty, and ignited a passion. Duncan Jones (Source Code, Moon), 2001graduate

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

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

VALUE LFS is a not-for-profit educational trust committed to spending itsmoney only on your education. UK qualifying students can apply forCreative Skillset bursaries. A unique constitution – you become avoting member of the Association.

PRACTICAL There are five exercise films and a graduation work in the MAFilmmaking programme, shot on film and digital. One film isprepared, shot, delivered and screened in every 12 weeks of yourwork. There’s the opportunity to offer scripts for production and towork on scripts in pre-production for MA Screenwriters.

COMPREHENSIVE The MA Filmmaking includes two years of training in Directing,Lighting, Operating, Editing, Sound, Production Design, Screenwritingand Production. Choose your specialisation at the end of the course,and for writer-directors, earn a living by crewing while developingprojects.

ATTENTIVE140 students, 22 full time faculty, scores of visiting lecturers – morestudent-lecturer ‘face time’ than any other graduate film school.

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

VISIBLEOur library gets your work around the world. In 2013 LFS films playedat over 150 festivals and took 30 prizes, including a BAFTAnominations. Five LFS graduates have been taken on the CannesResidence programme since 2007. In 2013, over 25 known featuresby recent graduates in global distribution.

CONNECTEDLFS is two minutes walk from Soho, centre of the Europeanentertainment industry. A rare opportunity to study in central London.Key figures of the UK and European industries pass through very often.The school provides mentors and career development support aftergraduation.

RECOGNISEDOne of three recognised UK graduate schools in the UK CreativeSkillset Film Academy Network accredited as a centre of excellence.MA degrees recognised throughout the world, and validated by theLondon Metropolitan University and University of Exeter. Graduatesalso become ALFS, or Associates of the London Film School.

PROFESSIONALStudents are taught by working UK filmmakers. Exercise films aremade on built sets, shot on professional level film and digitalcameras, recorded on Nagra V, edited on Avid Composer and givena professional dub in Soho.

INNOVATIVE A school that works with the film industry, understands the market andemployability – and also takes your ambitions and your originality veryseriously. We want you to reinvent film form rather than copy whatalready exists. Programmes include 120 half day Film History/FilmStyle screening and analysis sessions.

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

Both the MA Filmmaking and MA Screenwriting courses are validated bythe London Metropolitan University. Students are issued with an LMUStudent ID Card, which enables you to use some of their facilities,including Sports and Leisure, IT and Computer studio, libraries and their‘Walk in’ counselling service.

Central London offers LFS students access to many informal film andmedia groups, events and opportunities, and the school often hostsevents in collaboration with like-minded film organisations. All LFSstudents are members of International Students House (ISH) and can takeadvantage of the facilities and events they offer. Facilities include aFitness Centre, Welfare and Advice Service, Internet Café, Bars andRestaurant. Social events run throughout each term and include culturalevenings, lectures and debates, parties and subsidised travel trips in theUK and overseas. LFS Students are admitted free to many of the filmprogrammes at the BFI Southbank.

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

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

StudiosTwo studios equipped with lighting rigs are available for the filmexercises, as well as a rehearsal studio, used also for drama and scriptworkshops.

CinemasProjection facilities for digital, 35mm and16mm are available in two cinemas, with110 and 35 seat capacity respectively.

Design StudioThere is a fully equipped design studio withdrawing boards, model making facilities,visual reference library and materials libraryand design computer suite.

Editing SuitesThe School has non-linear editing systemsrunning Avid Media Composer. Somesystems are also equipped with Final CutPro. The analogue film room is equipped tohandle 35mm and 16mm film formats.

Sound SuitesThere are Protools 24HD work stations for the preparation of soundtracks for Dolby digital mixes. Commentary and foley recording area.Sound-Effects Library.

Production OfficeThere is a production office with computers, fax, telephone and internetaccess. Wifi Access.

VLEThe LFS Uses Moodle as the Virtual Learning Environment of the LFS.Students are able to view, download and print technical manuals,syllabuses, course descriptions, forms, legal agreements, schoolregulations and other documents, and take part in activities set up bycourse tutors. Wifi Access.

LibraryThe School Library keeps and documents LFS productions. LFS showswork at over 150 film festivals around the world each year, and supportssales of films to broadcasters and distributors. The library also holds an

extensive collection of films for loan, plus asmall collection of core books. Studentshave access to the BFI Reference Library,which is within ten minutes walk and alsothe London Metropolitan University Library.

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

Long Acre BuildingOur annexe building offers additionalfacilities for the MA Programmes,International programmes and Workshops.

