The up-to-date, practical lectures are so good sometimes that I feel sorry for not having all my film maniac friends sitting next to me in the classes. The high standard is not surprising since the courses are held by as good lecturers as Judit Tóth (the former assistant of Miklós Jancsó) or Jenő Hódi (an American-Hungarian filmmaker graduated at Columbia University).
I thought I would give it a try. Why not, a tryout, if it doesn’t work, maybe a little failure, but it’s still better. ELTE, liberal arts, film specialization. That’s where I first encountered with film as a practical course, and of course we fell in love with each other in no time. Three classes a week according to the curriculum, and I started to realize, it wasn’t enough for me. However I made a short movie for my exams, and I found the opportunity to be a Budapest Film Academy student through ELTE, and well, as I mentioned, I gave it a try.
Budapest Film Academy’s fall semester of Creative Producing- Line Producing course has ended. During this semester, we had an overall insight into what the producer `s role is in a film project. The course`s important part was that we had several teachers, therefore, we had the opportunity to study a producer’s job from different aspects in every class. Among the teachers, we had such names as Jenő Hódi, András Muhi, Gábor Kovács, Zsuzsa Gurbán, Gabriella Winkler, and György Czutor.
Most classes in the first part of semester were held by guest lecturer Alexis Latham. Alexis graduated at Royal Welsh College of Music & Drama in 1990 and has worked since as an actor, director and a trainer. Later on, to teach he was followed by such names as András Bálint Kovács, the head of ELTE’s Department of Film Studies; Zsusza Gurbán, who as an assistant director worked with Steven Spielberg; and István Szabó, Academy Award winner director. Besides them, Jenő Hódi, the founder of Budapest Film Academy also held classes, sometimes alone, sometimes bringing other guests: Iván Kamarás, award winning Hungarian actor, and James Chankin, American director-producer.
I started attending the BFA screenwriting course in September. Before that, I studied art theory and some acting as well, but I only dealt with screenwriting in an amateur way. A few years ago I worked on the script of my friend’s independent film as a co-writer, and as I could really feel the characters’ personality, I helped a lot in writing dialogues. It always went better than working out the dramaturgy of the act. However, I wanted to learn that too, as you can’t be sure that you’ll always have a partner who is good at that and I can’t go far with my colorful and popular ideas and figures if the story telling is not structurally well-organized and the dramaturgy is not effective.
I have always been interested in film composition and in my work it has been apparent that I do not think about just songs, I think about more multiple things. To a recommendation of one of my friends I visited an introductory lecture and I had the chance to get to know Jeno Hodi, the chief of the school BFA.
A moment of contentment. My orientation skills come to a deadlock on the level of a goldfish which is circling in its bowl, and even though I kept up the standards during the present road as well, I threw myself into the circle of audience in time. I am full of curiosity while I am waiting for the presentation of Jenő Hódi, scriptwriter, director, producer, the head of the BFA. We are looking forward to a three-hour-paddling and we will splash into the world of character intros, master scenes, subtext and “on the nose” in a few minutes and then into the one-minute pitches of BFA students.