Taipei Film Commission (TFC) is committed to cultivating future Taiwanese film talents, to connecting Taiwan’s film industry to the world, expanding the global perspective of Taiwanese film professionals and learning from international filmmaking teams so as to enhance publicity in the global market and the quality of films for Taiwan’s film industry.
Starting in 2014, the Taipei Film Academy (TFA) initiated with the “Filmmakers’ Workshop”, targeted to train professional and amateur film producers in Taiwan, which continued in the 2015 program.
This year, the 2016 Taipei Film Academy continues the series of “Filmmakers’ Workshop”, presenting experienced Taiwanese producers and also from Europe, the U.S. as well as Asia to lecture, speaking on domestic and international film production experiences. There will also be discussions on the current status of the Asian film market and Asian cinema and keys to get access to international film festivals. Topics such as production budgeting, story development and post production will be addressed and how social media and transmedia play a role in movie making and capture the audience. Moreover, we will present a course on legal property rights and contract negotiations for the local film professionals.
We sincerely invite all our friends from the film and entertainment industry and we are looking forward to your application!
II. Timeline & Schedule
- Workshop Dates：September 26th - October 1st (9:00 a.m.-4:30 p.m.)*On September 30 the course will be started from 9:00 a.m. and ends at 12:00 p.m.
- Application：August 1st – 31st
- Announcement of participants：In mid-September. List will be announced on TFC official website and notified individually
III. Eligibility Criteria
- Must be at least 18 years of age with R.O.C. nationality or permanent residence permit of Taiwan which works in the film industry.
- Priority consideration will be given to those who have experience in producing at least 2 feature length films.
- Those who have experience in producing documentary, drama, TV commercials and music video are welcomed.
- Students from film and television related departments are also welcome to apply.
- Deposit: 3,000TWD, participants who attend exactly/more than 9 courses (27 hours of courses) will have a total refund; otherwise, for those who fail to attend at least 27 hour courses will not be refunded.
- The workshop provides：
A. 33 hours in total of professional filmmaking courses
B. Taipei Film Academy program guide
C. A Certificate of Completion (MUST have workshop attendance for at least 27 hours)
D. Coffee and refreshments will be provided daily
E. Invitation to participate in TFA industry networking event
- Fill in the online application form: https://goo.gl/forms/ndLOFos1Eun9sekG3
- The selected list of participants by a group of jury will be announced on our official website in mid-September, and will be informed by phone and by email for information regarding payment method, venue and other announcements.
VI. Other Information
- All personal information gathered will only be used for Taipei Film Academy-Filmmakers’ Workshop.
- Entire course will be held in English, on-site interpretation in Chinese will be provided.
- Photo-taking and video-taping are prohibited during the forum.
- Selected participants MUST attend at least 27 hours of the entire workshop (33 hours in total) to obtain the Certificate of Completion.
- Selected participants must follow the rules and regulations of Taipei Film Academy, those who violate the rules and regulations may be disqualified.
- TFC reserves all the rights of participants selection and course arrangements.
- If work and classes are cancelled in case of force majeure such as natural disasters typhoons, announced by Directorate-General of Personnel Administration, Executive Yuan during the workshop, the day of the course will be canceled without notice. (As 6 hours course per day in calculation, cancelled course refund and certificate received predetermined hours will change from 27 hours to 21 hours, and so on.)
- Please refer to the Taipei Film Academy Website(http://www.filmcommission.taipei) or contact International Section of Taipei Film Commission at: 02-2709-3880#119 Ms. Crystal Tsang
VII. Collaborating Partners
Producers Guild of America/PGA
The Producers Guild of America is the non-profit trade group that represents, protects and promotes the interests of all members of the producing team in film, television and new media. The PGA has over 6,500 members who work together to protect and improve their careers, the industry and community by facilitating members health benefits, encouraging enforcement of workplace labor laws, the creation of fair and impartial standards for the awarding of producing credits, as well as other education and advocacy efforts. The PGA hosts important industry events including the annual PGA Awards and the Produced By Conference.
The primary goals of the PGA includes: 1) Expansion of HEALTH BENEFITS to include every Guild member, 2) Providing as many members as possible with JOBS, 3) Continued emphasis on CREDITS, 4) Publicly endorsing the adoption of and adherence to established legal standards for industry WORKING CONDITIONS and 5)Working with other Guilds, studios, networks and companies to promote the GENERAL WELFARE of our industry and seek a harmonious resolution to issues of contention.