Clubs and SocietiesThe Students Union is affiliated with the NUS and LFS students areentitled to NUS Extra cards, offering a range of benefits. LFS is alsoaffiliated to International student house/UCKISA. Our clubs and societiesinclude the LFS Film Society and an LFS football team, which arrangesmatches against other film schools. LFS is a full member of CILECT,(Centre International de Liaison des Ecoles de Cinéma et de Télévision),the international confederation of film schools GEECT (EuropeanGrouping of Film and Television Schools) and NAHEMI (NationalAssociation for Higher Education in the Moving Image), the nationalassociation for British film schools.

An LFS education is not limited to the technical skills that produce newfilmmakers. It’s an education thatchallenges you to find your voice and make it heard.Oliver Hermanus, 2009 graduate. Oliver’sgraduation feature Shirley Adams won BestFilm, Best Director and Best Actress at theSouth African Film and TV Awards. Hissecond feature Beauty was in officialselection at Cannes.

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MA FILMMAKINGAn Introduction to the MA Filmmaking Course.

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

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

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

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

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

Students’ creative abilities are mobilised and developed by multipleapproaches:

They are taught to look at film history, and a great range ofcontemporary and classic work, in varying critical contexts, but mostimportantly as the outcome of practical strategies that they can use forframing, criticising and developing their own take on screen storytelling.

They develop their own work, and then get the opportunity to test it outfreely with colleagues, teachers and professional practitioners inworkshops designed to connect ideas and outcomes and in which theirwork is criticised without applying any further restriction than their owngrowing judgement and consciousness of effect and context.

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

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

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

Alan Bernstein – Head of Studies

THE LONDON FILM SCHOOL

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FIRST TERM EXERCISE:TwoThree and a half minute, 16mm, black and white, mute films are shoton location. All students are expected to produce a script. The first termgives students a thorough grounding in the basics of filmmaking. Thecentre of the term is the film exercise, which provides the platform forbasic teaching in camera skills, exposure control, and editing. Theassumption is that students all start from asimilar background and all need a full, fastintroduction to professional procedures.

The term is dedicated to the principle oflearning how to tell a story in pictures.Scripts are subject to detailed scrutiny anddiscussion. Students have to practise basicproduction management skills: organisinglocation permissions, securing props andcostumes. They have to cast and work withprofessional actors. In parallel, all throughthe term, courses run in film history and inthe close analysis of directors’ strategies,showing and discussing work from Hitchcockto Lang via, say, Spike Lee and Kiarostami.

There are classes on photo theory, directingsyntax, producing, production management,production design, camera practicals, useof light meters, and editing.

SECOND TERM EXERCISE:Each student scripts and directs their own film: 1-3 minutes long, 16mmcolour shot on location, with post-synchronised sound. They edit anddesign sound tracks for their film. Re-recording/mixing of soundtracks iscarried out in outside professional studios. The Second Term is intenseand exciting. This term introduces students to lighting skills and to sound

recording and digital editing. Students workin units of six , directing their own films andcamera operating, lighting and fulfillingother supporting roles on the films of theircolleagues, so that they are intimatelyinvolved in all their unit’s projects.

LFS is currently collaborating with TheNational Gallery during this term.Transcriptions: LFS Shorts is an innovativeproject which involves 2nd term studentsproducing films inspired by the Gallery'scollection. Students make two visits to theGallery for an artist led workshop in front ofthe paintings and a slide show lecture whereselections of paintings are discussed interms of composition, colour, narrative andpatronage. They then choose a paintingfrom the National Gallery's Collection towork from.

An exciting element of this collaboration is that the students may respondto any aspect of the painting, following in the tradition embraced by themany directors, cinematographers and set designers who have beeninfluenced by artists from Rembrandt, Vermeer and Caravaggio to Turnerand Renoir.

Unit 1 Language - Image, Meaning, Style

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

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THE LONDON FILM SCHOOL

MA FILMMAKING CURRICULUMTHIRD TERM EXERCISE:A twelve to fifteen minute, HD colour documentary film, with synchsound. Students work in units of five, with each student taking on at leastone of the major roles - Producer, Director, Dop/Operator, SoundRecordist and Editor. Re-recording/mixing of soundtracks is carried out atprofessional sound studios. Editing is done on Avid Composer.

The remit of the term is wider than that of the'classical' documentary, and students areencouraged to think of the expressivefunctions of images of the real world andtheir use in new forms.

Britain has a long and rich documentarytradition, going back to Grierson, and keptalive by television. Today this traditioninforms feature film making as much astelevision reportage and current affairs.

The school recruits a 'resident Documentarist'each term who will show their work, consultunits on their films and provide support.There is a wide range of classes supportingthe non-fiction production: lectures ondocumentary history, showings ofcontemporary non-fiction, classes inresearch techniques, interviewing, music indocumentary, recording synch systems, use of synch sound on location,synchronising rushes and editing synch material, camera practicals,practical demonstrations of location lighting, a practice shoot with synchsound. Throughout the term script workshops are developing dramascripts for the later terms.

