4/20/2018 DocNomads Newsletter #2 https://us3.campaign-archive.com/?u=00581ead5e8ff0693cc8b6955&id=4224f8a349 1/7 EDITORIAL No more "one-man show" During a brief lecture about Film Distribution, I once heard a producer say, “Don´t think that you are selling your soul to the devil, because you are not” while explaining the basics of an average contract agreement in Europe between a director and a producer. He faced an ignorant aversion to his trade in a room filled with aspiring documentary directors, many of whom are comfortably used to run a one- man show to make their films, myself included. Filmmaking is a collaborative medium. In the real business, the selfish format is left behind in the classroom and a crew is built to make the movie happen. Both the Director and the Producer hold the fort down from the very start in the sense that they are, together, responsible to drive the process forward. For many (most?) novice filmmakers, this very statement comes as a surprise, to say the least. Questions about the necessity of having a producer on board unveil the fact that this professional role is much undermined. The instinctive reaction to protect our ideas from others turns easily into a myth when you realize a film project gains credibility and stability when you have a producer on board, the distribution and funding opportunities enlarge and most importantly, a creative responsibility is shared… and this is greatly appreciated once the training wheels of producing a film in a school are gone. Mariana Cadenas Editor-in-chief Subscribe Past Issues Translate
EDITORIAL No more one-man show During a brief lecture about Film Distribution I once heard a producer say ldquoDonacutetthink that you are selling your soul to the devil because you are notrdquo whileexplaining the basics of an average contract agreement in Europe between a directorand a producer He faced an ignorant aversion to his trade in a room filled withaspiring documentary directors many of whom are comfortably used to run a one-man show to make their films myself included Filmmaking is a collaborative medium In the real business the selfish format is leftbehind in the classroom and a crew is built to make the movie happen Both theDirector and the Producer hold the fort down from the very start in the sense thatthey are together responsible to drive the process forward For many (most)novice filmmakers this very statement comes as a surprise to say the leastQuestions about the necessity of having a producer on board unveil the fact that thisprofessional role is much undermined The instinctive reaction to protect our ideas from others turns easily into a mythwhen you realize a film project gains credibility and stability when you have aproducer on board the distribution and funding opportunities enlarge and mostimportantly a creative responsibility is sharedhellip and this is greatly appreciated oncethe training wheels of producing a film in a school are gone Mariana Cadenas Editor-in-chief
OPINION Directors amp Producers ndash Partners in Crime During a brief lecture about Film Distribution I once heard a producer say ldquoDonacutet think that you are selling your soul to the devil because you are notrdquo whileexplaining the basics of an average contract agreement in Europe between adirector and a producer He faced an ignorant aversion to his trade in a roomfilled with aspiring documentary directors many of whom are comfortably usedto run a one-man show to make their films myself included Filmmaking is a collaborative medium In the real business the selfish format isleft behind in the classroom and a crew is built to make the movie happen Boththe Director and the Producer hold the fort down from the very start in the sensethat they are together responsible to drive the process forward For many(most) novice filmmakers this very statement comes as a surprise to say theleast Questions about the necessity of having a producer on board unveil thefact that this professional role is much undermined The instinctive reaction to protect our ideas from others turns easily into a mythwhen you realize a film project gains credibility and stability when you have aproducer on board the distribution and funding opportunities enlarge and mostimportantly a creative responsibility is sharedhellip and this is greatly appreciatedonce the training wheels of producing a film in a school are gone Judith Vreriks Producer at Zeppers
Judith Vreriks born in The Netherlands studied Culture and Film in Utrecht (NL) and in
Glasgow (UK) As a former writerdirector and creative producer with a university background
she has built up a strong track record in the film industry She has over 15 years of experience