PGA Official Website: www.producersguild.org/
VIII. Lecturers (arranged according to course date and time)
1. LIAO Ching-Song
Producer, Editor and Director
Engaged in film editing for approximately 40 years and edited more than 50 films. He received the National Award for Arts in 2006. LIAO is one of the first graduates of the film technician training of the Central Motion Picture Corp. (CMPC) in 1973; he then began his career as a film editor at the company in the following year. In 1987, he directed his first film, Be My Lovely Child Again.
In the 1980s, LIAO worked with many directors from the Taiwan New Cinema period such as the Edward Yang, Hou Hsiao-Hsien and Chang Yi and he was called the “Caretaker of Taiwan New Cinema”. He was one of the new directors of CMPC who was deeply influenced by those fresh, young directors; his concept of editing had a great inspiration. After their first documentary while LIAO was working as editing assistant in CMPC, he worked very closely especially with Hou Hsiao-Hsien and started their cooperation for nearly thirty-five years. LIAO served as an executive member of Golden Horse Awards, and also nominated several times for Best Film Editing. At the 39th Golden Horse Awards, he was the recipient of the Best Taiwanese Film Professional of the Year award.
He co-produced the aboriginal history TV drama Dana Sakura with director WAN Jen and also wrote the script for Super Citizen and Super Citizen Ko which won the Best Screenplay of the FAJR International Film Festival. Besides being a film editor and a screenwriter, LIAO began producing in recent years, including The Voyage of the Red Balloon, Café Lumière, Three Times, Millennium Mambo, Flowers of Shanghai, Somewhere Over The Dreamland and The Assassin, etc.
DISCUSSION ON FILM EDITING THROUGH FILM PRODUCING
With his extensive experience, LIAO will share his journey from film editing to filmmaking. And we will discuss the importance of film editing in a production and how it affects the whole production from a producer’s point of view.
2. Michelle YEHExecutive Producer and Producer
Principal and Producer of Three Dots Entertainment Co. Ltd., Michelle has international sensibility and 10+ years experience in Physical Production, Development, and Sales & Distribution across China, Hong Kong, and Taiwan. Currently based in Beijing, overseeing co-production films, she previously worked as the distribution executive in Spring International for 5+ years, handling acquisitions, international delivery, and legal departments. She’s also the honoree of The Hollywood Reporter Next Generational Asia Class of 2010. Her works on international co-productions include Half a Good Woman, Wedding Diary, Baby Steps, Double Trouble, Love in Disguise, Snowfall in Taipei, My DNA Says I Love You and The Shoe Fairy. She also has extensive experience in international distribution and film festivals, with films such as Young Dudes, Hotel Blackcat, Revenge of the Factory Woman, Finishing the Game, Drifting Flowers (selected for the Panorama section of 2008 Berlin International Film Festival), Candy Rain, Teddy Award for Best Feature Film winning film- Spider Lilies, The Heavenly Kings and Eternal Summer, which was nominated in the New Award of 2006 Pusan International Film Festival.
Rising of the Mandarin Film Market: The Importance of Branding for Filmmakers
Recently, the Asian film market is rising rapidly where the Mandarin film market is one of the most notable ones. Michelle will teach us how to build our own brand and to stand out from the highly competitive film market through brand management.
3. Lorna TEE
Producer, Head of Festival Management and board member of the Macao International Film Festival & Awards After graduation from university with a Bachelor of Education, she worked in theatre production, cultural events and NGO events for a few years before venturing into the film world. In the past, she has worked with some of the more prominent film companies internationally such as Focus Films (Hong Kong), Variety (USA), and Irresistible Films (Hong Kong/ Japan). She was also involved in setting up and executive producing the Asian Film Awards in 2007 in Hong Kong. She works with her production company Paperheart, producing several films across Asia. In 2014, she was engaged to be Festival Director of CinemAsia Film Festival in The Netherlands. As part of the Selection Committee at the Berlinale, she selects films for the Competition section and she is also the Asian representative for Back Up Media Group. Recently, she has taken the role of Head of Festival Management for the newly set up International Film Festival & Awards in Macao. TEE has served on the board of various international film festivals including Rotterdam, Hong Kong, Shanghai, Busan and Jakarta and has been invited to be a jury member at the Berlinale, Cannes, Locarno, London, Hong Kong, Sydney, Barcelona, Mexico, Durban & others. Her producing credits include The Beautiful Washing Machine, Rain Dogs, Crazy Stone, Love Story, My Mother is a Bellydancer, The Shoe Fairy, At the end of Daybreak, Lover’s Discourse, Come Rain, Come Shine and Postcards from the Zoo. Currently, she is in post-production with Mrs K, an action film by Ho Yuhang featuring Kara Hui Ying Hung, Simon Yam, Wu Bai and Faisal Hussein. Feature films in development includes Edwin’s Exotic Pictures (Indonesia/ The Netherlands) and Janus Victoria’s Kodokushi (Philippines/ Japan).
