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Doha Film Institute's first ever Special Edition Magazine. Live on www.dohafilminstitute.com. In this issue, we focus on DFI’s ambitious plans for Arab film (cover story, p. 8), and the work we do in our effort to change the way the film industry works. We’d love to hear what you think.
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MAGAZINE
SpEcIAl cArEErS EDITION
qATAr rAISES ITS VOIcElEADING TO A NEW AGE Of ArAB cINEMA
BEHIND THE ScENES Of DfIDEVElOpING THE WOrKfOrcEOf THE fuTurE
The Doha Film Institute (DFI) is an independent cultural organisation established to bring Qatar’s film initiatives under one banner. With film funding, education, production, and the annual Doha Tribeca Film Festival, DFI aims to build a robust and sustainable film industry in Qatar.
dohafilminstitute.com© DFI 2011, All Rights Reserved
On the cover:Yann Cuinet, crew member of “Black Gold”, Qatar’s first big budget film, assembles the cast of a battle scene in the Mesaieed desert. Photograph by Vlatka Augustinovic
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These are exciting times for the Arab world. The empowerment of authentic voices in the region has changed the way we live our lives, the way we see ourselves, and the way the rest of the world sees us. Genuine and creative expression, an idea at the core of DFI’s mission, has never been more important.
DFI not only has a cultural mandate, but it is also part of Qatar’s sustainable economic development. Creative institutions are a vital component of a diverse, modern economy, and as we saw in the successful bid to host the 2022 World Cup, Qatar’s economic outlook has never been brighter.
Strong organisations of the 21st century can only be as good as the people who power them. I hope that DFI can contribute to Qatar’s development of a leading industry as well as to the development of a leading workforce of tomorrow.
This special careers edition is an effort to provide a better understanding of cinema as an industry, and of the work that goes into making DFI a distinct part of Qatar’s future.
Sheikha Al Mayassa Bint Hamad Bin Khalifa Al-Thani
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H.E. SHEikHa al MayaSSa bint HaMad bin kHalifa al-tHani
H.E. SHEikH MoHaMMEd bin faHad al-tHani
H.E. dr. HaSSan al-niMaH
H.E. SHEikH Jabor bin youSuf bin JaSSEM al tHani
H.E. plays an impor-tant role in develop-ing Qatar’s cultural and intellectual vision through her leadership in various local and global initiatives. Under her aegis, DFI is Qatar’s leading international film organisation dedi-cated to film apprecia-tion, education, and building a sustainable film industry in Qatar and the region. In addition, H.E. is chairperson of the global charity, Reach Out to Asia (ROTA) which focuses on com-munity development projects with specific emphasis on promoting global responsibility for basic, quality primary education. H.E. is also Chairperson of the Qa-tar Museum Authority, and envisaged the in-ternationally acclaimed Museum of Islamic Art, to create a country rich in arts and bridge the divide between past and present and east and west.
H.E. is the Chairman of the supervisory Committee of Amiri yacht 2010. H.E. holds the rank of Minister of State. H.E. was previously appointed Assistant Chief of Staff for Operations in 1989, Chairman of Qatar Olympic Committee in 1993, Chief of Amiri Protocol with the sta-tus of minister on1995, and Chairman of the Supervisory Committee of Amiri flight in 2009 before being appointed Member of the Board of Directors of Qatar Airways for the year 2010. After graduating from Sandhurst Military Academy in 1976, H.E. was appointed chief of military police in 1977.
H.E. Dr. Hassan Al-Nimah is also the Advisor for Cultural Affairs in the Office of His Highness The Emir of Qatar and part of the National Council for Culture, Arts and Heritage of the State of Qatar. H.E. has played significant roles in Qatari education, culture and foreign affairs since starting his career in the Ministry of Education in Qatar in 1958. He was a member of the Qatar Delegation to the Congress of Arab Ministers of Education in 1968, obtained his PhD in Oriental Studies in 1974 from Cambridge University.
In 1975, H.E. Dr. Has-san Al-Nimah was also nominated Ambassador at the Ministry of For-eign Affairs, as well as a permanent Delegate of the State of Qatar to the United Nations in New York.