in all aspects of documentary film from concept development and writing to the delivery to
broadcasters sales agents and distributors Judith has worked with a wide variety of directors
among whom Heddy Honigmann Jeroen Berkvens Jessica Gorter and Coco Schrijber
GLOBAL NOMADS
Where and what are our alumni up to
A section dedicated to their work and voices
ldquoI have raised 70 of the budget of mynext project called Himurasak an
DN edition 1 (2012-14) From Tacloban City Philippines
Currently in Manila Philippines
experimental documentary film in whichsurvivors of Super Typhoon Haiyansuffered by the Philippines in November2013 revisit their collective memory topaint a picture of the omens that savedtheir lives While waiting for theproduction to begin I am painting It isinteresting that I might also be workingon a film poster for a Taiwanese film - ifit pushes through this will be the firsttime my love for film and paintingwould be coming togetherrdquo
MANUEL CONTRERAS
DN edition 1 (2012-14)
From Bogotaacute Colombia
Currently in Budapest Hungary
ldquoIn October I start a PhD program atthe Hungarian University of Fine Arts toresearch a topic related to my ownvisual heritage titled The Imaginariesand Counter-imaginaries of the LatinAmerican Documentary Cinema It is afour year program where I mustexecute various visual pieces conveyingthe results of my research whichfundamentally seeks to understand thetraits one of the many commerciallyexcluded regions in the World ofdocumentary cinemardquo
GUILLERMO GOacuteMEZ
DN edition 3 (2014-16)
From Madrid Spain
Currently in Madrid Spain
ldquoIrsquom the co-creator of a pioneer artevent this Fall called Unlock an artpublishing fair exclusively for urban artand graffiti content happening inBarcelona this 27-30th of October Aninfinite number of streets around theworld host great pieces of art that aremeant to be seen as such By creatinga platform like Unlock we aim to notonly offers great books but to createhub for discussion and attractresearchers supporting the life of thisephemeral form of expression to otherspaces beyond its physical existenceincluding (soon) films For more visitunlockfaircomrdquo
INTERVIEW by Martha Appelt Photo by FEST At the beginning of this summer I was very fortunate to have a great encounter Wemet at a small crowded bar where people were watching some important footballgame for some important European football cup It was night time and the smell ofsea was in the air We went outside and sat at a quieter table away from the crowdHe lit up his cigarette and sipped his red wine I watched him and now I have amental picture of his profile in close-up I wish I could draw it for you itrsquos a nicepicture set over a night sky with hints of grey a lot of skin-tone and a serpent ofsmoke The perfect soundtrack for it would be the sound of rain but there wasnrsquotany The man in it is Beacutela Tarr What you will read next are excerpts of his master class he presented the next daywhich I hosted for FEST- the International Film Festival in Espinho I could only use asmall part of it for this piece but I invite you to listen to the whole master class andget a fist full of honesty rebelliousness and inspiration What inspired you to start making films ldquoHonestly I never wanted to be a filmmaker I just becamehellip I was 16 years old Iwas very radical very young and I made my first film and I wanted to change theworld I believed the camera was good and useful to change the world When I mademy first feature I believed the same I was 22 Slowly I had to understand that Icannot change the world with film but maybe during this time I was changing thefilm language and if you say film is part of the world lets say in this case that I waschanging a little bit a small part of the world When I was young the situation wasthe same as now I saw fake films fake stories fake dramaturgyhellip everything wasfar away from life Film is a communication between me and the world this is how Isee the world and how I react to the world And of course the film has to be close tolife All of my films are close to life And itrsquos not just my perspective because youcanrsquot make films alone When I say ldquoIrdquo I talk about my crew
