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Don’t Miss Our Marketing MA Open Day

Live on Facebook Wednesday 27th 12.30pm!

Back by popular demand, we are streaming an open day for our new Marketing and Distribution MA for Film, TV and Games live on Facebook on Wednesday 27th September at 12.30pm.

Course leader and entertainment marketing expert, Deborah Rowland and Head of Producing, Chris Auty will discuss the new course and answer any questions you might have about the two-year MA course, which starts in January 2018.

Here’s a taster of what you can expect from the course:

The Marketing MA for Film, TV and Games is a really exciting course that looks at how we connect content such as films, TV shows and games to audiences and consumers.  It will equip you with all the tools you’ll need to sell, market, distribute, retail and exhibit – looking at how cinemas, TV channels, games and film distribution companies operate, how to identify your audiences, and how to reach them through creative and effective sales and marketing techniques.  By the end of the course, you’ll have an unrivalled overview of the film, television and games industries and be able to move between them with ease – making you highly employable executives in these sectors.

What sort of roles will it qualify me for?

The course will qualify you for a huge number of commercial roles within the film, television and games sectors, these might include:

–        a marketing manager who creates the campaigns for feature films or games, ensuring the trailers, posters and advertising all connect with the right audiences

–        a commissioning exec who spots the best television shows and talent and brings them to your channel

–        an exhibition marketing manager who ensures that audiences have the best experiences at their cinemas

–        a publicity manager who looks after the cast of a popular television show or film, managing their interviews with the press or their appearances at premieres and events

–        a social media exec managing the online word of mouth for their film, television show or game

These are just a few of the roles you will be prepared and qualified for once you’ve taken the course.

What makes this course different from similar ones out there?

There are lots of reasons this MA stands out from others:

1)     NFTS has an unrivalled reputation. It has been described as “the best film school in the world” and is a centre of learning excellence for the creative sector.  The course leaders and tutors are some of the most experienced in the film, television and games industries – you will emerge from completing your course incredibly experienced and well connected!

2)     Practical application and experience is a major focus of the course.  As a student you will have valuable work experience placements that will shine on your CV: We will take you to film and television markets, Berlinale and MIPCOM, and games conference EGX; you will work with the producers and designers on other NFTS courses on live projects; and have countless networking opportunities to meet and learn from the industries’ best talent.

3)     The course aims to give you not only the business-to-consumer skill set - how to connect films, games and television shows with the public - but also the critical business-to-business mind-set to manage a brand or business in relation to other businesses within the industries, to really command each sector with ease.

4)     The content and delivery has been developed by the film, television and game industries.  We have consulted with them thoroughly in the creation of the objectives, framework and subject matter covered.  This is a meaningful qualification to the sectors you will soon be working in.

What are the key things I need to know to apply?

·         The course is 2 years, full-time and starts in January 2018

·         Applications are open now; please click ***Here*** to apply.

-         Register for the online open day at www.nfts.co.uk/opendays

·         There are no specific educational requirements for the course. Some experience or study in media and/or marketing and publicity is desirable and a love of film, television and/or games I would say is essential!

Tweet your questions to us using #NFTSMarketing @NFTSFilmTV and we will pass them to Debbie and Chris or ask questions live during the open day at our Facebook page.

 

Work at the biggest design house in Europe

A course with ‘brilliant training & benefit of real world experience.’

This week, I met with Sky’s Creative Director, (Design), Ceri Sampson and National Film and Television School Graphics and Titles Diploma course leader and experienced graphic designer, Hugo Hansell to find out more about the new course, which is delivered in partnership with Sky and includes a four-week placement working with the broadcaster’s design team.

Tell us about the Graphics & Titles Diploma and what makes it stand out from other graphic design courses?

Hugo: This course is completely unique; I don’t know of any other course that dovetails into the film and television industries like this one does. The course will be based around numerous aspects of film and TV graphics including both 2d and 3d and students will get to collaborate with those on other courses across a wide range of TV and filmmaking disciplines from Producing and Directing TV Entertainment to Fiction, Natural History, Science and Sports Production.

