Pia Marais

Dieses Seminar ist verbindlich für alle, die am GLS Spielfilmregie im Sommersemester teilgenommen haben (Vorbereitung und Dreh). In diesem Seminar werden wir in vier Sitzungen die Montagevorschläge des gedrehten Materials gemeinsam analysieren. Wir reflektieren dabei die gemachten Erfahrungen, insb. unter dem Blickwinkel der Bildaufnahme, der Schauspielführung und der daraus resultierenden Montagemöglichkeiten. Außerdem begleiten wir die Studierenden während ihres gesamten Postproduktionsprozesses bis hin zur Premiere ihrer fertigen Spielfilmübungen. Termine: 31.10, 14.11, 28.11, 12.12

Editing a film is the moment when everything comes together. Everything that went well and everything that was a disaster during filming. In editing, we are confronted with the realities of our material and how it might differ from our original script and vision. We have to work with this material and in a way rewrite the film through montage. With two editors, Benjamin Mirguet and Matthieu Taponier, who both have extensive experience as consulting editors at First Cut Lab, we want to focus on understanding what is useful feedback, how we can filter it and how we can decipher and understand the feedback in order to find solutions for decision making in the editing process. In the first part of this seminar we want to look at different cuts of a feature film and discuss how the changes affect the viewing experience. In the second part, the seminar offers a unique opportunity to students who are currently working on a narrative film project to gain practical insights into film editing: Participants can receive direct feedback on their own cuts as part of a simulated "First Cut Lab". They then have the opportunity to consult with an experienced editor in order to analyse the feedback they have received and develop optimal solutions for film editing. The seminar is open to students who are in the process of editing a narrative film, and participants who want to follow the process and learn by listening and watching. We are not yet sure how many films we can include, that will be watched, discussed, receive consultation etc. as this depends on the length of the films. But we would try and incorporate as many as we can. It could be anything from 4-6 narrative films. Benjamin Mirguet is an editor, consultant, director, festival curator. As an editor, he edited amongst others: Battle in Heaven - Carlos Reygadas, The Sky Trembles and the Earth is afraid and the two eyes are not brothers - Ben Rivers etc. He has been involved as a consultant editor for the First Cut Lab since 2015. Working as part of the Team at the Co-Production Office, he is very involved creatively during the entire process of the films they produce, but especially in charge of the creative post production strategies. Matthieu Taponier was born in 1982 in Paris, France. After studying Modern Literature, he completed an M.F.A. at New York University’s Tisch School of the Arts. Since 2009, he has been working as a screenwriter, script editor and film editor. He was a TorinoFilmLab Script&Pitch story editing trainee in 2012 and a script consultant for the Semaine de la critique « Next Step » lab in 2014. He worked as a script editor and film editor on Laszlo Nemes’ Son of Saul, Grand Prix at Cannes Film Festival 2015. Please apply if you have a rough cut or version of your film that you want to present. Or if you want to participate without a film, apply anyway. The seminar will be held in English.

Stunts und Kampfszenen sind ein wichtiger Teil der Filmgeschichte. Gefahr, Gewalt und extreme physische Belastungen und Aufgaben der Filmfiguren sind häufiger Bestandteil filmischer Stoffe. In diesem Seminar beschäftigen wir uns mit den Möglichkeiten von Kampfszenen und Filmstunts. Wir analysieren entsprechende Szenen der Filmgeschichte und ihre Wirkung auf den Zuschauer. Wie können solche Szenen angelegt werden? Wie verschieden können sie gestaltet sein und in welcher Weise der Tonalität der Erzählung entsprechen? Wie gestaltet sich die Zusammenarbeit zwischen Autorenschaft, Regie, Kamera, Darstellern, Stunt-Koordinatoren und Produktion? Im praktischen Teil werden wir in Zusammenarbeit mit Stunt-Koordinator Simon Schwarzwald eine Sequenz erarbeiten und an einer Original-Location drehen. Dabei wollen wir bestimmte filmische Atmosphären berücksichtigen und verschiedene Dreh- und Schnitt-Versionen herstellen.