EXPERIENCES Dori Zurbo from Hungary and Arun Bhattarai from Bhutan will soon become the firstDN graduates to co-direct a feature length documentary Stories from the Field scheduled to be completed in December 2017 is an intimatestory of Tashi (13) whoacutes only desire is to become a boy After an unsuccessfulattempt at becoming a footballer in the first Bhutanese women football team sherealizes that the only way to conquer her dream in her village is to take over thefamilyrsquos Buddhist monastery Hard work and extensive training granted this project the support of the IDFA BerthaFund the Creative Europe MEDIA grant the Asia Pitch Award amongst others Here are a few pointers from Doacuteri who was also recently awarded with a scholarshipfor young emerging artist from the Hungarian Academy of Arts 1 Your first feature does not have to be a masterpiece the important thing is tolearn from the process 2 Spend enough time with your subjects to grasp your concept donacutet run after thefunding deadlines 3 Donacutet be afraid to approach a producer with an early idea they can help you seefurther 4 Be realistic about your concept and goals during the funding application 5 If you are making a character-driven film make sure that they are on board withthe project You will be spending months together
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
OPINION Directors amp Producers ndash Partners in Crime During a brief lecture about Film Distribution I once heard a producer say ldquoDonacutet think that you are selling your soul to the devil because you are notrdquo whileexplaining the basics of an average contract agreement in Europe between adirector and a producer He faced an ignorant aversion to his trade in a roomfilled with aspiring documentary directors many of whom are comfortably usedto run a one-man show to make their films myself included Filmmaking is a collaborative medium In the real business the selfish format isleft behind in the classroom and a crew is built to make the movie happen Boththe Director and the Producer hold the fort down from the very start in the sensethat they are together responsible to drive the process forward For many(most) novice filmmakers this very statement comes as a surprise to say theleast Questions about the necessity of having a producer on board unveil thefact that this professional role is much undermined The instinctive reaction to protect our ideas from others turns easily into a mythwhen you realize a film project gains credibility and stability when you have aproducer on board the distribution and funding opportunities enlarge and mostimportantly a creative responsibility is sharedhellip and this is greatly appreciatedonce the training wheels of producing a film in a school are gone Judith Vreriks Producer at Zeppers
Judith Vreriks born in The Netherlands studied Culture and Film in Utrecht (NL) and in
Glasgow (UK) As a former writerdirector and creative producer with a university background
she has built up a strong track record in the film industry She has over 15 years of experience
in all aspects of documentary film from concept development and writing to the delivery to
broadcasters sales agents and distributors Judith has worked with a wide variety of directors
among whom Heddy Honigmann Jeroen Berkvens Jessica Gorter and Coco Schrijber
GLOBAL NOMADS
Where and what are our alumni up to
A section dedicated to their work and voices
ldquoI have raised 70 of the budget of mynext project called Himurasak an
DN edition 1 (2012-14) From Tacloban City Philippines
Currently in Manila Philippines
experimental documentary film in whichsurvivors of Super Typhoon Haiyansuffered by the Philippines in November2013 revisit their collective memory topaint a picture of the omens that savedtheir lives While waiting for theproduction to begin I am painting It isinteresting that I might also be workingon a film poster for a Taiwanese film - ifit pushes through this will be the firsttime my love for film and paintingwould be coming togetherrdquo
MANUEL CONTRERAS
DN edition 1 (2012-14)
From Bogotaacute Colombia
Currently in Budapest Hungary
ldquoIn October I start a PhD program atthe Hungarian University of Fine Arts toresearch a topic related to my ownvisual heritage titled The Imaginariesand Counter-imaginaries of the LatinAmerican Documentary Cinema It is afour year program where I mustexecute various visual pieces conveyingthe results of my research whichfundamentally seeks to understand thetraits one of the many commerciallyexcluded regions in the World ofdocumentary cinemardquo
GUILLERMO GOacuteMEZ
DN edition 3 (2014-16)
From Madrid Spain
Currently in Madrid Spain
ldquoIrsquom the co-creator of a pioneer artevent this Fall called Unlock an artpublishing fair exclusively for urban artand graffiti content happening inBarcelona this 27-30th of October Aninfinite number of streets around theworld host great pieces of art that aremeant to be seen as such By creatinga platform like Unlock we aim to notonly offers great books but to createhub for discussion and attractresearchers supporting the life of thisephemeral form of expression to otherspaces beyond its physical existenceincluding (soon) films For more visitunlockfaircomrdquo