Session 1 THE ROLE OF THE PRODUCER IN ASIA & EUROPE (Co-lecturer Joost DE VRIES)
The role of a producer is very different in Asia from Europe. In Europe, there is a system of institutional support to the film industry for the development of filmmaking. What are the pros and cons for the producer of this system compared to the situation in Asia where most financing is commercially originated? The growth of China and the rest of Asia Pacific film market has created both opportunities and challenges to producers navigating the regional and global coproduction arena. The session will examine the role of a producer in both territories in this ever changing landscape of filmmaking in both Asia and Europe.
4. Joost de Vries
Producer, Board member of Dutch Film Producers Association/FPN Since April 2016, Joost de Vries has established as an independent producer. As a student in Arts Administration he started producing films at the Dutch Film Academy and specialized in line producing. In 1995 he established together with producer Leontine Petit and writer/director Marco van Geffen the film and television production company Lemming Film. Lemming Film is one of the most prominent Dutch companies. Initially the company focused on children and family films (fiction and documentary). But after attracting and training a new generation of in-house producers, Lemming Film specialized in fiction and diversified it’s genres: from youth to comedy to (historical) drama. In 1996 he enrolled in the high profile European producers training and network Ateliers du Cinéma Européen (ACE). After that he served as the chairman of the board of the MEDIA Desk Netherlands and member of the board for Vevam. He is a member of the board for the Dutch film producers association (FPN) since 2008. In 2011 the German company Hamster Film was set up to produce high end youth and family films and television drama for the German speaking territories. His work as a producer includes: The Lobster (won the Jury Prize of Cannes Film Festival), A Christmoose Story (Berlin International Film Festival Crystal Bear award nomination), Heli (Palme d’Or nomination), Leones, In the Fog (FIPRESCI Prize winner), My Joy (Palme d’Or nomination) and Altiplano etc.
Session 2 CO-PRODUCTIONS IN ASIA & EUROPE AND CASE STUDIES (Co-lecturer Lorna TEE)
The rise of co-productions in Asia and the essential nature of co-productions in Europe are allowing filmmakers and producers to expand their films exposure, audiences and revenues. Yet, the sphere of co-productions entails a whole spectrum of skills and network and a host of potential landmines. This session will delve into the areas of co-productions and be utilizing two films below as case-study.
Case Study 1 – MRS K by Ho Yuhang
Case Study 2 – The Lobster by Yorgos Lanthimos
5. Raymond PHATHANAVIRANGOONProducer, international film festival programmer, official delegate for Cannes Critics’ Week
Raymond PHATHANAVIRANGOON is a film producer and an international film festival programmer who is currently an official delegate for Cannes Critics’ Week and programmer at the Bogota International Film Festival. Most recently he co-founded the Southeast Asia Fiction Film Lab (SEAFIC), a 9-month intensive script lab for Southeast Asian filmmakers. Previously he acted as a Reading Committee Member for the Hong Kong-Asia Film Financing Forum (HAF) and was an advisory member of the Asian Film Awards (AFA). He had also served as international programmer for the Toronto International Film Festival and the Toronto Reel Asian Film Festival as well as Programme Consultant for the Hong Kong International Film Festival. Prior to that, he was the Director of Marketing & Special Projects (Acquisitions) for international sales agent Fortissimo Films. He has served as jury at festival such as Sarajevo, Vladivostok, Antalya, Cinema One and others. His work as a producer includes: Samui Sone, Apprentice (nominated Un Certain Regard Award of Cannes Film Festival), How to Win at Checkers (Every Time), Aberdeen, Headshot (selected for the Panorama section of the Berlin International Film Festival and Grand Prix of Tokyo International Film Festival), Dream Home, Sandcastle (selected for Cannes Critics’ Week) and Tokyo Sonata (won Un Certain Regard Jury Prize and Best Film of Asian Film Awards).
Session 1 CO-PRODUCTION AND FINANCING 101
In this course, we shall learn the reasons and benefits of doing co-productions, as well as the drawbacks of such multinational projects. We shall also talk about the differences between co-productions with other Asian countries versus with Europe or North America, discuss how to begin a co-production, and how to gain visibility in order to attract co-producers.