Who should apply and why?

Ceri: Anyone with an interest in working in graphic design in the television industry should apply for this course. The broadcast industry is so fast paced and Sky’s design team is constantly looking for new recruits who can hit the ground running. That is why completing a work placement where you get relevant training and real world experience in an environment like Sky - Europe’s largest design house - makes any candidate extremely attractive to a future employer.

Hugo: We’re looking for both practical and creative applicants. Maybe you’re inspired by the latest cutting edge technologies in graphic design from Vizrt to VFX or you might be highly creative and love pushing the envelope with your design ideas. Ultimately, you really need to have a passion for film and television and be committed to wanting to work in one of these exciting industries.

What will students experience on their placement at Sky?

(Example of an Ident a student might get to work on at Sky.)

Ceri: The design team at Sky is extremely large and many different disciplines work together including title design, channel branding and content graphics. NFTS students will be able to choose a particular area to focus on and immerse themselves in the broadcast environment. They could be working on titles for the latest sports programming, campaigns for programmes such as Game of Thrones or a rebrand and idents for the likes of Sky Cinema. There are creative opportunities for those who want to come up with ideas and storyboard them; or students could choose to focus on VFX or on honing Vizrt skills and working on real-time 3D graphics, video playout or sports analysis. 

Hugo: The opportunity to experience working somewhere like Sky is extremely rare and will be a fantastic addition to your CV.

How can I make my application stand out?

Hugo: You’ll need to have a strong portfolio and be able to demonstrate a genuine interest in working in the television or film industry. Enthusiasm and visual talent are the most important things to showcase!

How do I apply?

Applications are open now for the full-time, 12 month Diploma and the course starts in January 2017. Apply here!

Bill Nighy Delivers ‘Acting for the Screen’ Masterclass

Delights NFTS Students: “What a legend he is!”

Our students arrived in droves to hear from double BAFTA and Golden Globe winning actor, Bill Nighy this week, the first of a series of planned masterclasses aimed at the interaction between filmmakers and actors. Directing and Producing Television Entertainment MA student, Madeleine Spivey couldn’t have put it better when she said: “NFTS just played host to an incredibly thoughtful masterclass delivered by the incomparable Bill Nighy. What a legend he is!”

Bill’s incredible, highly acclaimed and much-loved body of work spans theatre, TV and film.  Encompassing hard-hitting political drama such as State of Play; zom-rom-com, Shaun Of The Dead; period drama, Glorious 39 and Lone Scherfig’s forthcoming Their Finest; animation, Rango; drama, Notes On A Scandal and The Girl In The Café; comedy-dramas, Hot Fuzz, Love Actually and The Boat That Rocked and family entertainment, Harry Potter and the Deathly Hallows; and the Pirates of the Caribbean film series.  Their Finest is Bill’s next project, a romantic comedy set in World War II, which is due for release in March 2017 and in which he stars with Gemma Arterton and Sam Clafin.

Bill started by encouraging the students to ask him questions ‘you wouldn’t ask anyone else!’ as asking if you don’t know the answer is always the best policy. He quoted director Roger Michell’s advice: “If you don’t know something, don’t blag it – ask!”

A clear theme throughout the masterclass was how important it is for directors and producers to ‘create an environment where everyone gets looked after properly’ on-set as making movies is a ‘collaborative affair’. Bill advised all directors to direct a play if they get a chance as you get to ‘minutely examine the relationship with actors on the stage’. Bill also likes it when directors are clear and practical with their direction and gave an example of filming with Stephen Poliakoff who told Bill after a particular scene: ‘That was marvellous. Next time, don't wiggle your eyes about so much’, which is the kind of direction Bill likes becauseI know how to not make my eyes wiggle about!’

