Topics
WORKSHOP TOPICS
- CINEMA AS A POLITICAL AND SOCIAL TOOL
- THE HERO: How to choose him/her
- CONFIDENCE/TRUST: The Director – Main Character’s relationship as the film’s foundation
- THE HEYMANN SECRET: Directing without a script
- THE IMPORTANCE OF A TECHNICAL ASPECT
- TWO EGOS, TWO DIRECTORS
- HOW TO DISTRIBUTE FILMS
- BETWEEN CINEMA AND DANCE; BETWEEN DOCUMENTARY AND FICTION
- QUEER ISRAELI CINEMA: from underground to mainstream
- DOCUMENTARY WEB-SERIES
CINEMA AS A POLITICAL AND SOCIAL TOOL
Combining social and human rights issues with the language of film has always been a priority for Tomer and Barak – “Paper Dolls” deals with illegal workers, “Bridge over the Wadi” reveals the story
of a special Jewish-Arab elementary school in Israel, “It Kinda Scares Me” focuses on troubled youth.
Both directors believe in achieving social change through cinema, in reaching all audiences through human storytelling.
THE HERO: How to choose him/her
Choosing a hero in the documentary genre has direct influence on its development and overall success. Tomer and Barak will talk about the key elements in choosing the protagonist of a story.
CONFIDENCE/TRUST: The Director – Main Character’s relationship as the film’s foundation
A documentary deals with real people and real stories. Therefore, the director must keep in mind certain moral aspects while filming, and perhaps more importantly, what you will expose about them to the public. In addition, the director has to earn the characters’ trust, to enable intimate moments to unfold and thereby get footage that is more dramatic. How do you manage such a complicated relationship?
THE HEYMANN SECRET: Directing without a script
Barak and Tomer Heymann believe that documentary is the product of improvisation and the spontaneity of the moment. Filming without a script encourages the characters to be natural, to the benefit of the overall scene. “When starting a project, you never know how it will end and you must follow your instincts”.
THE IMPORTANCE OF A TECHNICAL ASPECT
The technical aspects of a film can affect the development of the scene. Knowing when to bring a large crew and when the director must go alone with the camera is essential to maintain the purity of
the story.
TWO EGOS, TWO DIRECTORS
Two egos, two directors, two different styles. How to take the best of each in a shared project – The Heymann Brothers discuss the similarities and differences of their work methods.
HOW TO DISTRIBUTE FILMS
Which festivals to apply to, how to write the synopsis, how to edit the trailer, what to choose as the main image for the film – all this has an enormous influence on the destiny of the documentary.
BETWEEN CINEMA AND DANCE; BETWEEN DOCUMENTARY AND FICTION
The power of the dance medium is rooted in its transience and temporariness. Contrarily, the cinematic medium chooses one moment – one frame – and captures it forever. This conflict is the fertile ground of the unique filmmaking language in Heymann’s “Out of Focus” and “Mr. Gaga” – both of which follow the work of Ohad Naharin. The workshop allows the participants not only to enter the director’s mind, but also to understand and feel Naharin’s dance creations in a different, fresh way. Highlights of the films, including parts that were not included in the final versions, will be screened duringthe workshop.
QUEER ISRAELI CINEMA: from underground to mainstream
The workshop focuses on Tomer Heymann’s films “It Kinda Scares Me”, “The Queen Has No Crown”, “Paper Dolls”, “I Shot My Love” and “Who’s Gonna Love Me Now?” – films that ranged between the personal and the social-political, through which Heymann examined the development and the shift that queer culture in Israel has undergone in the past fifteen years – from underground to mainstream culture.
“No one before him has ever succeeded in portraying such accurate Israeli homosexuality.”
(Maya Mena, Ha’ir)
DOCUMENTARY WEB-SERIES
We’re used to working on each of our films for at least 3 years, shooting for more than 100 days, and editing for over a year. When it comes to making a web series, things work completely differently, but in many ways, the essence of the documentary film-making is actually similar to what we’re used to and love to do.
In this workshop we’ll examine the differences and similarities between these two very different formats, and see how the basis of an interesting, quality documentary piece always remains the same.
