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Agents & stAkeholders

LMV - WHERE THE COMMUNITY, STUDENTS AND PROFESSIONALS MEET IN THE SPOTLIGHT

Agents & stAkeholders

LMV - WHERE THE COMMUNITY, STUDENTS AND PROFESSIONALS MEET IN THE SPOTLIGHT

Agents & stAkeholders

. Asma Dauleh . Freddie Garside . Nick Husband .

. MArch Year 1 . Live Project . Group Work .

CONTENTS

Background

Agents & Participants

Stakeholders Diagram

Interviews

Workshops

Shadowing

Space Invaders

The Ugly Truth

7 Basic Plots

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9

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45

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ParticiPants

lArrA Anderson

FILM STUDENT 1

CHRIS CLARkSON

ANDREW RABY

FILM STUDENT 1

ANNA zALUCzkOWSkA

jENNY GRANVILLE

FILM STUDENT 1

MARTIN jOHN HARRIS

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agents

FREDDIE GARSIDE

SARAH HARVEY

CHRIS NEWBOLD

NICk HUSBAND

STEPH WILDING

CHRIS PARASkOS

ASMA DAULEH

jOSEMAR DA COSTA

RACHEL BERRY

MArch Year 1 Students

BACkGROUND

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Louise Le Prince

The earliest celluloid film (stop motion film) was shot by Louise Le Prince using the Le Prince single-lens camera made in 1888. It was called the Roundhay Garden Scene and was 3 seconds long. It was taken in the garden of the Whitley family house in Oakwood Grange Road, Roundhay, a suburb of Leeds, possibly on October 14, 1888. It shows Adolphe Le Prince (Le Prince’s son), Mrs. Sarah Whitley, (Le Prince’s mother-in-law), joseph Whitley and Miss Harriet Hartley. The ‘actors’ are shown walking around in circles, laughing to themselves and keeping within the area framed by the camera.

(28 August 1841 – vanished 16 September 1890) was an inventor who shot the first moving pictures on paper film using a single lens camera. He rivalled Thomas Edison for the title of “Father of Cinematography” - 1930

history of Leeds beckett

Pre medieval – A stone coffin and stone slab discovered in Beckett Park drive, which are thought to be either Roman or Saxon.

1752 – The Grange is built on the modern day site of Headingley Campus, and remains the oldest building on the site.

1824 – Leeds Mechanics Institute is founded.

1845 – Leeds College of Commerce is founded.

1846 – Leeds College of Art is founded.

1883 – Oscar Wilde is invited to visit the Grange.

1907 – Winston Churchill, as guest of the Beckett family, stays at the Grange.

1907 – The City of Leeds Training College is founded.

1914 – On declaration of war the College is commandeered by the Army and commissioned as the 2nd Northern Hospital.

1933 – The Beckett Park campus is expanded with the creation of the Carnegie Physical Training College.

1968 – The Carnegie Physical Training College merges with the City of Leeds Training College (by then renamed the City of Leeds College of Education).

1970 – Leeds Polytechnic comes into existence, formed from the amalgamation of Leeds College of Technology, Leeds College of Commerce, part of Leeds College of Art, and Yorkshire College of Education and Home Economics. College, the City of Leeds College of Education, and the Carneg-ie Physical Training College.

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1976 – Leeds Polytechnic is enlarged with the addition of james Graham College, the City of Leeds College of Education, and the Carnegie Physical Training College.

1989 – Leeds Polytechnic leaves the Leeds Local Education Authority (LEA), and becomes an independent Higher Education Corporation.

1992 – Leeds Polytechnic is re-designated as a university, under the title Leeds Metropolitan University, with power to confer its own degrees and other awards.

2005 – Beckett Park is renamed Headingley Campus.

2006 – Headingley Campus is extended beyond the confines of Beckett Park to include the Carnegie stand at the Headingley Carnegie Rugby Stadium, which is opened by sports minister Richard Caborne.

2009 – The iconic Rose Bowl is opened by the Duke of kent.

2009 – The new home of the Faculty of Arts, Environment and Technology, Broadcasting Place is opened.

2010 – Broadcasting Place is named the Best Tall Building in the World by the Chicago-based Council on Tall Buildings and Urban Habitat.

2010 – The Carnegie Pavilion is officially opened by celebrity chef james Martin.

2014 – The University became Leeds Beckett University.

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History - NortHerN film scHool

The Northern Film School is the largest of its kind in the north of England and is continuing to attribute to the British film industry.

The school has close working relationships with the Uk Film Council, Screen Yorkshire, ITV Yorkshire, Channel 4 and Working Title Films and participates in local, regional, national and international film festivals. The school also sponsors the Local Young Film-maker award, an event included in the local Young People’s Film Festival.

