Next course: 6 November 2021 to 7 November 2021
Classroom-based weekend course 10am-6pm - email firstname.lastname@example.org to express interest
Cost: £166, £149 (early booking discount 23rd October), £132 concessions
Directing Drama for film & TV weekend – “change the way you look at every script”
Directing Drama for Film & TV covers the principles of directing drama for the screen and shows students how to apply them in practice. It is run by filmmaker Simon Hook, who made several award-winning shorts before directing broadcast television drama for the BBC and Channel 4. He demonstrates the principles of directing drama by analysing film and television clips and following them up with practical exercises with the camera.
Directing Drama for Film & TV is a weekend course for students wishing to learn or develop their directing skills. Experience of working on short films and/or completing training courses such as short courses at Film Oxford is desirable.
To give course participants the confidence and skills to make their own dramas to a much higher standard. The script exercise will “change the way you look at every script”.
Covid-19: Safety is our number one priority. This course will follow these social distancing rules (until government advice changes): Each person will sit at an individual desk. Shared equipment sanitised between users. Learners are expected to bring their own face covering to wear (or be provided with a disposable one). Staff will wear face coverings. The training is held in a large, well-ventilated room. Hand sanitiser, wipes and gloves will be available. Full refund if we must cancel the course due to any restrictions.
SIMON HOOK Director/Writer – Biography
Simon has directed two one-hour episodes of the BBC Scotland show Rivercity, directed twenty three episodes (and written one) of the top rated children’s television series M.I.High for the BBC (made by the same company as Spooks) and five episodes of Hollyoaks for Channel 4.
Before television he wrote and directed a series of successful yet diverse shorts: The micro-budget, 6.6.04 attracted Completion Funding from the UK Film Council, premiered at the Edinburgh Film Festival, and was nominated for Best British Short at the British Independent Film Awards.
His short script Knit Your Own Karma won the First Film Foundation/Sci-Fi Channel Short Film competition from over 2000 entries. Described by jury member Terry Gilliam as “poetic and beautifully structured”, Simon directed it in May ‘01 and it played nationally in UCI cinemas in front of Planet of the Apes. At the Britspotting festival in Berlin that year, it won Best Short Film.
Amongst his earlier shorts, Same Dog…Whitewashed won Southern Arts’ David Altshul Award for creative excellence in film-making and the Halloween Society’s Audience Prize in London and Paris. Later, Uncle Gilbert and the Hurlo-Thrumbo was voted Best of Festival at Winterthur film festival and was sold for broadcast in the USA by PBS, in France by Canal+ and to Air Canada.
He is currently developing an original comedy series with Masses Entertainment.
Comments & Feedback
After my last shoot I can’t tell you how much better it all went having done the course – CH
It was good that it was so hands on. The course was great and fun as well! – L.L.
Thoroughly enjoyed the experience. – D.B.
Awesome – sustainable, accessible and high quality professional training. – M.V.
Excellent course, excellent tutor and excellent facility! – S.P.
Absolutely brilliant. Incredible amount of information, clear explanations, loads of examples and demonstrations. Thank you!! – R.O.
I thought the course was first class – incredible value for money – MB
I feel I was given a good intro into the various roles of the crew and the process involved in making a film – DS
Simon did a fantastic job and was very easy to understand – MS
Damn Good, Totally Brilliant – JG
Directing Drama for Film & TV – Topics include:
Day 1: 10am – 6.00pm
Sounding the part
Reading the script as a director
Planning your coverage and Cinematic Gramma
Practical exercise in blocking actors
When can I cross the line?
Shot selection and it’s effect on the audience
Tips for working with actors
Tips for working with the crew
Day 2: 10am – 6.00pm
Camera familiarisation. PRACTICAL SHOOT EXERCISE. Each student takes a turn in the role of director or other crew members, and together they will shoot a scene. Simon will point out common pitfalls, encourage good practice, and give tips to save your bacon in the edit suite!
PLUS the script exercise will “change the way you look at every script”.
Early booking discount & concessions for Introduction to Adobe Lightroom Classic?
Early Booking – Book early to get 10% reduction on the full price course fee. See the date at top right of this page (usually two weeks before the course start date, but may vary).
Concessions – UK based Students, NHS workers and people on some means-tested benefits. Evidence is required, such as student card, NHS staff card or benefit letter.
Means tested benefits – JSA, Income Support; Working Tax Credit (not child tax credit); Council Tax Benefit (not student/single person/reduction due to disability); Housing Benefit; Pension Credit (guarantee); Unwaged Dependent of these benefits & Universal Credit.
Simon’s 10 Rules for directors
Participant Review of course by Rob Pretorius
I attended the directing drama course recently and found it really good for my development as a filmmaker who is just starting off. I am currently a student, so have made a few short videos, but nothing yet sophisticated or cohesive or lengthy. I chose this course because I hoped it would offer someone like me the chance to get a grip of more in-depth and meaningful aspects of directing. It did not disappoint, and I strongly recommend this to anyone who has the basics of film making in place and is ready to start pushing themselves. It has everything you need and is such good value for money! It seems you don’t know what you are missing out on until you’ve tried it.
I was given enough room to push boundaries while still feeling like I had the support. For example, at no point did I feel as though I was in a classroom during our practical exercises. The other course participants all took their roles seriously which enabled us to work together as a team. This was perhaps one of the most important insights of the experience. Directing good drama rests on the importance of establishing clear communication. At first, I realized it was actually surprisingly hard to give your actor/member of crew precisely the right amount of information to get the effect you desired, and not too little, too much, or too vague comments with which to confuse them. The tutor was particularly helpful in his teaching which involved both practical ‘been there, done that’ analogies and a clear direction towards what we as a team were aiming to achieve. It was really good to have a tutor who was as experienced as he is and for me, this made the difference between an ordinary course and one which was filled with great insights and knowledge of what to expect when taking on the role of a director!