Bill was asked if he changes his approach to acting depending on whether it’s big budget or a small indie film. He replied by saying ‘no, not really’. The only difference is that on a smaller movie, it’s tighter and  you have less time to deliver a shot whereas on a big budget movie you can find yourself in fairly daunting situations which affect you to start with but you could be anywhere after a few days. He used the Pirates of the Caribbean as an example as he had to wear ‘computer pyjamas’ and the sets were huge scale, even including a special boat to create movie rain and light rigs that make the rain look ‘groovy!’

The importance of rehearsal time was another theme that Bill tackled as rehearsals don’t happen very often on movie sets and ‘when it does, it’s a dream’. He advocates ‘getting up and rehearsing the scene to the max so you can then achieve spontaneity.’ If there’s no rehearsal time and it’s a comedy movie, then Bill advised that the rehearsal or first take should be shot as that is usually the most funny. Whereas if you do get a chance to rehearse as you do in the theatre, then you’ll be fine as ‘everything is better when rehearsed. Rehearsal isn’t the enemy of art, humour and spontaneity!’

Another student was curious as to what gives Bill inspiration for his accents. Bill told the audience he  decided to go with a Scottish accent for his character, Davy Jones in Pirates of the Caribbean after being given the note that the character should sound ‘wet!’ He avoided West Country as he ‘wanted to be different!’ To get the accent right, Bill finds people with the accent and gets them to read bits of the script which he records on his phone.

When asked about Love Actually, Bill said it had had a profound effect on his life as it meant he never had to audition again, which was a ‘most unexpected and beautiful thing to happen!’ And on what happens when he hears the ‘Love is All Around’, the song his character adapted in Love Actually to ‘Christmas is All Around’, Bill said ‘I feel good! It’s a sign of affection.’

At the end of the event, Production Design MA student, Adriane Hervas presented Bill with a cake she had made, which was inspired by the Pirates of the Caribbean and featured a pirate ship and a squid! Adriane had met Bill previously when she was working in a cake shop and she had told him how much she liked baking. Bill said the cake looked ‘very exciting’ and that he would take it to his daughter’s for dinner.

If you are inspired to join us at the NFTS, we have a number of courses that are still available to apply for to start in January 2017 ranging from an MA in Film Studies, Programming and Curation to an MA in Marketing, Distribution, Sales and Exhibition; and a Digital Effects MA. We also have a range of very exciting short courses from Directing the Documentary to Writing the Pilot and Craft Editing.

 

Digital Effects Grads Credited on a Multitude of Movies!

From Inferno to Bridget Jones Baby

NFTS Digital Effects grads are working across a multitude of genres from action movies like Suicide Squad to dramas like Poldark, documentaries such as Voyage of Time – Life’s Journey and comedies like Bridget Jones Baby and Nice Guys. Nearly all (96%) of our Digital FX graduates are in employment from Soho to São Paulo to Singapore, working on the latest films, TV shows, VR experiences and all kinds of digital visualisation. 

Here are a few examples of roles you can expect to aim for after graduating from this exciting two-year MA:

Dean Koonjul is working as Compositor on Inferno, the latest adaptation of Dan Brown’s bestselling novel and stars Tom Hanks who reprises his role as Harvard symbologist Robert Langdon.

Victor Tomi and Giacomo Matteucci are Digital Compositors on Miss Peregrine's Home for Peculiar Children, a movie based on the novel of the same name about a mystery that spans different worlds and times.

Felipe Olid Guerrero is Compositor on three episodes of the second series of hit TV Drama, Poldark.

Dillan Nicholls is Lead Compositor on Bridget Jones Baby, which has seen huge success at the UK Box Office and stars Rene Zellweger, Colin Firth and Patrick Dempsey.

Andy Quinn is Compositing Supervisor on Nice Guys, a movie which is set in 1977 about a down-on-his-luck private eye (Ryan Gosling) and a hired enforcer (Russell Crowe).

Manuel Perez is Digital Compositor on Captain America: Civil War which Empire describes as ‘matching its blockbuster scale and spectacle with the smarts of a great, grown-up thriller, Captain America: Civil War is Marvel Studios’ finest film yet.’