Resident Documentarists, Documentary lecturers and panelists include:Peter Gordon, Michael Houldey, Elizabeth McIntyre, Cassie Braban,Nicola Gibson, Helena Appio and Alexandra Briscoe..

FOURTH TERM EXERCISE:In the fourth term, students make a ten-minute B&W film shot in thestudio and on location.

In Term Four the requirements and expectations from students are veryhigh. Units consist of five students, each taking at least one major

role. Scripts have been developed,discussed and criticised during the previousterm. Students choose scripts and crews.Student producers are then required todevelop a set of production forms detailingall the film’s requirements, and these,together with the scripts are presented toproduction conferences with all heads ofdepartment to initiate the process. Studentsdesign, build and dress their own sets, andthere are classes and consultation sessionstaking them through this. Studio lighting isat the heart of the exercise, and for manystudents this is the major excitement of theterm. By this stage, students are expectedto manage their lighting in a highlyprofessional way. There is currently anoption to shoot on 35mm or a digital filmcamera, Arri Alexa - both use a gearedhead on the studio dolly. The unit attend agrade at a professional post-house to learn

about the B&W 'look'. Recording and laying post-synchronised tracks arealso an important part of the exercise. Rerecording/ mixing ofsoundtracks is carried out at professional sound studios.

Over this and the next term there are an important series of directingworkshops, and working with actors is a major component ofthese. Classes are given in production design, art direction, set building,production management, continuity, studio lighting theory/practicals,studio sound recording, camera practicals, laying multiple sound tracks,demonstration at external sound studios of ADR techniques,demonstrations and workshops on non-linear editing and grading.

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Unit 2 Practice - Non-Fiction and Fiction

The programme at LFS works for peoplefrom all over the world because it can beadapted to all conditions; professionalactors or non actors, different sizedcrews, 35mm or miniDV. What I lovedabout LFS is the way we were taught tothink about films; without pretense, withdiscipline, and centered around processand finding things out for ourselves. It’san extraordinary thing to teach film withoutreducing it to techniques and rules, andyet teach the rigour and effort that isnecessary to improve your work. Paz Fabrega (Cold Water of the Sea, Tiger AwardRotterdam), 2006 graduate

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Unit 3 Synthesis - Industry and Independents

FIFTH TERM EXERCISE:In the fifth term students make a drama up to fifteen minutes long, on theArri Alexa, on location and in the studio. This continues the form of thefourth term, but at a higher level. Scripts written and developed over theprevious year are chosen by the students. Crews are built around thescripts. Scripts are broken down byproducers and presented to productionconferences with heads of the variousdepartments. Sets are designed; modelsbuilt and discussed.

The excitement - and successes - of lightingare at an even higher level than the previousterm. The programme of directingworkshops continues. As in the fourth term,the number of films scheduled is high giventhe number of students. This means thatstudents work on more than one film, andthat students from the lower terms aredrawn in as assistants in all departments.The integral learning process of each film isshared widely. Classes and workshops include directing actors, stereosound and preparation for the Sixth Term graduation project.

THE GRADUATION FILM:Students are assigned a production allowance by the school to build aproject. They can work individually or pool their production allowancesand efforts. They can shoot on any format and at any length they canbudget and schedule. Students are strongly encouraged to raise fundsand build coproduction deals, with production companies and/or othergraduate film schools, either here in the UK or abroad.Each project’sscript, schedule and budget will be examined and discussed with theTerm Tutor. The Development Process is supported through specialistworkshops in directing, camera & lighting, and postproduction led by LFSfaculty in collaboration with industry specialists. Pre-production ismonitored by the Term Tutor and relevant Heads of Department. Beforea project is given the green light all necessary paperwork must be inplace and approved. Delivery requirements match those of the majorinternational festivals.

To support ambitious productions students can extend their productionschedule through three terms. Full support is offered, at a nominal fee.

In addition to advising on the festival strategy for each graduation film,the school supports the transition from student to professional in a variety

of ways. To begin, The school’s Directortakes each graduating filmmaker through aweek-long workshop on internationalindustry practice, thus providing the contextfor their entry into the profession. This isfollowed by Job Club, for specific strategiesfor opening doors and gaining experience,as well as work. In addition to this corecurriculum, industry guests meet withgraduating filmmakers to discusspresentation techniques, preparing CVs andshowreels, and networking. Finally, there isthe mentoring programme: students areinvited to select a mentor and put together amentoring plan in consultation with the TermTutor. This programme is currently

supported by Creative Skillset.