INTERVIEW by Martha Appelt Photo by FEST At the beginning of this summer I was very fortunate to have a great encounter Wemet at a small crowded bar where people were watching some important footballgame for some important European football cup It was night time and the smell ofsea was in the air We went outside and sat at a quieter table away from the crowdHe lit up his cigarette and sipped his red wine I watched him and now I have amental picture of his profile in close-up I wish I could draw it for you itrsquos a nicepicture set over a night sky with hints of grey a lot of skin-tone and a serpent ofsmoke The perfect soundtrack for it would be the sound of rain but there wasnrsquotany The man in it is Beacutela Tarr What you will read next are excerpts of his master class he presented the next daywhich I hosted for FEST- the International Film Festival in Espinho I could only use asmall part of it for this piece but I invite you to listen to the whole master class andget a fist full of honesty rebelliousness and inspiration What inspired you to start making films ldquoHonestly I never wanted to be a filmmaker I just becamehellip I was 16 years old Iwas very radical very young and I made my first film and I wanted to change theworld I believed the camera was good and useful to change the world When I mademy first feature I believed the same I was 22 Slowly I had to understand that Icannot change the world with film but maybe during this time I was changing thefilm language and if you say film is part of the world lets say in this case that I waschanging a little bit a small part of the world When I was young the situation wasthe same as now I saw fake films fake stories fake dramaturgyhellip everything wasfar away from life Film is a communication between me and the world this is how Isee the world and how I react to the world And of course the film has to be close tolife All of my films are close to life And itrsquos not just my perspective because youcanrsquot make films alone When I say ldquoIrdquo I talk about my crew
EXPERIENCES Dori Zurbo from Hungary and Arun Bhattarai from Bhutan will soon become the firstDN graduates to co-direct a feature length documentary Stories from the Field scheduled to be completed in December 2017 is an intimatestory of Tashi (13) whoacutes only desire is to become a boy After an unsuccessfulattempt at becoming a footballer in the first Bhutanese women football team sherealizes that the only way to conquer her dream in her village is to take over thefamilyrsquos Buddhist monastery Hard work and extensive training granted this project the support of the IDFA BerthaFund the Creative Europe MEDIA grant the Asia Pitch Award amongst others Here are a few pointers from Doacuteri who was also recently awarded with a scholarshipfor young emerging artist from the Hungarian Academy of Arts 1 Your first feature does not have to be a masterpiece the important thing is tolearn from the process 2 Spend enough time with your subjects to grasp your concept donacutet run after thefunding deadlines 3 Donacutet be afraid to approach a producer with an early idea they can help you seefurther 4 Be realistic about your concept and goals during the funding application 5 If you are making a character-driven film make sure that they are on board withthe project You will be spending months together
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
DN edition 1 (2012-14) From Tacloban City Philippines
Currently in Manila Philippines
experimental documentary film in whichsurvivors of Super Typhoon Haiyansuffered by the Philippines in November2013 revisit their collective memory topaint a picture of the omens that savedtheir lives While waiting for theproduction to begin I am painting It isinteresting that I might also be workingon a film poster for a Taiwanese film - ifit pushes through this will be the firsttime my love for film and paintingwould be coming togetherrdquo
MANUEL CONTRERAS
DN edition 1 (2012-14)
From Bogotaacute Colombia
Currently in Budapest Hungary
ldquoIn October I start a PhD program atthe Hungarian University of Fine Arts toresearch a topic related to my ownvisual heritage titled The Imaginariesand Counter-imaginaries of the LatinAmerican Documentary Cinema It is afour year program where I mustexecute various visual pieces conveyingthe results of my research whichfundamentally seeks to understand thetraits one of the many commerciallyexcluded regions in the World ofdocumentary cinemardquo
GUILLERMO GOacuteMEZ
DN edition 3 (2014-16)
From Madrid Spain
Currently in Madrid Spain