Rob Rankin and Graham Dorey are Digital Compositors on Anthropoid based on the extraordinary true story of "Operation Anthropoid," the code name for the Czechoslovakian operatives' mission to assassinate SS officer Reinhard Heydrich.

James Brennan-Craddock is credited as CG Lead on documentary Voyage of Time – Life’s Journey which is directed by Terrence Malick and described as a collage film that intends to illustrate the birth and death of an undiscovered universe. 

Carlos Ciudad is Visual Effects Production Manager: MPC for X-Men:Apocalypse and Suicide Squad, which also credits Chris Gooch as Lead Compositor: MPC. Carlos says of his work: “I love my job and get a huge buzz from working on the latest big blockbusters; it’s great to work with so many highly creative people and to have the opportunity for millions of people around the world to see your work!”
 
if working in Digital Effects sounds like the career for you, you can apply now to start in January 2017!

“I felt I had a destiny to make films”

Werner Herzog illuminates film school students with entertaining Q&A

The NFTS was privileged to welcome Oscar nominated, Cannes and Sundance winning director Werner Herzog for a masterclass with the students this week.

Considered one of the greatest figures of cinema, film critic Roger Ebert said the following of Werner Herzog: "He has never created a single film that is compromised, shameful, made for pragmatic reasons, or uninteresting. Even his failures are spectacular.”

His work includes the Sundance winning Grizzly Man, Cannes winning Fitzcarraldo and Oscar nominated Encounters at the End of the World.

Students were treated to a special preview of Werner’s new film Into The Inferno followed by a Q&A with the director himself and film journalist Ian Haydn Smith about the film and his wider body of work. Into the Inferno is a documentary that explores active volcanoes around the world and is due for release on Netflix on October 28th. The film has been described as a ‘masterwork filled with stunning visuals and captivating environs’ and ‘a memento mori aimed at the whole human race, and only Herzog could make this non-pretentious, funny, curious, and respectful at the same time.’

Into the Inferno was a highly enjoyable watch and full of epic shots of the active volcanic lava interspersed with captivating interviews with characters who live or work in close proximity to volcanoes and how they affect their lives. There are many comedic moments which elicited laughs of appreciation from the students as well as awe inspiring moments that conveyed how powerful and destructive volcanic eruptions can be.

Ian asked Werner how he chooses the music for his films as the soundtrack selected for Into the Inferno as with many of his other films gives the film a sense of continuity and fluidity, and draws the audience in. Werner said he often knows which music he wants before shooting and described the piece of classical music that accompanies the shots of volcanoes as having a flow and mood of poetic tragedy and that the instruments ‘sing’ in this particular recording.

Werner covered a number of big subjects in the masterclass from the performance he gets from his actors; to his drive and sense of destiny to make films; and the question of whether it’s possible to ‘create reality’ when making documentaries. On working with big name actors like Nicolas Cage and Nicole Kidman, Werner said: “I don’t work with stars. I treat everyone in front of my camera like royalty. It is a privilege as a filmmaker to be able to work with such talented people.” And on method acting: “No one got better because of that!” He doesn’t encourage actors to focus on the psychology behind their characters and encouraged Nicolas Cage when ruminating on why his character in Bad Lieutenant is so bad to stop worrying and “just enjoy the bliss of evil!”

The subject of truth and reality is something that Werner is very clear on: “It’s impossible to create reality. We have to ask ourselves if we are already in a fictional reality. I modify and invent and sometimes find an ecstasy of truth; I try to get the audience to step out of themselves and thereby get some kind of illumination.”

Illustrating that he is by no means a run of the mill director, Werner talked about Heart of Glass and the fact that most of the cast were hypnotised during their performance, which Ian described as having the effect of casting a spell over the audience. Werner said he had even tried out hypnotising audiences themselves as he is curious about how vision and dialogue functions under hypnosis.