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

The LFS curriculum draws on a huge range of industry figures as visitinglecturers, speakers, panelists, mentors, DOPs in residence and honoraryproducers. For an up to date list, visit the website at www.lfs.org.uk

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

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MA SCREENWRITINGTHE LONDON FILM SCHOOL

An Introduction to our MA Screenwriting Course

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

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

The course is aimed at developingscreenwriting skills in the context of a filmmaking community wherewriting is an everyday practice and a collaborative process, involvingactors, directors, musicians, editors and producers. At LFS we explore theboundaries between writing and directing and stimulate debate throughclasses in film history, cross-cultural approaches to dramaturgy and scriptreadings with professional actors. Regular screenings of classic andcontemporary films in our own film theatre and visits by contemporaryfilmmakers complement the core practical work of developing a featurescreenplay.

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

technical aspects of filmmaking and ofdifferent approaches to narrative as well asthe working methods and practice ofprofessional screenwriters as members of acreative team.

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

Course Philosophy

•To encourage writing as a state of mind and everyday practice •To stimulate a reflective and critical approach to practice •To provide an historical background to film narrative •To place the screenplay in the context of a collaborative filmmaking process •To explore the boundaries between writing, directing and producing •To stimulate alternative approaches to screenwriting through awareness of different dramaturgical traditions •To take on writers who wish to develop a long-term mentoring relationship with working professionals •To focus on the writers individual development above issues of structure and dramaturgy •To create a context where the writer works with others involved in the filmmaking community - directors, actors, musicians, producers.

Brian Dunnigan – Head of Screenwriting

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

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CURRICULUM

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

Unit 1: The Screenwriter’s Craft This unit provides an introductory andtheoretical framework for the practical workwith an emphasis on the writer’s personaldevelopment. It includes an overview ofdramatic principles as applied to adistinctively cinematic approach tostorytelling. It also encourages a criticalevaluation of those principles in relation tothe creative process and the development oforiginal work for the screen.

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

Classes on film style and history, including a programme of eveningscreenings in the film theatre, provide a context for the written work. Inaddition students have the option to work on film exercises produced bystudents on the Filmmaking MA - while their short and featurescreenplays are a valuable resource for the filmmakers. Collaborationbetween writers and filmmakers is continually encouraged through jointsessions, social events and the posting of projects on the screenwriters’blog site.

Students’ reflections on the relationship between theory and practice,screenwriting and filmmaking as well as establishing a partnership witha professional writing mentor, profoundly influence the outcome of theirwork and the preparation for their major project. This includes the writing

of a Work and Research Journal which tracks their personal and projectdevelopment through the inclusion of visual references and self-reflectivenotes on course and project work.

The main practical focus of this unit is thewriting of a Short Film Screenplay and theproduction of a Feature Film Portfoliothrough small group and one-to-onefeedback sessions with actors, directors anddevelopment professionals.

Unit 2: The Screenwriter’s Practice Students will normally have passed UnitOne before starting Unit Two. The mainfocus of this unit is the development of a

First Draft Feature Screenplay through small group feedback and one-to-one Mentoring. This unit continues to place screenwriting within thecontext of craft skills, film style and the filmmaking process. It alsointroduces the economic and industrial context for film production,distribution and exhibition and the role of the writer and the screenplaywithin that context.

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

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

The range, quality and volume of workproduced in one year makes this one ofthe outstanding screenwriting courses inthe UK.

Kate Leys, external examiner’‘

MA SCREENWRITING CURRICULUMUnit 3: Writing the Feature FilmStudents will normally have passed Unit Two before starting Unit Three.This unit continues the series of lectures on the history of cinema withevening screenings built around debate and contact with contemporaryfilmmakers. Visiting writers, producers and agents with specialistworkshops on television writing and adaptationprovides the industrial context.

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

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

BRIAN DUNNIGAN - Head of Screenwriting

Course tutors: Brian Dunnigan (Head of Screenwriting), Roger Hyams,Amanda Schiff, Katie Rae, Merle Nygate, Jonathan Hourigan, PhilipPalmer, Ellis Freeman, Jon Gilbert, Sue Austen.Visiting lecturers and mentors have included: Tony Grisoni - Writer: Brothers of the Head, In This World, Tideland.