H.E. is General Director of Qatar News Agency, and Chief Executive Officer for Qatar Media Corporation. H.E. Holds the rank of Minster. H.E. previously worked within the Ministry of Interior, before joining the Ministry of Foreign Affairs and attain-ing the positions of Director of the Foreign Minister’s office, Direc-tor of the First Deputy Premier and Foreign Minister’s office, and Acting Director of the Prime Minister’s office. H.E. Sheikh Jabor also worked as the Director of International Agree-ments and Organisa-tions and as Chairman of the Documents Com-mittee for The Islamic Conference Summit.
DfI BOArD MEMBErS
FOUNDER | CHAIR OF DFI VICE-CHAIR OF DFI BOARD AND CHAIR OF FESTIVAL BOARD
MEMBER OF DFI BOARD AND VICE CHAIR OF FESTI-VAL BOARD
MEMBER OF DFI BOARD
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PuBLISHeD By DoHA FILM InSTITuTe
executive DirectorAmanda Palmer
Managing DirectorMaggie Kim
Director of operationsSue Phillips
MASTHEAD
edited byRobb Wood
Publication ManagerMyriam Sioufi
Art DirectionRaymond Bobar
DesignMona Kamel
Cover photoVlatka Augostinovic
PhotographersRaymond BobarFaisal Al Thani
IllustratorRob Nield
Contributing editorsAbbas MoussaFatma Al Remaihi
ContributorsAlexandra FredricksAtef Safder AhmedChadi ZeneddineElly CardwellHanaa IssaMajid WasiMichael PetrovichMona ZaherNabil GaberRobert VerschuerShorooq ShaheenTarek Abu EsberVinita Bharadwaj
TranslatorsAbbas MoussaRosetta International
Photo CreditsBen RobinsonBrigitte LacombeGetty ImagesMona Zaher
Thanks to2×4Al Sharq NewspaperAma AkuamoahJean BréhatLea BowmanQatar Television
Black Gold CrewXavier CastanoHervé SchneidNathalie CheronSelim AzzaziBruno Dubet
VolunteersBachir El-SaghirGhazan Farullaky
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TABlE Of cONTENTS
1–THE INSTITuTE
2–DfI BAcKSTAGE 23
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8Auditioning for a lead-ing role in modern Arab cinema.
Amanda Palmer takes stu-dent career questions.
An industry veteran talks through the main stages of financing a film.
A proud Qatari work-ing in International Promotions for DFI describes her experi-ence bringing film and culture from Doha to the world.
The Profile of the DFI Education department.
a nEW PaGE in Story-tEllinG froM tHE Gulf
katara PHoto tour
ProMotinG dfi, and Qatar, on tHE World StaGE
filM financinG 101WitH ProducEr JEan bréHat
EMPoWErinG tHE VoicES of Qatar
conVErSation WitH dfi EXEcutiVE dirEctor
dfi yEar round EVEntS
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36A Gallery tour with web journalist Tarek Abu Esber
A unique way to work
8 StEPS to ProGraMMinG filMS at dtff
a day in tHE lifE of dfi’S HEad of SPonSorSHiP
déJà Vu?
PuttinG on a SHoW:EVEnt Production
MarkEtinG and coMMunicationS at dfi: faQS
nEW MEdia Portfolio
oPEratinG a cultural inStitution
WHy VoluntEEr at dtff 2011
HoW to Stay in toucH?
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3–BE pArT Of DfI
coMMunicationS
prOfESSIONAlprOfIlES
VidEo EditinG
ProcurEMEnt
inforMationtEcHnoloGy
GraPHic dESiGn
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A NEW pAGE IN STOryTEllING frOM THE Gulf
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Left page: “Antar Bin Chaddad”, Masr Alguedida Film Co. Egypt, 1961
Right page: “Black Gold”, Quinta Commu-nications and DFI, Qatar and Tunisia, 2011
A NEW pAGE IN STOryTEllING frOM THE Gulf Qatar auditions for a leading role in modern Arab cinema
By VInITA BHARADWAj & RoBB WooD
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ne of the great 21st century ironies is that the Arab world, a region synonymous with the ancient tradition of story-telling, desperately lags behind in its cinema industry,” says nayla al-Khaja, an emirati filmmaker, producer, and a poster-girl for popularising filmmaking in the Gulf region over the last decade.