The school has recently had student work screened during the 2007 Leeds International Film Festival. A short animation called The Bench had its first festival premier during the showcase.

In 2005, the school moved into a new facility in the Electric Press building on Millennium Square in Leeds. The building holds two studios fitted for shooting on student built sets. It also has film-making equipment ranging from 16mm film, Digital Video and High Definition Digital Video.

Being situated in Leeds, it is also close to ProVision Equipment Hire and the Leeds Studios. Past student productions have made use of these compa-nies, as well as the surrounding landscape of the Yorkshire countryside.Screen Yorkshire is also based in Leeds. A short distance away from the school

A few films filmed in yorkshire:

Calendar Girls (2003)Chicken Run (2000)Brassed Off (1996)Wuthering Heights (1939)kes (1969)Tyrannosaur (2011)The Damned United (2009)The Railway Children (1970)The History Boys (2006)Four Lions (2010)Woman In Black (2013)

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NortHerN film scHool coNNectioNs

Director of the Northern film school

Prior to joining the Northern Film School, Larra was the Screen Education Specialist for the American Film Institutes (AFI) Screen Education Program and AFI Fest, as well as Adjunct Professor at Chapman University’s Dodge College of Film and Media Arts in California. As a filmmaker, Larra has worked primarily as a director of photography, though she has also written and directed both film and television. Her award-winning films have screened in cinemas around the world, as well as at more than 60 festivals worldwide, with screen-ings at the Museum of Modern Art and Lincoln Center in New York, the SXSW festival in Austin, Texas, the Institute of Contemporary Arts in London, and the British Film Institute in London.

Prior to joining Leeds Beckett University, jennifer taught screen-writing and producing at the Ohio University School of Film in the USA.

Principal lecturer

jennifer has worked as an actor in repertory and West End theatre, film and TV. Her screenplays have won the La Femme, 21st Century and Latino screen-writing competitions. Her producing credits include The Secret Songs of Butterfish, which aired on international television and won a Gold Plaque at the Chicago International Film Festival and a Special jury Award at the New York Expo;jennifer’s experimental screenplay, MSI: The Anatomy of Integers and Permutations, is currently being adapted into a graphic novel by Princeton University Press. The Casting Handbook, published by Routledge in 2013 and co-written with Suzy Catliff, is a comprehensive and informative compilation of facts and professional guidelines on the infrastructure and process of casting for all live and recorded media.Prior to joining Leeds Beckett University, jennifer taught screen-writing and producing at the Ohio University School of Film in the USA.

senior lecturer in cinematography

Mark began his visual career as a widely-published reportage photographer before stud-ying Cinematography. His cinematography has taken him all over the world working on a variety of genres. Mark continues to shoot regularly, with recent projects including two period dramas for artist jasmina Cibic’s Pavilion Of Slovenia at the 2013 Venice Biennale. Additional cinematography on; Martin Scorsese and David Tedeschi’s documentary The 50 Year Argument which premiered in 2014 at the Sheffield Doc/Fest; Alex Gibney’s Finding Fela, which premiered at the Sundance Film Festival in 2013; and on We Steal Secrets: The Story of Wikileaks, which was nominated for a BAFTA in 2014.

senior lecturer mA filmmaking

keith began his career in production, working on filmed sequences for computer games (judge Dredd, Realms Of The Haunting, Warhammer 40,000) children’s television (BBC’s Total Reality) and a sci-fi pilot (Games Workshop’s Inquisitor). He then went on to produce two films, The Secret and Motherwood, which were broadcast on ITV.

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film scHools iN tHe uk

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leeDs iNterNAtioNAl film festivAl

Leeds is a leading centre for film culture, with historic and state-of-the-art cinemas, major film festivals and events for all ages, a huge variety of arts venues offering exciting film programming, unique projects organised by individuals and organisations in their communities.

The Leeds International Film Festival (LIFF) is the largest film festival in England outside London. Founded in 1987, it is held in November at various venues throughout Leeds, West Yorkshire. In 2014, the festival welcomed over 40,000 visitors and showed over 300 films from around the world, shorts and features, commercial and independent.

The festival’s British Short Film Competition is BAFTA qualifying.

Leeds International Film Festival’s programme has five categories: Official Selection, Retrospective, Cinema Versa, Fanomenon and Short Film City. Fanomenon and Short Film City host various short film competitions, some of which qualify their winners for major film awards such as the Academy Awards.

The 28th Leeds International Film Festival has been the most successful fes-tival to date. It took place 5–20 November and attracted more than 40’000 visitors. The festival opened with the world premier of james kent’s Testa-ment of Youth. The mockumentary What We Do in the Shadows won the festival’s Audience Award for Best Film.