Mike Leigh - Director/Writer: Vera Drake,Secrets and Lies, Naked.Laurence Coriat - Writer: Me Without You,Wonderland.Richard Kwietniowski - Writer/Director:Love and Death on Long Island, OwningMahoney.Olivia Hetreed - Writer: Girl With a PearlEarring.Ronald Harwood - Writer: The Pianist.Pawel Pawlikowski - Director: My Summerof Love, Last Resort.Udayan Prasad - Director: My Son theFanatic, Gabriel and Me.Bille Eltringham - Director: Mrs Ratcliffe's

Revolution, This is Not a Love Song.Aishling Walsh - Writer/Director: Song for A Raggy Boy.Rebecca O'Brien - Producer: The Wind That Shakes The Barley, Ae Fond Kiss.Tony Garnett - Writer/Director/Producer, World Productions.Britt Harrison - Script Consultant.Roger Smith - Script Editor: Carla's Song/ Sweet Sixteen.Dean Craig - writer: Death at the Funeral/Caffeine.Sandy Lieberson - Producer: Performance/Jaberwocky.Mia Bays - Producer: Scott Walker: 30th Century Man.Rob Kraitt - Agent: AP Watt.Mark Solomon - Editor: Chicken Run, Frankenweenie, The Tale of Desperaux.Helen Jacey - Writer/Author of The Women in the Story.Gub Neal - Producer: Cracker, The Fall.Alexandra Stone - Producer: Franklyn, Kidulthood.Dictynna Hood - Director/Writer: Wreckers.

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THE LONDON FILM SCHOOL

CURRICULUM

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

Jimmy Ruzicka2007 MA Screenwriting Graduate’

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SubheadingThe School offers

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

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T H E L O N D O N

MA INTERNATIONALFILM BUSINESS

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THE LONDON FILM SCHOOL

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world’s key postgraduate filmmaking school, with the University ofExeter’s Film department and Business School. The marriage bringstogether film production and market expertise and exceptional researchand teaching on film culture and history. This MA combines high levelteaching skills with a unique practitioner-driven industry access program,providing students with the key business tools and contacts needed tobuild a career in film.

Unlike existing film-related degrees, thisnew MA explores the entire film business,embracing world and national cinema(s),non-Hollywood independent film production,financing, sales, distribution and marketing,alongside programming, exhibition anddigital strategies for the future.

The ambitious team behind the MAIFB isdedicated to training a new generation ofboth producers and executives that willbring both excellence and innovation intothe film industry beyond Hollywood. Byanalyzing the horizontal and verticalstructures that shape the film industry, intandem with changing patterns of users and digital technology, this courseexplores both the existing international film industry while also embracingthe current high levels of disruption and restructuring.

Taught in London and the South-West, the MAIFB includes a networkingplacement program; industry mentoring supported by an advisorycommittee of leading UK and European film industry professionals; aresearch trip to the Berlin Film Festival; and an opportunity to work onan LFS graduation film as a producer.

Course leader is Angus Finney, author of THE INTERNATIONAL FILMBUSINESS and a key authority on the sector. Chair of the Advisory Groupis Scott Meek and members include Camilla Bray, David Garrett, HilaryDavis, Keith Northrop. Lee Magiday, Louisa Dent, Mike Goodridge, PeterWatson, Stephen Woolley, Steve Jenkins, Sue Bruce-Smith and Terry Ilott.

Visit www.lfs.org.uk for more details.

EXETER/LFS DOCTORALPROGRAMMEThe University of Exeter College of Humanities is able to offer doctoralstudentships to fund doctoral study in Film by Practice, as a joint degreewith the London Film School. These doctoral studentships are tenable for

up to three years and cover full tuition feesand a maintenance allowance.

This unique and exciting new programmeprovides students with the best of bothworlds - belonging to an internationallyrecognised University and College withhighest quality research, and immersioninto the professional world of film creationinstruction offered by LFS. This programmeis designed for students wishing to taketheir filmmaking practice beyond an MAand to integrate their technical andpractical skills into a more advancedcultural, aesthetic and critical context.

For more information visit www.lfs.org.uk or contact humanities-pgadmissions@exeter.ac.uk

These days it’s no longer relevant totrain in production alone. You need tobe – or at any rate to understand being– a distributor and a sales agent aswell. Otherwise, you’re not anindependent producer: you’re adependent one.Ben Gibson, LFS Director ’

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PROGRAMMES

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THE LONDON FILM SCHOOL

The daily life of the LFS revolves around the intensity of the MA teachingand the making of over 150 films (and 12 to 20 feature scripts) every year.Increasingly that work is enriched by new strands aimed at students andmany others: UK-based film professionals, international partners,practitioners of other forms, passionate enthusiasts for independent film.

LFS WORKSHOPSLFS Workshops is a rapidly expanding programme of evening, weekendand short CPD (“continuing professionaldevelopment”) courses. Approximately fiftycourses are offered each year; intensivehands-on craft workshops sit alongsidedetailed and inspirational seminar teaching,with every craft area catered for. LFSWorkshops are inspired, painstakinglydeveloped and delivered by currentpractitioners, based on professionalexperience and standards.