Ian highlighted that Werner came to the world of cinema quite late. “I feel I invented cinema sometimes! I saw cinema very late in life and didn’t know it existed until I was 11 years old. It was such a novelty; I wanted to make films better than what I saw. I felt I had a destiny to make films.”

Werner also stressed to the students that despite being seen as having a very singular voice, he "had to make many compromises and you have to be able to live with these compromises. You have to derive a force and dynamic out of compromises.”

One of the students asked Werner how he works with editors: “I learnt very quickly early on thanks to working with a very competent editor who had an uncanny sense of what needed to be cut. It’s important that your editor can see the value and gems in the narrative even if it’s different to your original intentions. I don’t look at footage while shooting and don’t allow anyone else to other than my assistant cameraman. I then watch the entire footage with the editor in one go and write down notes, which enables me to memorise it. I add one exclamation mark for something that’s very good; two exclamation marks for something exceptional and three for something that must be in the film or I’ve lived in vain! Due to doing things in this way, I can edit very fast and the continuity is somehow suspended if you can cut from one extraordinary moment to another. Continuity comes from dynamic footage – there is no need to slavishly try and create film continuity.”

Another student was keen to get Werner’s thoughts on Virtual Reality: “I am very curious about Virtual Reality and have met with people who are making this kind of thing. I think it’s difficult to tell stories this way as the editing is so hard and think movies in a 360˚ format will fail. The goggles are also very uncomfortable after anything longer than around 8 minutes. Some of it is hype; it may be the next big thing but you have to show me really different narrative forms so it will catch on.”

Werner left the students with the powerful thought that filmmaking is ‘a basic feeling and a natural right’; he told them how he had worked as a welder at night to get the money to make films when he first started out and learned through mistakes.

If you would like to be part of the exciting world of the National Film and Television School and attend masterclasses like these, we have a wide range of courses starting in January 2017 that you can still apply for. These range from Film Studies, Programming and Curation to Marketing, Distribution, Sales and Exhibition and Directing and Producing Natural History and Science.

NFTS Appoints Experienced Production Accountant

Natalie Moore to Lead Production Accounting Diploma

London, 21st October 2016: The National Film and Television School (NFTS) today announces it has appointed experienced production accountant, Natalie Moore to run its new Production Accounting Diploma.

The part-time 12-month diploma is delivered in partnership with the Production Guild, the UK’s most prestigious membership organisation for film and TV production management professionals.

Natalie has over 15 years’ experience working in the Film and Television Industry.  Her roles have included a wide range of projects from low budget Independent films all the way up to larger US Studio blockbusters including her latest project “Dunkirk” the highly anticipated Christopher Nolan World War II Epic. During her career she has had the opportunity to work abroad many times in exciting locations such as Uganda, Montreal, The Netherlands and LA, which has enabled her to form a wide and varied network?

Students on the Production Accounting Diploma will be equipped with the skills required to foster a successful future career as a film or television production accountant. The diploma is ideal for those already working in a finance or accountancy role and who are keen to move into the film and television sector. Students will learn the specialist knowledge required to work as a production accountant and establish key contacts to enable them to develop their career as a result.

All students will experience a minimum of ten days’ work experience or production shadowing.

Natalie Moore, NFTS Head of Production Accounting says: “This is a fantastic new role at a highly respected institution and I can’t wait to get started! Cultivating new talent in production accounting is much needed as the industry is crying out for specialists in this area. I look forward to meeting the students and creating a network of skilled accounting talent!”

Nik Powell, NFTS director says: “We are extremely pleased to have Natalie on board. Her extensive experience in the field of accounting in the film and television production worlds is extremely impressive; she will be a huge asset to both the school and the students. The course itself has been introduced to fill a gap in the market as skilled accountants who specialise in film and television are highly sought after.”

Alison Small, Chief Executive at the Production Guild says: “We are delighted to be partnering with such a prestigious school as the NFTS on this exciting new course and it’s excellent news that such an experienced production accountant, Natalie Moore, has been appointed to lead the Diploma. At the Production Guild, we represent and support those working in accounts, production, assistant directing, location management, post-production and VFX so it is fantastic to work with both Natalie and the NFTS to develop this very specialist course. It will sit alongside our Assistant Production Accountant Training Scheme (APATS) to build new talent in the area of Production Accounting.”