For our 25th anniversary edition we are delighted to announce that our Opening Gala film will be Wuthering Heights, a bold new version of Emily Brontë’s novel by BAFTA award-winning filmmaker Andrea Arnold. The film recently had its world premier at Venice Film Festival where it won the prize for Best Cinematography and attracted critical claim for its radical take on the classic novel.

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the Official Selection hosts special previews and screenings of some of the most anticipated and acclaimed films of the year, as well as showcas-ing new discoveries from international independent film-making. Many of these have celebrated prizewinning successes at other major festivals such as Cannes or the Berlin International Film Festival.

every year, LIFF shows a broad array of retrospective programmes, giving audiences the opportunity to watch forgotten gems as well as celebrated classics on the big screen.

cinema Versa is dedicated to the documentary and inspired by the under-ground festival aesthetic, showcasing low budget, independent features. The programme’s Music on Film section shows a range of old and new musical and film styles. Underground Voices, another Cinema Versa sec-tion, provides a platform for Human rights and activist films. Cinema Versa’s Forum presents a series of special events.

fanomenon is the home of cult and fantasy cinema at LIFF. It presents new genre films, cult-subject documentaries, animated features, rarely-screened classics and movie marathons. Each year, beginning in 2001, the festival has played host to the Night of the Dead, an all-night horror-thon. The most recent festival introduced a single day of back to back animé films at Leeds Town Hall, to be repeated in 2015. Fanomenon also hosts the Dead Short Competition for horror shorts.

short Film City hosts the festival’s short film competitions and panoramas, as well as special events and exhibitions. The Louis le Prince International Short Film Competition is named after Louis le Prince, a French born film pioneer living in Leeds who made the first ever moving pictures in 1888. The Louis le Prince Competition, as well as the World Animation award are qualifying competitions for the Academy Awards. The festival’s British Short Film Competition is BAFTA qualifying. Additionally, Short Film City hosts the Yorkshire Short Film Competition and added three new competitions in 2014: The Leeds Screen-dance Competition, the Leeds International Music Video Awards and the Leeds Short Film Audience Award.

stAkeHolDers DiAgrAm

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INTERVIEWS

ParticiPants

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iNterview witH eNterPrise

Andrew Raby - Business Development Manager

Initial meeting with Andrew discussed the requirements from the commer-cial stand point. He discussed the ambition and vision of the project, espe-cially regarding its iconic potential within the Leeds skyline. He made some specific requirements about the Economy of Media and the desire for flex-ible interiors and exteriors, an ‘osmosis building’ which contained shared facilities but also distinct separation. There was a preference for renewable integration into the scheme. Below is a condensed list of the ‘wants’.

ParticiPants

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iNterview witH tHe film scHool

jenny Granville - Principal LecturerLarra Anderson - Director of the Northern Film School

A second meeting was set up with Larra and jenny after the Workshop. This meeting was set up to gather specific requirements, visions and aspiration of the film school. Making specific comments regarding encouraging the sense of community through design of space with continuous emphasis to specialist designed rooms. The location also needed to be close to the city centre. Below is a condensed list of the ‘wants’.

A CITYzen AGENCY WORkSHOP

organisers

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SPACE INVADERS

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This was more of a practical task for the students and staff. It comprised of standardised scaled film school spaces based on the initial spatial require-ments set in the brief. Wooden spaces represented film school spaces and were arranged with film associated scaled cut-out people on a separate ta-ble, adjacent a large table space was covered in white paper where the grey spaces were to be moved to and positioned in a ‘desired film school layout’. The white paper was for annotation or additional rooms to be drawn.Amongst the grey open spaces designed for the activity there were also some white cubes created, these represented a space that the designers may not have acquired for, and the students/staff could annotate in the activity.

The task was originally set out to be separate tasks for the three main participants on the day; the students, the staff and enterprise. However the activity soon adapted into a group discussion where compromises were made in light discussion over the position and orientation of spaces and extra spaces required considering the students needs.

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feedback

The feedback from this activity was incredibly interesting. Students and staff found the task very engaging. It was also an intuitive task for the architects understanding further to what the client and end users actually require be-side a set amount of spaces.

The general consensus from the group was that the new building required a central cafe space that the community and students could use to relax in. The layout of spaces seemed very flexible, large production spaces were re-quested and more SFX editing facilities.

Enterprise were keen on integrating the community with the school in some-way, students weren’t so keen.It was made apparent by both sides, that the building should have 24 hour access.

It was obvious by the end there required some duplication through the build-ing. A separation between the faculty building and commercial enterprise was required however a mutual ground was found with both parties requir-ing a large cafe/social/meeting space, to contain the ‘sense of community’ within the building. Cinemas were made as a suggestion to be partly used by students for a final exhibition but for the majority of the time be used by the public to increase revenue from the building.

organisers

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THE UGLY TRUTH

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AIM

For this workshop, students and the staff members of the Northern Film School involved in the event were invited to express their point of view and opinions on the school that ranged from the good to the bad and ugly.