Session 2 SALES AND DISTRIBUTION 101
Here, we learn the roles that sales agents and distributors play in relation to the film and to the producers. We discuss the importance of film festivals as launching pads for sales and distribution, and the reality of distributing Asian films in today’s market. Then we examine in more detail how to negotiate with sales agents and distributors, and how costs, sales and reporting are conducted.
6. Christina Lee StormProducer, Producers Guild of America’s Treasurer and Chair of Diversity Workshop, Production Executive at DreamWorks Animation Christina Lee Storm is an international producer who has collaborated with filmmakers from around the world working on Oscar-winning films The Artist and Life of Pi, and as producer of feature films The Least of These and To Save a Life, and award-winning documentaries Life After Pi and Flesh: Bought & Sold in the U.S. While in Hong Kong she was Head of Creative Development and ran international co-productions for legendary Hong Kong/China director Johnnie To. Christina is currently a Production Executive at DreamWorks Animation where she is a part of the leadership for the Production Strategy Team which implements studio-wide initiatives, innovation, and production technology for the studio and its feature productions. She is Founder/Executive Producer of Act One Digital Lab that combines science, story, and technology to develop and create the most engaging and impactful original online stories for youth 14-18 years old. She is the former President of Act One where she provided leadership and vision for the non-profit incubator of writers, producers, and executives in the entertainment industry. Christina was Manager of Digital Production at Rhythm & Hues Studios, which won the Oscar for Best Visual Effects on Life of Pi. While at the studio, she worked on over a dozen films including The Hunger Games, Snow White and the Huntsman, and Moneyball. Christina is the re-elected Treasurer for the Producers Guild of America and Chair of the PGA’s Diversity Workshop. She has served on the guild’s National Board of Directors for 6 years. She balances being a Mom of two rambunctious children, wife to Story Consultant/Screenwriter Steve Storm, and a passionate producer of films with profound themes.
Course SummarySession 1 TECHNOLOGY IN STORYTELLINGHow is technology most impacting the future of storytelling in film, television, and online? How does it help us tell dynamic stories using the most innovative methods? Christina will give examples from visual effects in feature films (including Life of Pi and Percy Jackson: Seas Monsters), feature animation (including clips from DreamWorks Animation), the ever-growing broadband content, video games, interactive and enhanced television, special venue productions, and a look into the Producers Guild of America’s fastest growing part of the guild, new media.Session 2 PREPARING THE PICTURE/ WAYS TO SUCCEED IN PRE-PRODUCTION (AND PRODUCTION)One of the most important parts of producing your feature is getting your creative team on the same page. What can I do as a producer/ director/ filmmaker at the beginning of my film to save me from troubles during production and beyond? From hiring the right team and implementing cost saving and organizational strategies, Christina will walk you through her experiences on multiple productions including The Artist and help you navigate the pitfalls of production. 7. John Heinsen
Producer, CEO/ Executive Producer of Bunnygraph Entertainment, Executive Committee of the Producers Peer Group of the Television Academy John and his company Bunnygraph Entertainment, work with writers, talent, and technologists to create serialized formats for television, interactive/web and mobile platforms in what he calls “Storytelling through Advanced Content”. After completing a three year run as Transmedia Producer / Showrunner for the Academy Awards (Oscar.com), John now focuses on the development of a range of TV and film projects in both the US and around the world. John is a Graduate of the American Film Institute (AFI) Conservatory, he is a veteran of the FOX Broadcasting Company, International Creative Management (ICM), and Castle Rock Entertainment and he recently completed a two year term as Vice President, New Media for the Producers Guild of America (PGA). John now sits on the Executive Committee of the Producers Peer Group of the Television Academy. His mentoring activities in 2016 include the ConTech Academy (MonteCarlo), MediaZEN (Lithuania), BiFan Fantastic Film School (South Korea) and StoryTek (Estonia). His work includes: Johnathan Kite-Back to School Special, A Tiger’s Tail, That ‘70s Show, Bernie Mac, Family Guy, Dark Angel and Cops and America’s Most Wanted.
Session 1 UNDERSTANDING TRANSMEDIA
This course is designed to give the attendee a basic understanding of the “Transmedia” space. In addition to its overall philosophical framework, the course will address the components as well as controversies of this storytelling movement. According to the PGA, the Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms.
Session 2 STORYTELLING THROUGH SOCIAL MEDIA: TRANSMEDIA GOES VIRAL
This course is designed to give the attendee a practical application of one’s narrative through an integrated Transmedia storyline and how social platforms can expand the world of one’s characters and help build an audience. This would help the attendee learn how to analyze the social media landscape while developing one’s project as a platform of content distribution, audience engagement and marketing.
8. Bobby YU