The Production Accounting diploma is open to those with academic or vocational qualifications in accounting or relevant work experience. Applications are open now until November 17th 2016 and the course starts in January 2017. Please visit https://nfts.co.uk/our-courses/diploma/production-accounting-film-television for more information.

-Ends-

Contact for further information:

Vicky Hewlett, Head of PR and Communications, NFTS: VHewlett@nfts.co.uk

Lesley Lipscombe, Training and Development Manager, The Production Guild: lesley@productionguild.com

The IET Supports New Course Run by the NFTS

Production Technology MA Introduced to Tackle Skills Gap

London, 21st October 2016: The National Film and Television School (NFTS) announces that the IET (Institution of Engineering and Technology) supports its new Production Technology MA, which has been launched to tackle a shortage of broadcast engineers and fill a looming skills gap in the television and film industry. The BBC have recently noted that 60% of Engineers across Europe are within 10 years of retirement.

The two-year postgraduate course will start in January 2017 and students will benefit from the school’s new Digital Content Production Training Studio, which on opening early 2017 will be one of the most advanced dedicated training facilities in the UK and will have the ability to shoot, record and stream live content in high definition 4k.

Tim Hamer, IET’s Director of Knowledge says: “We fully support this new Production Technology MA and the work the National Film and Television School is doing to meet the UK’s shortage of highly skilled broadcast engineers. This area of engineering is extremely exciting and we would encourage anyone with an interest in television and film to apply.”

Top technologist and NFTS Head of Production Technology, John Maxwell Hobbs says: “Our Production Technology MA offers a unique opportunity for students to embed themselves into full productions as solution providers and get practical hands on experience that would be impossible to get outside a film and television school like ours. While the industry is headed towards a skills gap, we’re also seeing massive technological advances and the merging of the worlds of broadcasting and IT so this is an incredibly vibrant time for broadcast engineering and offers a highly rewarding career path.”

Production Technology students will be offered full membership of the IET enabling them to use the top class facilities when in central London. NFTS will also embark upon a work placement programme with IET’s TV Production department allowing students to get hands on experience across a number of different areas from camera work and vision mixing to production management and work flow design.

Applications are open until October 31st 2016 and the course starts in January 2017. Please visit https://nfts.co.uk/our-courses/masters/production-technology to apply.

ENDS

Contact for further information:

Vicky Hewlett, Head of PR and Communications, NFTS: VHewlett@nfts.co.uk

“When your hero comes to school & he is everything you hoped for!”

Steve McQueen Delivers Colin Young Annual Lecture at NFTS

Oscar nominated director and BFI fellow, Steve McQueen delivered this year’s Colin Young Annual Lecture, in conversation with the film critic Jason Solomons. The Colin Young lecture is a prestigious event that was established in 2007 to celebrate the 80th birthday of the National Film and Television School’s founding director, Colin Young, CBE. Colin Young himself was in attendance as was NFTS director, Nik Powell and a packed audience of students and alumni. 

British filmmaker and artist, Steve McQueen is the recipient of numerous awards including an OBE and CBE. His first feature, Hunger, won the Camera d’Or at the Cannes film festival and Shame, starring Michael Fassbender and Carey Mulligan, won two ‘Best Film’ awards when it premiered at Venice Film Festival. His third film, 12 Years a Slave was adapted from a memoir by Solomon Northup and won three Academy Awards including ‘Best Motion Picture’.‎

Steve’s masterclass was ‘inspirational and insightful’ according to Games Design student, Laura Dodds while Producing and Directing Television Entertainment student, Meera Patel said: “When your hero comes to school & he is everything you hoped for!” NFTS senior coordinator, Shakil Mohammed summed it up for everyone with: “Still buzzing after hearing director, Steve McQueen speaking!”