At any given point, if one were to walk into any of the region’s multiplexes, 60 per cent of the offerings are likely to originate from Hollywood, 30 per cent from Bollywood and 10 per cent from egypt. The picture – percentage of Arab films in international multi-plexes - is bleaker as one leaves the region.
More films may flow into the Arab world than out from it, but the tiny Gulf state of Qatar has big plans to change that. The country has consolidated
its film activities under a single umbrella, the Doha Film Insti-tute [DFI], and embarked on an ambitious strategy in line with its vision for a global leadership in media and the arts: to do for Arab film what Al jazeera has done for Arab television.
a rab cinema faces two key challenges – increasing the production of new and bet-
ter films, and distributing those films to a larger audience.
Currently, investing in film production in the Middle east is a risky proposition. With only 800 cinema screens in the entire Middle east and north Africa re-gion, producers find it difficult to recover their investment in locally produced films. Accord-ing to a report in “The national”, annual box office revenues in the Middle east continue to stagnate between uS$74 and
uS$78 million. The limited potential for profit is hardly encouraging for producers.
However, a recently renewed interest in Arab stories in the region and the rest of the world may be opening a window of change. The scenario already starting to look different than it did 10 years ago. “In the past, there were two kinds of Arab films – the pure commercial ones from egypt and the films that limited to the festival cir-cuit,” says Cherien Dabis, direc-tor of “Amreeka”, one of the first Arab films to successfully cross over into the American box office. Where others have seen deficiencies in the Arab film in-dustry, DFI sees an opportunity.
In only one year since its launch at Cannes in 2010, the In-stitute stepped up with a much needed film fund that facilitates the production of films offering
One only needs to scan the local listings to witness the current dominance of western cinema at the box office.
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an Arab perspective that bal-ances commercial interests with compelling, original storytell-ing.
“There are now more financing opportunities for the conception and post-production of projects, but the bulk of the expense goes in the actual film-ing,” says Mahmoud Kaabour, the Lebanese filmmaker, whose documentary “Grandma, a Thousand Times”, received fund-ing from the DFI Film Fund and Screen Institute Beirut. “For the Arab world to truly realise its film production potential in the region, it needs many more production funds and co-pro-duction initiatives.”
The DFI Film Fund meets this need by doing something unique to other funds in the region: co-production. The uS$55-million “Black Gold”, a collaboration between DFI and Tarak Ben Ammar’s Quinta Communications, is a first foray in co-production for the Fund. The powerful tale from the Arab world has a large international crew and commercial focus, and through the partnership, DFI has brought a portion of the film’s shooting to Qatar, cast two Qatari actors, and employed Qatar’s residents in production roles. Creating working opportunities for Qatari nationals and residents, is part of DFI’s long-term approach of investing in human capital, de-veloping the talent and capacity for filmmaking organically.
M ohammed Ibrahim, a 23-year old Qatari who was selected to assist director
jean-jacques Annaud during the filming of “Black Gold” in Tunisia and Qatar, describes the rare opportunity to work along-side the text in the industry as “invaluable”.
“There were times when I was doing three jobs at once, speaking on the walkie-talkie and on two phones at the same time… but I loved it,” he says.
i brahim was also a partici-pant in one of DFI’s extensive education programmes. The
9-month project funded film-makers’ training and produced their 10-minute short films, which were screened during DFI’s Doha Tribeca Film Festi-val [DTFF]. “The intensity of the programme meant that we focussed on much more than working with state-of-the-art equipment,” he says.
DFI’s education focus is part of its core remit to nurture filmmak-ers and develop film audiences. It offers year-round courses that range from intensive film labs, panel discussions, animation tu-torials and weekend workshops.
While education is an impor-tant element of encouraging film production, it is also crucial to addressing the second key challenge facing Arab cinema – distribution.
Cinema operators and distributors often opt for films that are considered safe bets for current customer prefer-ences and that have a well-oiled industry machine that supports them – commercial Hollywood, Bollywood and some egyptian films. Audience desire for the familiar makes it difficult for distributors to hedge their bets on new genres.