Heymann Brothers Films is an independent documentary film and TV production company created by Tomer Heymann and Barak Heymann.
ABOUT THE WORKSHOPS
The workshops are led by Tomer and/or Barak Heymann. Together they have created numerous documentaries which successfuly combined the most current social and political issues with the deeply personal stories of their carachters.
Tomer and Barak’s films were screened at the prestigous international film festivals like IDFA, Berlinale, HotDocs and many others, and have garnered multiple awards worldwide.
In their interactive workshops the Heymann Brothers discuss various topics such as: role of cinema as a social and political tool, directing without a script, choosing a hero, establishing trust among characters and other elements of their unique filmmaking approach.
Heymann Brothers Films •2 Barzilai Street • Tel Aviv – Yafo • 6511304 • Israel
Office: +972-3-5602701 • Fax: +972-3-5604082
Barak: +972-52-2742445 • Moran: +972-52-6202068
E-mail: production@heymannfilms.com / info@heymannfilms.com
WORKSHOP TOPICS
- CINEMA AS A POLITICAL AND SOCIAL TOOL
- THE HERO: How to choose him/her
- CONFIDENCE/TRUST: The Director – Main Character’s relationship as the film’s foundation
- THE HEYMANN SECRET: Directing without a script
- THE IMPORTANCE OF A TECHNICAL ASPECT
- TWO EGOS, TWO DIRECTORS
- HOW TO DISTRIBUTE FILMS
- BETWEEN CINEMA AND DANCE; BETWEEN DOCUMENTARY AND FICTION
- QUEER ISRAELI CINEMA: from underground to mainstream
- DOCUMENTARY WEB-SERIES
CINEMA AS A POLITICAL AND SOCIAL TOOL
Combining social and human rights issues with the language of film has always been a priority for Tomer and Barak – “Paper Dolls” deals with illegal workers, “Bridge over the Wadi” reveals the story
of a special Jewish-Arab elementary school in Israel, “It Kinda Scares Me” focuses on troubled youth.
Both directors believe in achieving social change through cinema, in reaching all audiences through human storytelling.
THE HERO: How to choose him/her
Choosing a hero in the documentary genre has direct influence on its development and overall success. Tomer and Barak will talk about the key elements in choosing the protagonist of a story.
CONFIDENCE/TRUST: The Director – Main Character’s relationship as the film’s foundation
A documentary deals with real people and real stories. Therefore, the director must keep in mind certain moral aspects while filming, and perhaps more importantly, what you will expose about them to the public. In addition, the director has to earn the characters’ trust, to enable intimate moments to unfold and thereby get footage that is more dramatic. How do you manage such a complicated relationship?
THE HEYMANN SECRET: Directing without a script
Barak and Tomer Heymann believe that documentary is the product of improvisation and the spontaneity of the moment. Filming without a script encourages the characters to be natural, to the benefit of the overall scene. “When starting a project, you never know how it will end and you must follow your instincts”.
THE IMPORTANCE OF A TECHNICAL ASPECT
The technical aspects of a film can affect the development of the scene. Knowing when to bring a large crew and when the director must go alone with the camera is essential to maintain the purity of
the story.
TWO EGOS, TWO DIRECTORS
Two egos, two directors, two different styles. How to take the best of each in a shared project – The Heymann Brothers discuss the similarities and differences of their work methods.
HOW TO DISTRIBUTE FILMS
Which festivals to apply to, how to write the synopsis, how to edit the trailer, what to choose as the main image for the film – all this has an enormous influence on the destiny of the documentary.
BETWEEN CINEMA AND DANCE; BETWEEN DOCUMENTARY AND FICTION
The power of the dance medium is rooted in its transience and temporariness. Contrarily, the cinematic medium chooses one moment – one frame – and captures it forever. This conflict is the fertile ground of the unique filmmaking language in Heymann’s “Out of Focus” and “Mr. Gaga” – both of which follow the work of Ohad Naharin. The workshop allows the participants not only to enter the director’s mind, but also to understand and feel Naharin’s dance creations in a different, fresh way. Highlights of the films, including parts that were not included in the final versions, will be screened duringthe workshop.