If you would like to experience inspiring masterclasses like this one, there are still places on our courses starting in January 2017. Courses with places available range from our Film Studies, Programming and Curation MA to a Digital Effects MA and  a new MA in Marketing, Sales, Distribution and Exhibition.

 

NFTS Course Leader Wins Science Award

Triumphs at Panda Awards

Paul Reddish who has recently been appointed to lead the National Film and Television School’s (NFTS) new Directing and Producing Natural History and Science MA is part of the team that has won two prestigious Panda Awards for Attenborough’s Life that Glows including the Innovation Award and the Science Award. The Panda Awards took place last night at Colston Hall in Bristol and is part of the the Wildscreen festival, which attracts the leading lights of the wildlife film and programme making industry including Sir David Attenborough himself!

Paul came up with the story and wrote the scripts for Attenborough’s Life that Glows, directed by Joe Loncraine, where David Attenborough introduces the perplexing world of glowing fungi and asks, is fungal bioluminescence just a biochemical accident or is there a more important function at play?

The Science Award is given to the production that best furthers human and/or audience knowledge and understanding of the natural world through scientific methodology and discovery.

Paul, who in addition to his new teaching role at the NFTS, has been Producer and Director across a number of high profile natural history films and series including Attenborough in Paradise, The Future is Wild, Hummingbirds Jewelled Messengers, says: “It is an absolute honour to be part of the team that created this engaging new programme; it’s always fantastic to win awards but I am particularly pleased that Life that Glows has won a science award given that I am about to teach directing and producing science documentaries as well as natural history programmes at the NFTS. I love to encourage and mentor new talent and I can’t wait to meet and start working with the students and tutors at such a prestigious institution!”

The Panda Innovation Award is given for outstanding achievement in innovation in natural world storytelling. According to Paul, “Martin Dohrn deserves the most praise for the Innovation Award, as he designed and built the remarkable split-beam low light/IR camera used in the movie.”

For more information on the NFTS two-year Directing and Producing Science and Natural History MA, which starts in January 2017, please visit www.nfts.co.uk

 

 

Marketing the next blockbusters in film, TV and Games

Marketing, Distribution, Sales & Exhibition MA: In Focus

NFTS Marketing, Distribution, Sales & Exhibition MA course leader and entertainment marketing expert, Deborah Rowland discusses the new course and how marketers are influencing the film, TV and games industries.

In a nutshell, what is the Course about?

The Masters in Marketing, Distribution, Sales and Exhibition is a really exciting new course that looks at how we connect content such as films, TV shows and games to audiences and consumers.  It will equip you with all the tools you’ll need to sell, market, distribute, retail and exhibit – looking at how cinemas, TV channels, games and film distribution companies operate, how to identify your audiences, and how to reach them through creative and effective sales and marketing techniques.  By the end of the course, you’ll have an unrivalled overview of the film, television and games industries and be able to move between them with ease – making you highly employable executives in these sectors.

What sort of roles will it qualify me for?

The course will qualify you for a huge number of commercial roles within the films, television and games sectors, these might include:

  • a marketing manager who creates the campaigns for feature films or games, ensuring the trailers, posters and advertising all connect with the right audiences
  • a commissioning exec who spots the best television shows and talent and brings them to your channel
  • an exhibition marketing manager who ensures that audiences have the best experiences at their cinemas
  • a publicity manager who looks after the cast of a popular television show or film, managing their interviews with the press or their appearances at premieres and events
  • a social media exec managing the online word of mouth for their film, television show or game

These are just a few of the roles you will be prepared and qualified for once you’ve taken the course.

Are the film, television and games industries as glamourous as they seem?

There are moments when they are very glamourous!  Film festivals abroad, launch parties and working with stars are a big part of the work involved.  But it’s also very hard work, and often long hours, to bring a product to market in these industries.  That said there is a great deal of satisfaction in seeing a poster, trailer or advert for a film, television show or game that you’ve worked on, or a game or DVD on a shelf in a store, and you can say “I did that!”