“I don’t blame the dis-tributors. At the end of the day, they’re running a business,” says Scandar Copti, head of DFI’s education department. “First of all there’s nothing wrong with commercial cinema, but if distributors have to screen films from diverse genres, then audi-ences must demand it,” he says.
Copti, an Academy Award ® nominated Palestinian film-maker, currently works out of Doha, where film apprecia-tion is a key component of his department’s mandate. “Audi-ence demands will change when audience tastes change. First, they have to be exposed to different kinds of cinema. The transformation of accept-ing and understanding other kinds of film could take years,” he adds.
DFI is taking on the issue of evolving audience demand with a host of year-round programmes aimed at film appreciation. They are bring-ing varied forms of filmed entertainment from around the world to its local audiences and providing them opportu-nities to experience diversity within a familiar medium. DTFF is the culmination of the insti-tute’s year-round activities and an annual celebration of film, education and community.
As local audiences have opened their minds to new forms of Arab cinema, interest in filmmaking has grown, as is evident in the increased film submissions to the Festival and enrolment numbers in DFI’s education programmes. This winter, the education depart-ment’s short film training pro-gramme received nearly 100 applications for only 12 spaces.
Such numbers are cause for optimism, says Copti. “The future is in good hands. The region’s filmmakers have talent and passion. They want to learn and they want to share. We are here to help them, but bear in mind that developing a film industry is not an overnight phenomenon. It will take time, so we have to be patient. But if our work pays off, it will be worth the wait.”p
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AMANDA pAlMEr
cONVErSATION WITH DfI
ExEcuTIVE DIrEcTOr
As the Doha Film Institute (DFI) enters its exciting second year, we’re launching a new graduate programme to coincide with DFI’s expansion into the world of film financing, film education and year-round programming. The Graduate Programme sees employees trained in every key department over the course of one year. DFI executive Director, Amanda Palmer, informed four new graduates about the diversity of opportunities and careers they could discover within the organisation.
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nabil GabErGeorgetown University
NABIL: As an International Politics Major, what kind of positions would my skills and training most suit me for within DFI? For example, I have had public relations experience – mostly with event planning, speech writing and press release drafting.AMANDA PALMER: your diverse skill set is perfect for DFI’s Com-munications or new Media de-partments. These departments constantly communicate with local and international audienc-es and groups to build a profile of DFI as an organisation com-mitted to building film culture and a film industry in Qatar. It has to communicate the many efforts of our year-round educa-tion team, our film financing initiatives, and our community outreach team, as well as build the corporate profile of DFI. new Media generally focus on communities and audiences, while the Communications Team tends to focus on press, as well as other international organisations.
As somebody with an Inter-national Politics Major, part of your skill includes truly under-standing environments and messages, and how they can be translated to audiences or target organisations. your press release skills are an integral part of any organisation’s Com-munications team’s functioning
as they are required to commu-nicate an organisation’s objec-tives and business interests; effective speech writing helps to develop strong spokesper-sons; and event planning is also key to DFI, considering we plan one of Qatar’s biggest cul-tural events – Doha Tribeca Film Festival (DTFF), and a series of year-round events, both locally and internationally, that will help foster a strong film culture.
NABIL: If I were to gain a gradu-ate position within DFI, would I be able to grow within the organisation? What sort of op-portunities could I expect to be presented with after gaining experience across DFI’s various departments?AP: Gone are the days when people joined an organisation, expecting to stay in the same job for their entire career. or-ganisations now understand the organic nature of careers, and the onus is increasingly being placed on companies to provide career growth, on-going train-ing and diversity. Fortunately, DFI is growing at quite a fast rate, which means that both our departments and our initiatives have expanded enormously. As a result DFI constantly requires fresh and hardworking talent to facilitate and implement these initiatives. All departments work together in some way, which means graduates have opportunities to understand the organisation as a whole, while discovering new skill sets, working with different groups, as well as receiving training in disciplines that they may not have previously considered. DFI has a lot of trained profession-als who are also committed to providing on-the-job training across every department, which is essential to building a film
industry in Qatar. The message also is: DFI is an organisation that offers so many careers - while we have film education, DFI is not just for filmmakers – we need people with varied skills to build this industry from the bottom up.