For those about to apply to a major filmschool like LFS, or anyone wishing to improvetheir understanding of the craft beforeembarking on their own short film, our 3-week Summer School with feature directorUdayan Prasad is a highly practical

immersive programme. It’s aimed at anyone who is serious aboutdeveloping a career in film. For aspiring producers, our Fast Forwardprogramme is an opportunity to learn from recognised industry experts thedetailed reality of each stage of production, and how it connects to thestages before and after.

We are continuously developing new workshops and announcing dates for existing courses. Visit www.lfs.org.uk/courses/workshops for our currentschedule.

Q&A@LFSQ&A@LFS is a termly season of screeningsand conversations with leading andemerging filmmakers. These nights helpfeed contemporary debates and new workinto full time teaching. Perhaps even moreimportantly, the series’ over-subscribedmailing list brings the industry, short coursepeople, independent filmmakers, London-based film and other students andacademics into the school’s space and intothe culture every week. Recent speakershave included BARRY ACKROYD,CATHERINE BREILLAT, JOHN DE BORMAN,DANNY BOYLE, BRUNO DUMONT,

An incredible learning experience thatengaged every part of me. Mentally,physically and creatively, every day wasa new challenge and a new experience.The detail, energy, enthusiasm andgenerosity the tutors was impressive andhumbling. Even after the official end ofthe course, Udayan was still teaching us more.

Directing Summer School participant, 2012.

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MIKE FIGGIS, WILLIAM FRIEDKIN, STEPHEN FREARS, EBRAHIMGOLESTAN, PAUL GREENGRASS, LASSE HALLSTRÖM, ASIF KAPADIA,HANIF KUREISHI, YORGOS LANTHIMOS, SEAMUS MCGARVEY, ROGERMICHELL, SAMANTHA MORTON, SHIRIN NESHAT, NICOLAS ROEG,TESSA ROSS, STELLAN SKARSGÅRD, IMELDA STAUNTON and PETERSUSCHITSKY.

INTERNATIONAL COLLABORATIONLFS is one of the most active film schools inthe EU for funded inter-collaborative trainingand in 2013/14 is involved in six pan-European film school collaborations fundedby the EU MEDIA programme. The projectslaunched and run by the school are The LowBudget Film Forum, for graduating studentswith their first feature idea(www.lowbudgetfilmforum.eu) and MakingWaves: Independent Film Distribution &Exhibition strategies held in parallel to theBerlinale (www.makingwavesworkshop.eu).

The school is also partner in A Clear View, atwo part residential training in Berlin onGrading and digital workflow for 5th termstudents from LFS and other European filmschools (www.a-clear-view.com), Adapting

for Cinema (A4C), a 3 part residential training for writers, producers andvisual artists/directors run by Scuola Holden in partnership with LFS andMOME (www.adaptingforcinema.com) and the European Film SchoolNetwork, run by La fémis with LFS and VSMU Brastislava.

The latest addition to the roster is Serial Eyes, a full time ten month trainingin TV serial writing and producing (run by the dffb with LFS) based in Berlin

(www.serial-eyes.com).

All programmes are open to application byLFS students or recent graduates.

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

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

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LFS GRADUATES

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THE LONDON FILM SCHOOL

Brad Anderson Director / Writer / Editor / Cinematographer The Killing, Boardwalk Empire, Transsiberian, The Wire (TV), The MachinistHoward Atherton Director of Photography Fatal Attraction, Bad Boys, LolitaTerry Bedford Director / Director of Photography Monty Python and the Holy Grail, Jabberwacky, SlaygroundLes Blair Director / Writer, Producer, Editor H3, Bad Behaviour, Jump the GunPhilipp Blaubach Director of Photography The Disappearance of Alice Creed, The EscapistDon Boyd Director / Writer / Producer Andrew and Jeremy Get Married, My Kingdom, Twenty-OneOle Bratt Birkeland Director of Photography The Arbor, HelenCurtis Clark Director of Photography The Draughtsman’s Contract, Extremities, Nicky and GinoHarley Cokeliss Director / Director of Photography An Angel for May, Black Moon Rising, Dream DemonGeorge P. Cosmatos Director Tombstone, Rambo: First Blood Part II, Cobra Boaz Davidson Director / Writer / Producer The Expendables, Bad Lieutenant, Brooklyn’s FinestBill Douglas Director / Writer My Childhood, Comrades, My Way HomeJulian Doyle Editor / Director Brazil, Life of Brian, The Wind In The WillowsSteve Dubin Visual Effects Producer / Director / DoP The Lord of The Rings, The Chronicles of Narnia, I RobotSara Duvall Producer Fried Green Tomatoes At The Whistle Stop Cafe Mark Forstater Producer Monty Python and the Holy Grail, Between The Devil and the Deep Blue SeaTak Fujimoto Director of Photography Signs, The Sixth Sense, The Silence of the LambsNic Gaster Editor The Invisible Woman, Moon, Venus, Enduring LoveMark Goldblatt Editor Rise of the Planet of the Apes, Terminator, X-Men, ArmageddonPedro González-Rubio Director / Cinematographer Alamar, Toro NegroEduardo Guedes Director Rocinante, Bearskin, An Urban Fairytale, Facas e AnjosOilver Hermanus Writer/Director Shirley Adams, Beauty (Skoonheid)Marius Holst Director Cross My Heart and Hope to Die, Dragonflies, King of Devil’s IslandAnne Hui Director A Simple Life, The Postman Life of My Aunt, Ordinary Heroes, A Simple LifeDanny Huston Director / Actor Magic City, Children of Men, The Constant Gardener, 21 GramsJohn Irvin Director Tinker Tailor Soldier Spy (TV), The Dogs of War, Hamburger Hill Babak Jalali Witer/Director Frontier Blues Ahmed A. Jamal Director The Journalist and the Jihadi: The Murder of Daniel Pearl, Mad Dogs, MajdharKnut Erik Jensen Director / Writer Cool and Crazy, Passing Darkness, Burnt By FrostDuncan Jones Director Moon, Source Code