ldquoIrsquom the co-creator of a pioneer artevent this Fall called Unlock an artpublishing fair exclusively for urban artand graffiti content happening inBarcelona this 27-30th of October Aninfinite number of streets around theworld host great pieces of art that aremeant to be seen as such By creatinga platform like Unlock we aim to notonly offers great books but to createhub for discussion and attractresearchers supporting the life of thisephemeral form of expression to otherspaces beyond its physical existenceincluding (soon) films For more visitunlockfaircomrdquo
INTERVIEW by Martha Appelt Photo by FEST At the beginning of this summer I was very fortunate to have a great encounter Wemet at a small crowded bar where people were watching some important footballgame for some important European football cup It was night time and the smell ofsea was in the air We went outside and sat at a quieter table away from the crowdHe lit up his cigarette and sipped his red wine I watched him and now I have amental picture of his profile in close-up I wish I could draw it for you itrsquos a nicepicture set over a night sky with hints of grey a lot of skin-tone and a serpent ofsmoke The perfect soundtrack for it would be the sound of rain but there wasnrsquotany The man in it is Beacutela Tarr What you will read next are excerpts of his master class he presented the next daywhich I hosted for FEST- the International Film Festival in Espinho I could only use asmall part of it for this piece but I invite you to listen to the whole master class andget a fist full of honesty rebelliousness and inspiration What inspired you to start making films ldquoHonestly I never wanted to be a filmmaker I just becamehellip I was 16 years old Iwas very radical very young and I made my first film and I wanted to change theworld I believed the camera was good and useful to change the world When I mademy first feature I believed the same I was 22 Slowly I had to understand that Icannot change the world with film but maybe during this time I was changing thefilm language and if you say film is part of the world lets say in this case that I waschanging a little bit a small part of the world When I was young the situation wasthe same as now I saw fake films fake stories fake dramaturgyhellip everything wasfar away from life Film is a communication between me and the world this is how Isee the world and how I react to the world And of course the film has to be close tolife All of my films are close to life And itrsquos not just my perspective because youcanrsquot make films alone When I say ldquoIrdquo I talk about my crew
EXPERIENCES Dori Zurbo from Hungary and Arun Bhattarai from Bhutan will soon become the firstDN graduates to co-direct a feature length documentary Stories from the Field scheduled to be completed in December 2017 is an intimatestory of Tashi (13) whoacutes only desire is to become a boy After an unsuccessfulattempt at becoming a footballer in the first Bhutanese women football team sherealizes that the only way to conquer her dream in her village is to take over thefamilyrsquos Buddhist monastery Hard work and extensive training granted this project the support of the IDFA BerthaFund the Creative Europe MEDIA grant the Asia Pitch Award amongst others Here are a few pointers from Doacuteri who was also recently awarded with a scholarshipfor young emerging artist from the Hungarian Academy of Arts 1 Your first feature does not have to be a masterpiece the important thing is tolearn from the process 2 Spend enough time with your subjects to grasp your concept donacutet run after thefunding deadlines 3 Donacutet be afraid to approach a producer with an early idea they can help you seefurther 4 Be realistic about your concept and goals during the funding application 5 If you are making a character-driven film make sure that they are on board withthe project You will be spending months together
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
INTERVIEW by Martha Appelt Photo by FEST At the beginning of this summer I was very fortunate to have a great encounter Wemet at a small crowded bar where people were watching some important footballgame for some important European football cup It was night time and the smell ofsea was in the air We went outside and sat at a quieter table away from the crowdHe lit up his cigarette and sipped his red wine I watched him and now I have amental picture of his profile in close-up I wish I could draw it for you itrsquos a nicepicture set over a night sky with hints of grey a lot of skin-tone and a serpent ofsmoke The perfect soundtrack for it would be the sound of rain but there wasnrsquotany The man in it is Beacutela Tarr What you will read next are excerpts