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Apart from the good location of the school, the results of the workshop also showed that in the opinion of the students and staff members present in the workshop; the sense of community in the school is very strong and positive, as well as the fact that the tutors’ doors always being open for the students. What is more, the links to the industry and the opportunities for work experience that come with it were also highlighted by the student as a positive. However, student complained about the apparent lack of net-working opportunities for students.

the good +5 Studio Access+5 Community (Student)+5 Open Policy / Access to Tutors (Staff)+5 ‘My office window opens...it has fantastic light.’ (staff)+5 Specialist teaching spaces (staff)+5 Community (staff)+4.5 Meeting new people (student)+4 Work experience opportunities (student)+4 Workshops & practical work (student)+4 Close proximity to other staff, but private/semi-private office space+4 Practical lectures (student)+4 Dedicated spaces for film students and staff+3.5 Student tutor communication (student)+3.5 Ability to interact with people passing in corridors (staff)+3.5 Work experience opportunities (student)+3 Access to high quality equipment (student)+3 Campus location (student)+2 Link to industry (student)+2 Banter (student)

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As far as the negatives are concerned, the staff members were very keen to express: the need for better and more storage spaces, whether it is for archival or prop storage, the inadequacy of the teaching spaces, the lack of good soundproofed studio environments, the inability to open most of the windows in the first floor of the school building and in other areas, Even so, the biggest complaint was in the lack of a common environment and social areas with catering services were staff and students would be able to meet and socialise within the school facility.

THE BAD & THE UGLY-1 Networking opportunities for the students (student)-2 Needs more full time staff (student)-2 Lack of prop storage space (Staff)-2.5 Needs more convenient access for equipment (staff)-2.5 Poor technology in classrooms or lecture rooms (staff)-2.5 Dated screening facilities, Comfortable seating and air-con (staff)-3 No common meeting space, no green room (staff)-3 Not enough specialism options (student)-3 Some disorganisation between the film school (student)-3 No space for archive V.I.P (staff)-3.5 Windows that do not open (staff)-4 Campus’ size (student)-4 No room for growth/expansion (staff)-4 No film library (student)-4 Philosophy behind film (student)-4 Bad lecture rooms: no blackout, bad sound (staff)-4 No workshop for construction or set building teaching (staff)-4.5 Terrible (cramped) studio space (staff)-4.5 No common space with bar or food (student)

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THE BAD & THE UGLY CONTINUED...-4.5 No catering facilities on site (staff)-4.5 No screening room for collective reviewing in the building (staff)-5 EP209 screening room does not hold enough people (staff)-5 Needs more studio space, specialist spaces, storage and flexible teaching spaces (staff)-5 Need social space (student)-5 Needs a bar or a communal creative space (staff)-5 The standard they let in (student)-5 100 UCAS points (student)-5 No real consequences for lack of attendance (student)-5.5 No coffee / beer bar (staff)-5.5 No place for meeting, talking or thinking (staff)-5.5 No design (staff)-5.5 No open windows on first floor (staff)-5.5 Lack of good soundproofed studios (student)-5.5 Feels like a mental institution (staff)-5.5 No soundproofed studios; not fit for purpose studios (staff)-5.5 No prop store, no costume store, no dressing rooms

organisers

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THE SEVEN BASIC PLOTS

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Aim:

To build a narrative of the participants views using the 7 basic plots.

conclusion:

- Wary of corporate/commercial interests, they want a film school not an office block!

- Current facilities not up to standard

- Apprehensive about estates/enterprise being able to deliver the building they want

- Emphasis on community and social spaces

- Need to work together to deliver the film school they need, all pulling in the same direction.

- Concerned about the universities emphasis on money and not learning!

- Better networking, collaboration with international film schools.

reflection:

- Was a little over complicated, took some explaining for the kind of thing which could be expected as an outcome before participants put pen to paper.

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tHe film scHool - tHe seveN bAsic Plots

Below are a few sheets from the workshop.

ParticiPants

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SHADOWING

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tHe film scHool - sHADowiNg

Three agents sat in on a final screening of first year film school students, who were exhibiting their penultimate screening of their trailer for a Documentary.

Agents found the structure of the project very dynamic, groups comprised of diverse specialities; i.e director, editor, project co-ordinator etc groups were not static and in fact there was collaboration across the groups. For example an editor would work across numerous groups. Also the lack of communal space for them to gather and discuss was apparent as this event was the one of the few times they had met all year.

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existiNg film scHool site visit

. Asma Dauleh . Freddie Garside . Nick Husband .

Leeds Media Village - A Live Project