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

LFS GRADUATES

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THE LONDON FILM SCHOOL

HONORARY ASSOCIATESGillian Anderson ActressAmma Asante Writer / DirectorJim Broadbent ActorMike Figgis Writer/DirectorStephen Frears DirectorPhilip French Film CriticWilliam Friedkin DirectorJack Gold DirectorCedric James Focus PullerAbbas Kiarostami Writer / DirectorRichard Lester DirectorKen Loach DirectorSamantha Morton Actress / DirectorRebecca O’Brien ProducerPawel Pawlikoski Writer / DirectorRoy Pointer CinematographerTessa Ross Channel 4 Film and

Drama ControllerRita Tushingham ActressLynne Ramsay Writer / DirectorJeremy Thomas ProducerColin Tucker Producer / Script Editor

Flora Lau Director Bends, Dry RainMike Leigh Director / Writer Another Year, Happy-Go-Lucky, Vera Drake, Mr Turner Robert Leighton Editor The Bucket List, For Your Consideration, Stand By MeLuis Mandoki Director When a Man Loves a Woman, Message in a Bottle, Amazing GraceMichael Mann Director / Writer / Producer Public Enemies, Collateral, HeatBahram Manocheri Director of Photography Bleak Moments, Boxed, Johnny WestAlexandra McGuiness Lotus EatersAnu Menon Director London Paris New YorkJoáo César Montieiro Director Recollections of the Yellow House, God’s Wedding, Come and GoHorace Ove Director Pressure, Playing Away, ReggaeMaysoon Pachachi Director Return to the Land of Wonders, Living with the Past, Iranian JourneyKant Pan Editor The Crying Game, Solomon and Gaenor, KicksRon Peck Director / Writer Empire State, Nighthawks, FightersMigual Pereira Director / Writer The Man Who Came to a Village, Che Ernesto, Veronica Cruz Roger Pratt Director of Photography The Karate Kid, Dorian Gray, Harry Potter and the Goblet of Fire Alessandro Di Robilant Director Il Nodo Alla Cravatta, Ill Giudice, Raazzino, ForeverFranc Roddam Director / Producer Quadrophenia, K2, Auf WiedersehenShimako Sato Director / Writer Tales of a Vampire, k20: Legend of the Mask, YashaDavid Scott Director of Photography Il Giudice Ragazzino, Il Nodo Alla CravattaMenelik Shabazz Director Burning an Illusion, The Story of Lover’s RockGeoffrey Simpson Director of Photography Shine, Fried Green Tomatoes at the Whistle Stop Cafe, The SessionsIain Smith Producer Cold Mountain, Alexander, Children Of MenUeli Steiger Director of Photography The Day After Tomorrow, GodzillaIvan Strasburg Director of Photography Shooting Dogs, Bloody Sunday, EnduranceGale Tattersall Director of Photography The Commitments, House, Ghost ShipDavid Thompson Film HistorianLeticia Tonos Director/Producer Cristo Rey, Love ChildHerschel Weingrod Writer Twins, Trading Places, Kindergarten Cop Arnold Wesker Playwright Chicken Soup with BarleyErik Wilson Director of Photography Submarine, Tyrannasaur, The ImposterIan Wilson Director of Photography The Crying Game, A Way of Life, EmmaHo Yim Director Wo ai chu fang, Tian guo ni zi

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ADMISSIONSA new MA Filmmaking Course starts each term, so it is possible to enrolfor entry in September, January or April/May. MA Screenwriting and MAInternational Film Business start in September each year.