NABIL: What sort of financial incentives do you offer new employees in order to motivate them during their early years of employment?AP: Financial incentives always depend on an employee’s position within the organisa-tion, experience levels, their skill set and their performance in their role. DFI aims to be an employer of choice in Qatar, by attracting the best available talent. Therefore we offer pack-ages that are in line with inter-national standards and other cultural organisations operating in Qatar. We believe that DFI offers graduates a unique, chal-lenging and rewarding learning opportunity that holds great prospects for a career in an industry where DFI aims to be a market leader in the region.
atEf SafdEr aHMEdCollege of the North Atlantic
ATEF: Is work/study program an option at DFI?AP: Most definitely. In fact, I would encourage more young people to do training while studying. It improves your
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learning and better equips you for a professional career and simply, it gets your foot in the door and on your way to your chosen field. It also makes you fantastic at multi-tasking - which is always high on my priority list for people who are effective in the workplace.
ATEF: What are some of the pros and cons of joining an organisation like DFI?AP: The major pro for me is the dynamic nature of our organisa-tion and the variety of work we do. We are part of a very inter-esting and creative industry that is rapidly evolving. In the emerg-ing BRIC economies (Brazil, Russia, India and China), there has been a major shift towards understanding the economic and cultural value of the creative industries – this is big business as well. As a DFI employee you can be part of an incredibly important creative industry, which is increasingly being acknowledged as both a major social and economic indicator of a particular region. The con is definitely the unknown for an industry that’s at its beginning in Qatar. I think a lot of people feel uncertain about joining DFI because it is not a long-standing institution or because they hold a misconception that people join only to make films. We are like every organisation on earth - we have numerous departments, including marketing, sponsor-ship, community outreach, legal, human resources, accounting, communications, operations, business development, graphic design, education, film financing and event planning. But I can tell you that I’ve worked in several start-ups and I think the pros of DFI definitely outweigh the cons.
SHorooQ SHaHEEnQatar University
SHOROOQ: How is DFI planning to further the film culture in Qatar?AP: Building a film culture is a multi-tiered approach that goes across every fabric of a soci-ety. It begins with educational programmes aimed at different audiences – schools, cultural organisations and business and diplomatic communities. It also means improving access to quality films year-round and en-couraging dialogue and discus-sion to better understand films, as well as supporting films being made, through financing and then promoting them on lo-cal and international platforms, through media or through our international film festival, DTFF.
SHOROOQ: What does the creation of a sustainable film industry entail?AP: I will give you some ex-amples of how I believe DFI has started to develop a sustainable film industry. our community outreach and education depart-ments now work year-round to foster film culture and under-standing. Beyond these, DFI’s film financing plays an integral role in helping to support the cause. This year we co-produced “Black Gold”, which was filmed for one month in Qatar. Impor-tantly, the filming mobilised many of Qatar’s institutions and industries - everything from
government support across many ministries, to working with suppliers and vendors who built sites in the desert for the cast and crew! The heavy involvement of locals in “Black Gold”’s production unquestion-ably fostered growth within Qa-tar’s film industry and culture.
In light of the recent MenA revolutions DFI also under-stands, more than ever, its re-gional responsibly to showcase Arab and international films. DFI will be supporting MenA filmmakers in telling their sto-ries. We will be supporting them from a financing and training perspective, as well as through exhibitions and platforms – for example, at festivals or in cinemas.
SHOROOQ: Can you list some of the essential skills required for a job at DFI?AP: The most important thing is an ethos of hard work and dedi-cation, because when you’re building a film industry from scratch you need to be prepared to work very hard. Creating something new requires a lot of discipline and devotion. DFI looks for people who don’t necessarily see themselves as creative, but who are comfort-able working in a creative in-dustry. We want employees that are internationally minded but also locally engaged. you don’t have to be a film expert but you must have an appreciation and understanding of the value for building a film culture. DFI, as a creative start-up, also requires adaptive employees – as a worker in a cultural industry you must have versatile skills and also a versatile approach to your job.
