Following the success of our Tripoli Stories, British Council gave us the opportunity to return to Libya for a second time. This time we were due to run our workshop in Benghazi and make another three short films, Benghazi Stories. Unfortunately, the political situation there meant that we had to relocate the workshop back to Tripoli but with participants coming from Benghazi.
Benghazi is the second largest city in Libya and the bed of the revolution, with the first uprising against Gaddafi taking place there in February 2011. Ever since last summer’s election, various militia have been exploiting a certain political unrest, reflecting Benghazi’s disappointment with the election results and their representation in parliament.
Of course, the killing of the US ambassador only days before our arrival was a drastic turning point. Banned from Benghazi for security reasons, we had to re-organize the workshop in order to deliver those “Benghazi Stories”. Prior to our arrival in Libya, we helped organize a camera workshop and briefed the participants to start researching potential stories with their cameras.
Starting the workshop in Tripoli, we spent the first two days exploring these rushes from Benghazi, and we shared a number of inspiring documentaries, offering solutions to questions raised about characters and structures. We had 48 hours to get the lads of Benghazi to understand the difference between “What is the story?” and “What is the film about?”Read more
Graffiti, a short film made as part of the Tripoli Stories at our workshop with the British Council in Libya, is premiering at the Sheffield Doc/Fest. Here's the making-of, written by co-director Ibrahim El Mayet.
It's day two of our week-long documentary film making workshop at the British Council in Tripoli; drawing inspiration from the previous day’s sessions with the professional film makers from the Scottish Documentary Institute, we were tasked with creating our own short documentary films.
The subjects had been selected from the previous afternoon's brain storming session and we were divided into teams with a director, director of photography (DOP), sound recordist, and editor. Our editors were whisked away to learn the basics of Final Cut Pro editing software while the rest of the team prepared to set off to research our three respective subjects: Tripoli museum, local fishermen and revolutionary flag makers.
Having been assigned the job of sound man on the flag project I was given a crash course in operating the sound equipment and radio mics, introduced to the concept of 'sound design', and tasked with collecting sounds. What we hear in film is just as important as what we see on screen the clinking of a tea cup, the rustling of a flag, the sound of the environment or 'atmo' sound such as passing traffic or the dull buzz of a fridge (which is often only noticed in its absence) must all be recorded and used to create a natural ambiance.Read more
Our arrival in Tripoli was an anti-climax, all the clocks had stopped. There was no life at the airport, even the duty-free shop was closed, the shelves empty. A driver from the British Council had patiently been waiting for our delayed flight. We would soon learn that time is of no consequence in Libya... But this whole workshop was going to be a race against time: delivering basic film skills, engaging our 13 participants with creative documentary, showing them clips of doc gems so they open up to a new form of storytelling – beyond their Aljazeera experience – and produce a short film suitable for international festivals. Yes, I agree, we were asking for the impossible – but hey, we are filmmakers!Read more