What can I expect from my two years on the course?

The two years will be packed with everything and everyone you need to know to make a successful career in film, television and games!  The emphasis is on practical application and experience – this is not a course of theory.  You will have a work placement each year in a business in one of the three sectors – which will look great on your CV.  We will take you to the Berlin film festival and market, television market MIPCOM and games conference EGX.  Your projects and assignments will all focus on embedding the knowledge you’ve gained on the course.  The tutors and speakers on the course will all be industry execs out there doing it, so you will emerge for the course incredibly well connected with some extremely valuable experience.

What are the most exciting developments and challenges in the three industries right now?

For film, companies such as Netflix and Amazon have become influential players in film distribution and marketing and the industry as a whole is adapting and changing in response to this.   The growth of ‘event cinema’ – where people are watching non-film content in cinemas including, opera, ballet, concerts, even museum exhibitions – is also having a huge impact not just on how films are released, but on how and what audiences want to see in cinema.

For television, broadcasters are having to react to a change in how we are watching television – it’s a lot less linear now; it’s more online, catch-up or appointment to view.  More and more they are having to create content and “worlds” around the programmes themselves for audiences to engage with online.

On the gaming side, the popularity of mobile gaming is increasing and bringing in a whole new audience while the key hardware leaders, such as Playstation and Xbox, are constantly looking at ways to expand their existing user bases.

Piracy continues to be a challenge across all three industries, as does finding and reaching audiences and consumers as they become ever-more fragmented in a digital age.

The potential impact of virtual reality is a very exciting development across all three areas. Each is looking closely at how audiences will respond as well as the implications for content creators, and everyone is wondering if it will be as successful as 3D.

It’s certainly a fascinating time to be in the creative industries right now!

Who is the course aimed at?

The new MA is aimed at people looking to get into, or to develop their careers in, the business and marketing aspects of the film, television and games industries.  If you’re interested in being part of how the content from the three sectors reaches people, then this is for you.

You might be currently studying film, media or marketing and want to specialise and get valuable experience in these industries, or you may already work in them and are looking for a way to expand your working knowledge of distribution and marketing.  Either way, the course is designed to give you the knowledge, experience and contacts to make you more employable in marketing, distribution, sales and exhibition.

What makes this course different from similar ones out there?

There are lots of reasons this MA stands out from others:

1)     NFTS has an unrivalled reputation. It has been described as “the best film school in the world” and is a centre of learning excellence for the creative sector.  The course leaders and tutors are some of the most experienced in the film, television and games industries – you will emerge from completing your course incredibly experienced and well connected!

2)     Practical application and experience is a major focus of the course.  As a student you will have valuable work experience placements that will shine on your CV: We will take you to film and television markets, Berlinale and MIPCOM, and games conference EGX; you will work with the producers and designers on other NFTS courses on live projects; and have countless networking opportunities to meet and learn from the industries’ best talent.

3)     The course aims to give you not only the business-to-consumer skill set - how to connect films, games and television shows with the public - but also the critical business-to-business mind-set to manage a brand or business in relation to other businesses within the industries, to really command each sector with ease.

4)     The content and delivery has been developed by the film, television and game industries.  We have consulted with them thoroughly in the creation of the objectives, framework and subject matter covered.  This is a meaningful qualification to the sectors you will soon be working in.

How can I make my application stand out?

The application will test how you currently think about connecting content to people.  How aware you are of the importance of audiences how they consume media, the challenges in finding them, reaching them and converting them into a viewer or a player?  We want to see your analytical approach to why you think a marketing campaign has been successful or otherwise - not from your own personal tastes, but from an audience and consumer perspective.  We also want to see your passion for film, television and/or games shine through too!

What are the key things I need to know to apply?

  • The course is two years, full-time and starts in January 2017
  • Applications are open now; please click ***Here*** to apply.
  • There are no specific educational requirements for the course. Some experience or study in media and/or marketing and publicity is desirable and a love of film, television and/or games I would say is essential!

 

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