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robErt VErScHuErWollongong University
ROBERT: Is DFI the type of organisation that would enable me to fulfil my career goals as well as my desires to balance a family life?AP: one of the key things to DFI is our understanding of the community and our willingness to build this industry within the community, being mindful of the fact that family is integral to life in Qatar.
We want to be an organisa-tion that retains talent, skills and the training we invest in employees - so we have a flexible approach to people in that sense. For example, we have employees with children, whose home commitments we attempt to work around. There are also people who don’t have children but need to spend time with their families. So yes, it’s important to us that we are part of Qatar and respect the inherent value of family in Qatari culture.
ROBERT: How do I apply for a graduate position within DFI?AP: We are soon going to be introducing a graduate devel-opment programme open to students across universities in Doha. The six month internship programme, aimed at capacity development within the local community, will offer fresh graduates hands on training to hone their skill sets and foster
their competitiveness for poten-tial careers.
At DFI, we believe in mentor-ing and empowerment of youth to create a talent pool required for the growth of the industry. Apart from various challenging full time opportunities, gradu-ates can also be considered for:
Temporary Positions: the fastest way to gain experience. This will place the candidate in a wide variety of positions within the organisational set-up, providing an opportunity to meet a number of potentially in-fluential people, and to find out what other career options they might have.
Internships: At DFI, we believe in the importance of a well designed and developed internship programme. These programmes operate in a wide variety of fields, providing stu-dents the opportunity to apply their knowledge in real world environments.
Volunteering: one of the eas-iest ways to get experience is to offer to volunteer at the various events organised by DFI, includ-ing DTFF. The Festival works with more than 1000 volunteers to assist in delivering one of the most popular cultural events on the annual calendar. p
InTeRVIeW eDITeD By MAjID WASI
THE MOST IMpOrTANT THING IS AN ETHOS Of HArD WOrK AND DEDIcATION, BEcAuSE WHEN yOu’rE BuIlDING A fIlM INDuSTry frOM ScrATcH yOu NEED TO BE prEpArED TO WOrK VEry HArD.
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DfI yEAr-rOuND EVENTS
DfItEdXdoHa
“ i aM filM” briGittE lacoMbE
ScrEEninGS& filM talkS
dtff WorkSHoPS
SucQ (Stand uP coMEdy Qatar)
This year, DFI will showcase both themed screenings and a lecture series that offer a hands on approach for every aspect of film-making.
After hosting the inau-gural TEDxDOHA and TEDWOMEN events in 2010, DFI’s collabo-ration with TED will continue with new and exciting events in 2011.
The Institute’s educa-tion team organises workshops and classes year round, from act-ing and animation to special effects and screenwriting.
In 2011, Brigitte La-combe’s “I AM FILM” ongoing photography exhibition will expand to encompass addi-tional cinematic figures.
Doha’s most interna-tional event showcases the best of Arab and international films.
DFI continues to highlight comedy as an artform and support stand up comedians living in Qatar.
1. Tribute to Adel Imam ceremony2. DTFF red carpet3 & 4. Family Day
Comedian Mohamed Fahed Kamal
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DFI is dedicated to film appreciation, education and to supporting Arab talent. By organising and hosting international events for local audiences, we also aim to encourage community involvement.
ASSeMBLeD By MyRIAM SIouFI
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coMMunity outrEacHDFI’s Community outreach core objective is to create synergy between the community and DFI.
We achieve this by empowering and involving the Qatari com-munity while working closely with local educational sectors, such as universities, schools and colleges, to provide intern-ship and volunteer placements within DFI.
In addition, our Community outreach initiatives include supporting local TeDx events (TeDxDoHA), Stand up Com-ics Qatar (SuCQ), the work in progress Brigitte Lacombe “I AM FILM” exhibition, year-round workshops with notable filmmakers and cinema profes-sionals, as well as celebrating and dedicating a special day for families during the Doha Tribeca Film Festival.
dtff 2010factS & fiGurESThe entire city came alive last year, between October 26–30 with astounding participation from the local community.
Films were screened in four main categories: Arab Film Competition, Arab Shorts Programme, World Panorama and Special Screenings.
