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I CORSI - Workshop
Editing Social Realism Course w/ Jonathan Morris

 London, 9-10 May 2020 


40% Discount until the 30th of December!
An editor who is largely known for his extensive years of collaboration with director Ken Loach, Jonathan Morris will be lecturing a workshop on "Editing Social Realism".

This will be an absolutely unique opportunity to develop your skills in Editing and learning about the process of editing, while doing so with a professional that has more than 50 years of experience in the field. 

Jonathan Morris's experience speaks for itself, havingedited films like "The Wind That Shakes the Barley" and "I, Daniel Blake" therefore guaranteeing the high standards our participants have come to expect from FEST FILM LAB.

This 2 days intensive workshop is strictly limited to 25 participants maximum so we advise registering fast to guarantee your place. The workshop fee is 449GBP, but we will have a 40% discount, costing only 299GBP until the 30th of December. The workshop will take place in London, UK, on the 9th and 10th of May 2020.

For more information and to register please visit this workshop's page www.filmlab.fest.pt

Jonathan Morris first worked as a child actor, appearing in the original stage production of “Oliver” in London’s West End. Soon after, he sang with Judy Garland in her final film. Deciding against the uncertainties of life as an actor, he took a job in 1966 as a trainee second assistant film editor at Elstree Studios, then worked on television series, including “The Saint” and “The Champions”, and several feature-length films, including the cult classic “Witchfinder General”. 

In 1972, he took a position at ATV and in 1976 was promoted to Editor. There, he edited many documentaries and dramas, and worked with well-known directors including Adrian Cowell, Ken Loach, David Monro and Anthony Thomas, and went to the United States to cut an Emmy Award-winning episode “Vietnam – An American History”. In 1982, Morris formed a post-production company in London and edited numerous award-winning films. In 1992, he was nominated for a BAFTA for the documentary “Hellfighters of Kuwait”. 

Director Ken Loach's prolific output as a feature film-maker since the early 1990s owes a lot to the regular group of collaborators who have worked with him during this period. One of these is Jonathan Morris.

Having worked with Loach in over 30 films, Morris brings to the table a sense of aesthetics that he has matured while working with the director and, generally being the first viewer of the films, the editor is well accustomed to the constrictions that social realism entails.

Loach’s use of regional dialects and very closed accents, his faithful mise-en-scène, and his movies naturalistic cutting techniques lead to some restrictions when it comes to editing. When the work is passed on to Morris, so he can edit it, he has to take the genre of the film into consideration. This means that every editing decision he makes has to tie the film together, making it look and feel as real as possible, which can be a challenge.

Jonathan has worked on 12 films selected for the Official Competition at the Festival de Cannes, two of which took the Palme d’Or, as well as three films in competition at the Venice Film Festival and the Berlinale. Recently, Morris edited the award-winning docudrama series “The Great War – The People’s Story” for ITV. 

Full list of credits on https://www.imdb.com/name/nm0606682/

Participant Profile:
The workshop designed for Editors, Directors, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Editing
Duration: 2 days, 16 hours
Dates: 9th - 10th May 2020
Location: London, UK
Price: 449 GBP (299GBP until 30th of December)
Maximum number of participants: 25

The Editing workshop will focus on a diversity of topics of the craft, shedding a light on how to add a more realistic look and naturalistic feel to a movie.

It will give Editors and filmmakers the opportunity to understand the singularity of editing a specific film type as well as Morris' perspectives on this technique.

Topics covered will be:

  • Getting the job;
  • Reading the script;
  • Liaising with the director, the producer,  the cameraperson, and the crew during the shoot;
  • Editing during filming;
  • Editing with the director;
  • Re-editing with the director after execs viewings;
  • Liaising with the sound editor;
  • Deciding where music is needed;
  • Discussing with the composer where we feel music is required;
  • Recording music and ADR;
  • Grading and picture FX;
  • Dubbing;
  • Viewing completed film before finalising;
  • Recutting, regrading, redubbing;
  • Viewing the final version.