About us

Filmtett Association

Contacts:


Filmtett Workshop

Our mentors were: Anger Zsolt, Bálint Arthur, Bántó Csaba, Báron György, Beke Tamás, Bertóti Attila, Bollók Csaba, Boros Melinda, Bredár Zsolt, Csánki Kata, Cs. Nagy Sándor, Czakó Judit,Csáki László, Csoma Zsolt, Dávid András, Deme Áron, Dimény Áron, Dömötör Tamás, Dyga Zsombor, Durst György, Erdélyi Dániel, Ferenczi Gábor, Gelencsér Gábor, Hajdu Szabolcs, Jakab-Benke Nándor, Kallós Bea, Kerékgyártó Yvonne, Komlódi Gábor, Kornis Anna, Kovács M. András, Lakatos Róbert, Lemhényi Réka, Lovas Balázs, Lukács Péter Benjámin, Margitházi Beja, Maciej Kozlowski, Maruszki Balázs, Mateusz Adamczyk, Mészáros Péter, M. Tóth Géza, Nagy Viktória, Nagy V. Gergő, Pálfi György, Pálfi Szabolcs, Pálffy Tibor, Pálos György, Pápai Zsolt, Patrovits Tamás, Paul Lenart, Radu Vasile Igazság, Ruttkay Zsófia, Salat Lehel, Sopsits Árpád, Strausz László, Szekeres Csaba, Szilágyi Kornél, Rák József, Tóth Zsolt, Török-Illyés Orsolya, Török Zita, Ujj Mészáros Károly, Vadon Zoltán, Varga Balázs, Varga Zoltán, Varró Attila, Várhegyi Rudolf, Vereckei Zsolt, Vincze Teréz, Völler Ágnes, Wojtek Blaszczyk, Zányi Tamás.

Collaborators: Buzogány Klára, Durst György, Tóth Gödri Iringó, Zágoni Bálint.


„These films tell us about the fact that their creators would like to reveal something about themselves. Even if they choose a pathetic or an epic story, the only thing that they have in mind is the thought:’This is who I am, this is my outlook on life, this is what I would like to say’, and probably they will face the fact that they were wrong, they lied, or the question ‘Is this really me?’ This is part of the learning process.” (György Pálfi, group of directors, 2005)

„The workload was huge during those ten days, all the participants got down to work, and taking into consideration that we worked from dawn till late in the night, this camp could be seen as a work-camp, as well.” (Dániel Erdélyi, group of directors, 2009)

“I walked around and monitored the participants’ progress and problems day by day, offering help. The ‘secret’ that had to be puzzled out was different from case to case. For example in the case of Attila Bertóti, who has been creating short animations for a long time, and we have already worked together before, and who graduated from film school, the secret of dramaturgy is not such a great challenge, but for the others the biggest secret lies in telling a story. You have to do something with the time, space, sound, story, and I suspected from the moment I read the screenplays that there would be some problems. Here we have to solve these problems in one or two days.” (Radu Vasile Igazság, group of short animation creators, 2009)

„This is a longer learning process as the producer’s or the production manager’s task is really complex: they have to deal with the costumes, props, make-up, setting, transport and catering. They have to work much more than a director or a DP, because this is both a psychical and economic activity. Of course our aim is neither to create producers or production managers from all these participants, nor to plead with them to become directors, actors or sound engineers.” (György Durst, group of producers and production managers, 2011)

„I proposed to the group to have 24 hours of stillness (from morning to morning). During the first part of the day we spent 4 or 5 hours in the forest. The atmosphere of this walk was fantastic: the first half an hour was awkward, but afterwards they started to be attentive. There was a period of about an hour when everybody concentraded on himself/herself, as we got tired and we decided to have a rest. We didn’t do anything, but sitting, it was a wonderful moment! This was followed by a phase when the participants started to communicate: they played with tree branches and they joined spontaneously each-other’s game. After getting back to the camp an other game started: with the speakers. It was interesting to observe their reaction: some of them started to speak more to us, there were people who joined our stillness, while others communicated less with us.” (Tibor Pálffy, group of actors, 2009)

„It is impossible to prepare beforehand for all the problems that can occur during the shootings. The task that we had to accomplish resembles a real film-making process, it cannot be dealt with indolently. The communication between the director and the DP, but also among the other members of the film crew is of utmost importance. They have to talk a lot before the filming starts, and it is good to have at least half a day to analyze the screenplays before bending to the task. It is not a problem if somebody makes a mistake during the shootings, because due to these mistakes one can discover or learn something.” (Arthur Bálint, group of cinematographers, 2010)

„Before the shootings we talked a little about the theoretical aspects of film editing, dramaturgy and framing. Furthermore we watched together a few fragments (in order to understand the concept of crossing the line), that would be analyzed afterwards. Their tasks varied from editing a trailer – for the Swedish horror: Let the Right One In – to creating a 30 second-scene out of 150 pieces of footage. We had a lot of work to do.” (Judit Czakó, group of film editors, 2011)

„While shooting a particular film I told the guys that they grabbed the bull by its horns, because it contained several scenes which became quite entangled in what the light and setup were concerned. Phisically it was extremely difficult find the suitable position for both the sound and the image. In this case we needed both of the sound crews, with two recording equipments, three microphones. It was difficult because if we placed the microphone with only 5 centimetres away, it would have left a shadow on the wall.” (Rudolf Várhegyi, group of production sound mixers, 2011)

„The film critic is a peculiar species. Even the logic of learning is different from the methods of the film crew, so the training in our group is completely different from all the other groups. In the previous years we organized our activities in two separate stages: in the morning the participants could attend lectures based on different films, or could deepen their knowledge through collective film analyses, and in the afternoon they had the chance to learn about the crafts of film publicism (conducting interviews, writing criticism) both in theory and in practice. Because of the fact that in reality these are two different jobs, the group had two team leaders, and by the end of the camping period we were able to fatigue our trainees. But, as the two stages are organically combined, all these had their reason: learning and enlarging the participants’ range of vision in the morning, and workshops and practice in the afternoon. Therefore we conducted a complex training (for which we were always envied by the other team leaders who couldn’t fit the theoretical aspects into their programme because of the load of practical work.) But I think that it is not possible, or more precisely it is not worth writng film criticism without knowing the theoretical bachground and without practice in film analysis.” (Beja Margitházi, group of film critics, 2009)