Countries (+) were represented from Jordan, Sweden, France, Romania, New Zealand and Palestine, to USA, Egypt, Lebanon, Hong Kong and Kyrgyzstan
Middle Eastern Premieres
International Premieres
World Premieres
(+) people attended DTFF 2010
(+) people attended Family Day
Public screenings
Public Panels
International industry professionals and special festival guests attended
Local volunteers, aged 16 to 65
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prOMOTING DfI, AND qATAr, ON THE WOrlD STAGEAs a proud Qatari working in International Promotions for DFI, I have the unique opportunity of being involved with activities around the globe that help strengthen my nation’s profile and build its global image with the international film community. While the work is creative and challenging, it is a huge honour and responsibility to be able to represent the values and culture that are being shaped in Qatar and the region.
s part of my scope of work at DFI, I am part of the team that helps raise the organisation’s visibility and image with one of its most important stakehold-ers, the global film community. With a range of activities, from advertising in international trade magazines to coordinating press interviews and networking with international film profes-sionals, the department works strategically to come up with new and innovative ideas that differentiate us from others.
A main part of my role is to meet and build relationships with film professionals from across the globe, represent-ing talent powerhouses from the east and west, giving me an opportunity to interact with some of the brightest minds in the film industry. Through these networking meetings, I am able to address queries they might have about the region, as people are curious to learn about the region, Qatar and its culture.
It is common for me to meet with people who have never met a Qatari before. They’re filled with curiosity and full of ques-tions. For example, at a meet-ing in new york, a number of women were fascinated to know what it’s like to be a woman from the Middle east working in an international organisation whilst being a wife and a mother of three. It was very fulfilling to be able to provide this interna-tional community with a better understanding of my region, our values and support system, while clearing some misconcep-tions or myths they might have.
o f course, a main component of promoting DFI is show-casing the filmmakers from
the region. In Qatar alone, many of the people I’ve met are happy to find an outlet for their ideas By FATMA AL-ReMAIHI
a#2
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being part of such a supportive environment that provides a rewarding learning experience. Before every festival there are huge amounts of preparation and organisation to be done: advertisements need to be placed, meetings to be set up, publications to be prepared. We start these production ele-ments months in advance from our base in Doha to make sure everything goes smoothly once we’re there. If we have done our jobs effectively, we walk away feeling a sense of achievement and accomplishment.
t wo years ago, when the Doha Film Institute was just starting out, I was amongst
the first Qatari staff to join. I can still remember when we started looking for staff housing
and proper offices! It has been satisfying to watch DFI grow from a once-a-year festival event into a leading internation-al film organisation committed to developing a sustainable film industry in my part of the world. While it has taken a lot of hard work to get to this point, I feel fortunate to work alongside talented professionals from around the world who are con-tributing to Qatar’s vision.
This year, people at the Ber-lin International Film Festival were congratulating me on Qa-tar hosting the 2022 World Cup – in fact, one writer/producer even suggested that we pro-duce more films about football and actually pitched a story to us! Qatar is rising on the world stage, and I am proud to be a part of it. p
through platforms provided by DFI. It is a great joy to help chan-nel the voices of so many talented filmmakers from my part of the world. We live in the same region but we rarely have time to con-nect and understand each other; talking to them opens doors into their lives and their minds. By working with this creative com-munity, DFI is able to support and empower a new generation of filmmakers who represent the changing face of Arab cinema.
To date, my journey with DFI includes organising events at the Tribeca Film Festival in new york, Cannes Film Festival, Ber-linale, Toronto International Film Festival, Dubai International Film Festival, Abu Dhabi Film Festival and multiple events in London. While my position is a great challenge, I appreciate
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alleys and discover a new favourite spot every day.
3 – THE MOSQUEDeadlines are part of our daily working lives but when the Muezzin recites the Holy words, Katara transforms into a spiritual, timeless space.
4 – THE CUISINEWork wouldn’t be com-plete without a healthy lunch break. Katara takes you through a succulent journey with an array of restaurants to choose from every day. You will be back to the office with a happy tummy.