of his master class he presented the next daywhich I hosted for FEST- the International Film Festival in Espinho I could only use asmall part of it for this piece but I invite you to listen to the whole master class andget a fist full of honesty rebelliousness and inspiration What inspired you to start making films ldquoHonestly I never wanted to be a filmmaker I just becamehellip I was 16 years old Iwas very radical very young and I made my first film and I wanted to change theworld I believed the camera was good and useful to change the world When I mademy first feature I believed the same I was 22 Slowly I had to understand that Icannot change the world with film but maybe during this time I was changing thefilm language and if you say film is part of the world lets say in this case that I waschanging a little bit a small part of the world When I was young the situation wasthe same as now I saw fake films fake stories fake dramaturgyhellip everything wasfar away from life Film is a communication between me and the world this is how Isee the world and how I react to the world And of course the film has to be close tolife All of my films are close to life And itrsquos not just my perspective because youcanrsquot make films alone When I say ldquoIrdquo I talk about my crew
EXPERIENCES Dori Zurbo from Hungary and Arun Bhattarai from Bhutan will soon become the firstDN graduates to co-direct a feature length documentary Stories from the Field scheduled to be completed in December 2017 is an intimatestory of Tashi (13) whoacutes only desire is to become a boy After an unsuccessfulattempt at becoming a footballer in the first Bhutanese women football team sherealizes that the only way to conquer her dream in her village is to take over thefamilyrsquos Buddhist monastery Hard work and extensive training granted this project the support of the IDFA BerthaFund the Creative Europe MEDIA grant the Asia Pitch Award amongst others Here are a few pointers from Doacuteri who was also recently awarded with a scholarshipfor young emerging artist from the Hungarian Academy of Arts 1 Your first feature does not have to be a masterpiece the important thing is tolearn from the process 2 Spend enough time with your subjects to grasp your concept donacutet run after thefunding deadlines 3 Donacutet be afraid to approach a producer with an early idea they can help you seefurther 4 Be realistic about your concept and goals during the funding application 5 If you are making a character-driven film make sure that they are on board withthe project You will be spending months together
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
EXPERIENCES Dori Zurbo from Hungary and Arun Bhattarai from Bhutan will soon become the firstDN graduates to co-direct a feature length documentary Stories from the Field scheduled to be completed in December 2017 is an intimatestory of Tashi (13) whoacutes only desire is to become a boy After an unsuccessfulattempt at becoming a footballer in the first Bhutanese women football team sherealizes that the only way to conquer her dream in her village is to take over thefamilyrsquos Buddhist monastery Hard work and extensive training granted this project the support of the IDFA BerthaFund the Creative Europe MEDIA grant the Asia Pitch Award amongst others Here are a few pointers from Doacuteri who was also recently awarded with a scholarshipfor young emerging artist from the Hungarian Academy of Arts 1 Your first feature does not have to be a masterpiece the important thing is tolearn from the process 2 Spend enough time with your subjects to grasp your concept donacutet run after thefunding deadlines 3 Donacutet be afraid to approach a producer with an early idea they can help you seefurther 4 Be realistic about your concept and goals during the funding application 5 If you are making a character-driven film make sure that they are on board withthe project You will be spending months together
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
6 Make sure that the whole crew sees and understands the same film 7 Create a crew team up with other DocNomads or local talent 8 Production workshops are a good investment to understand the market 9 Criticism is good always talk about your film to everyone and really listen to thefeedback 10 Just enjoy it
Photo by Arts University Bournemouth SUGGESTIONS Here are some suggested courses in Europe to learn more about production Czech Republic httpinternationalfamuczpagephppage=58 England httpswwwmetfilmschoolacukcoursesma-producing httpwwwlondonfilmacademycomcoursesproducing-movie-magic-budgeting-and-schedulingasp Malta httpwwwhandsonmaltacomportfoliodevelopment-and-preproduction