For up to date enrolment information and application forms, please visitthe website www.lfs.org.uk

The need to follow and understand the intensive course of lectures, andthe high pressure of group work make it imperative that all students musthave a satisfactory knowledge of the English language. Please check thewebsite for guidance on evidence required.

Evidence of such knowledge would be:•Minimum TOEFL at grade 550. •Minimum IELTS with a score of 6 and no element below 5.5.•Minimum Cambridge Proficiency Grade C. •Other evidence of spoken or written fluency.

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

A new MA Filmmaking Course starts each term, so it is possible to enrolfor entry in September, January or May. MA Screenwriting and MAInternational Film Business start in September each year.

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

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

The School welcomes applications from disabled people, including thosewith specific learning difficulties such as dyslexia. We will endeavour toremove barriers to access and to success in postgraduate film educationfor disabled people.

If you have been accepted on a full-time MA course, you can apply for avisa. The London Film School has its own Highly Trusted Status throughthe UKBA, therefore issuing its own CAS numbers to students.

Disabled Access The School welcomes applications from disabled people, including thosewith specific learning difficulties such as dyslexia. While we cannot claimto have all the facilities and services that will meet each need for studentsundertaking our programmes, we will endeavour to remove barriers toaccess and to success in post graduate film education for disabled people.

THE LONDON FILM SCHOOL

LFS STAFF AND GOVERNORSCarolyn Atherton Workshops ManagerAlan Bernstein Deputy Director/Head of Studies/Term 1 TutorLes Blair Term 2 and 3 Course TutorDawn Taylor Financial ControllerDiana Charnley Head of Production DesignRoger Chinn Front Office, Estates and Facilities ManagerHarriet Cox Head of CinematographyBrian Dunnigan Head of ScreenwritingAlex Duxbury Assistant to the DirectorJaime Estrada-Torres Head of EditingRonaldo Fagarazzi Stage Supervisor and GafferBen Gibson DirectorSuzy Gillett International Relations ManagerBritt Harrison Term 6 TutorJane Hewitt Programming OfficerTerry Hopkins Deputy Head of CinematographyKate Hughes Head of MarketingUmpha Koroma ProjectionistLouise Lawrence Film LibrarianCarlo Muzi Camera Department Equipment SupervisorStefania Marangoni Senior Editing LecturerMoshe Nitzani IT ManagerBarry Salt Film History Lecturer/Term 4/5 TutorBecky Shaw PA to Head of Operations/Student ServicesJohn Sibley Admissions Co-ordinatorAndrew Speller - GBCT/ACO

Senior Cinematography LecturerAnnette Streete Admissions ManagerShirley Streete-Bharath Head of OperationsArchie Tait Head of LFS ProjectsHoward Thompson Head of Sound DepartmentKaren Warnock Sound AssistantKate Wilson Head of DevelopmentWojciech Wrzesniewski Senior Sound LecturerKeren Zahymsky Academic Registrar

Mike Leigh OBE – ChairmanMargaret Matheson – Vice ChairmanSir Michael Wakeford OBEPeter ArmstrongDavid AukinDon BoydDan ChambersGraham Easton

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Satwant GillJohn HowkinsSteve JenkinsRuth LesirgeJohn RendallLisa Marie RussoSue Bruce-SmithAmanda Walsh

SUPPORTERSA BIG THANK YOU TO ALL OUR SUPPORTERS AND PARTNERS

2D DesignArriArts Council EnglandAvidBarbican BBFCBFIBritish CouncilBuzzacottCirro LiteColumbia School of the ArtsCourtauld Institute of ArtCreative SkillsetDanish Film SchoolDeJonghe LabsdffbENOESCACEssex Insurance BrokersEuropean CommissionFisherGoodman Derrick LLPHampshire Street StudiosHarbottle and LewisHiBrowImage SystemsInstitut FrancaisKodak

La femisLee & ThompsonLondon Film FestivalLondon Metropolitan UniversityMagic of PersiaMEDIA MOMEPanaluxPanavisionPECPinewood Studios GroupPinsent MasonsRADARonfordScuola HoldenSFZETankTVTaymour Grahne GalleryTCSohoThe Digital OrchardThe Leathersellers’ CompanyThe Leverhulme TrustThe National GalleryTime OutUNATCUniversity of ExeterVisual Impact

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

Registered in EnglandNo. 1197026Registered CharityNo. 270302

Telephone: +44 (0)20 7836 9642Fax: +44 (0)20 7497 3718Email:info@lfs.org.ukWeb: www.lfs.org.uk

lfs.org.uk

The London Film School is a Creative Skillset Film Academy