QUEER ISRAELI CINEMA: from underground to mainstream
The workshop focuses on Tomer Heymann’s films “It Kinda Scares Me”, “The Queen Has No Crown”, “Paper Dolls”, “I Shot My Love” and “Who’s Gonna Love Me Now?” – films that ranged between the personal and the social-political, through which Heymann examined the development and the shift that queer culture in Israel has undergone in the past fifteen years – from underground to mainstream culture.
“No one before him has ever succeeded in portraying such accurate Israeli homosexuality.”
(Maya Mena, Ha’ir)
DOCUMENTARY WEB-SERIES
We’re used to working on each of our films for at least 3 years, shooting for more than 100 days, and editing for over a year. When it comes to making a web series, things work completely differently, but in many ways, the essence of the documentary film-making is actually similar to what we’re used to and love to do.
In this workshop we’ll examine the differences and similarities between these two very different formats, and see how the basis of an interesting, quality documentary piece always remains the same.
FEEDBACK
“It’s an inspiration to meet people who live and breathe non-fiction and have managed to make their own distinctive style part of the documentary fabric of their city/country. Meeting Tomer was very encouraging and it definitely made me feel like he is on the right track. It was extremely interesting to explore the visual language he has created over the years, which comes across as totally impulsive, but still has its own code of ethics and distinct style.”
Despoina Pavlaki, Exile Room, Athens, Greece
“The University of Pennsylvania students and faculty were spellbound for two hours as Barak Heymann offered a humorous and articulate glimpse into the creative process. Using illustrations from Heymann Brothers films, he shifted between the deep philosophical questions and practical skills of documentary filmmaking. We can’t wait to have him back.”
Professor Peter Decherney-Director, Cinema and Media Studies, University of Pennsylvania
“Barak conveyed the messages charmingly, in warm contact with the audience and in a way that encouraged dialogue.”
Etti Inbal, Ph.D, Founder and President IAC Cinematec, USA
“It was a privilege one seldom has – to meet the director of the documentary and then see it. For me, listening and interacting with Tomer added new layers of passion, intensity and meaning to his work, it elevated the experience of watching it to a new level. I am deeply grateful.”
Maria Virginia Jaramill,
Participant-Bienal de Danza de Cali, Colombia
“The students were really impressed by Tomer’s approach to filmmaking, to finding protagonists and to finding the story within the material. It really opened their eyes with what intensity and passion he follows his work, not waiting until financing has come through, but starting to shoot when he has found a story he feels that is worthwhile telling.”
Daniel Lang,
University of Television and Film Munich, Germany
“Barak Heymann’s masterclass at the 16th WATCH DOCS was naturally planned as one of the highlights of our programme, but the feedback we received from the participants went far beyond all expectations. Brilliant, eye-opening, empowering, powerfull and amazing are only just a few adjectives of those we have heard. For a human right film festival Barak is really quite a unique master and friend, infecting the others with his enthusiasm, persistance, power, hope and humour. Someone who is free of any naivety and at the same time never succumbs to despair.”
Maciej Nowicki, Watch Docs Film Festival
“Thanks to the presence of Tomer Heymann, this cinematographic event was a huge success. Tomer not only shared his experience working with choreographer Ohad Naharin after the screening of “Mr. Gaga” but also gave insights into his way of filmmaking during a 4 hour masterclass. Dance and cinema students from Quito were pleased to discuss with this generous and passionate filmmaker, who transmitted not only his own personally way of working as an artist but encouraged the students to create and to find their own artistic way. Hopefully it will be possible to organize a similar event with him again in the near future.”
Ochoymedio – La Fractura Del Siglo, Quito-Ecuador
“I found your workshop for the Jumping Frames Dance Film Festival in Hong Kong very helpful. The films you make are very inspiring. You made me want to make documentary films with the same passion. You said that documentary filmmaking is about relationships and this is something that really resonated with me.”
Participant, Jumping frames Festival, Hong Kong
Heymann Brothers Films • 2 Barzilai Street • Tel Aviv – Yafo • 6511304 • Israel
Office: +972-3-5602701 • Fax: +972-3-5604082
Barak: +972-52-2742445 • Ranit: +972-52-6202068
E-mail: info@heymannfilms.com