5 – THE KATARA OPERA HOUSEMusic, Cinema, Performing Arts and Dance are some of the rich cultural activities
showcased at the Katara Opera House.
6 – DFI OFFICE The place to be! It’s where filmmakers, students, guests, employees, artists, designers and business partners keep innovating and giving the community the best of the best in film.
7 – THE PATIODFI has a courtyard that allows sunshine to brighten your day. The Spanish patio is where we brainstorm on our next initiatives.
8 – THE GARDENWe are done for the day. Even when you leave Katara, its beauty never sleeps. Can’t wait to come back to work tomorrow.
The Doha Film Institute lives in the new cultural heart of Doha. Walking through Katara, one can re-discover the richness and diversity of the Arab world and be inspired to think creatively in a modern environment. Katara is not just about
handcrafted walls, majestic mosques, exotic flowers, suc-culent gastronomy and infinite blue sea. It’s about being in a place that gives its beauty to the people who work in its maze. Here you can feel how work can become a part of you.
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1 – THE AMPHITHEATERIn the early morning, facing the hypnotic sea before going into your office, you can walk through the promenade and find seren-ity through an infinite view of the city.
2 – THE ALLEYSKatara never ceases to sur-prise you as you walk down its intricate alleys. Between stressful working hours, you can walk down the
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your source for all things filmdohafilminstitute.com
WEBSITEGEt inVolVEd
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fIlM fINANcING 101
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By the time a film makes it to the cinema, it has survived many intensive stages of development. each of those stages costs time and money, so filmmakers are always in need of capital to keep their projects alive. At DFI, providing financial assistance to films in the form of investments and grants is one of the ways we meet our objective of supporting cinema in the region.
By RoBB WooD & MyRIAM SIouFI
Script developmentusually, the process starts when a filmmaker thinks of a new idea for a film. often, they try to find the right producer to help them develop the idea into a script (though sometimes the producer joins the project after the script is developed). This can mean hiring researchers, writers, and other consultants. The script is not only the “blue-print” for the production of the film, it is also the main tool for recruiting investors to fund the next steps in the process – so it needs to be good!
Pre-productionThe planning of the shoot hap-pens in pre-production. The producer manages the funds he has raised to build the produc-tion team, scout and secure the shooting locations, cast the actors, hire technical crew like lighting and sound profession-als, and start preparations like wardrobe and set design.
ProductionAs soon as the pre-production plan is set, shooting dates can be confirmed, and the shooting of the film can begin. “Shooting days” are expensive, as they usually require paying a large staff and hiring a lot of equip-ment, plus travel costs, location permits, and insurance.
Post-productiononce the shooting is finished
the director and editors go to work to bring together the hours of footage and sound recordings into an actual film. once the director and producer are happy with the assembly, the film goes through sound mixing and colour correction, which give the final product the polish the filmmakers are looking for. This is a technical process involving highly specialised professionals and facilities.
Sales and marketingFor most independent films, now is the time to secure a buyer. To get noticed, you need to print a lot of professional-grade copies, submit your film to festivals, and travel to meetings with distributors who might be interested. With some luck, you’ll find the right buyer and all your hard work will pay off! p
We asked Jean Bréhat, the French producer known for his work on critically acclaimed films such as “West Beirut” and “Outside the Law”, about the main stages of the filmmaking process that need funding.
Producer Jean Bréhat at opening night, DTFF 2010
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“ black Gold” brEak
Making a film is not just about glamour; it’s mostly about hard work. DFI’s first major co-production, shot in Tunisia and the Mesaieed desert in Qatar required a crew of over 200. Here’s a short list of the key jobs on a set as described by crew from “Black Gold”.
Scandar Copti Rahab Elewaly Justin Kramer
Mohammed Ibrahim Ritesh Batra Lauren McCarthy
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EMpOWErING THE VOIcES Of qATAr
As the Executive Pro-ducer of Jean-Jacques Annaud’s films for the past 10 years, we know how to work together.
We thoroughly prepare the pre-production while writing the scenario, and then I prepare the budget for the shooting with the production manager. When we start filming, and in this case once we started filming
“Black Gold”, my job was to make sure that the director’s artistic needs were met, and the budget lines were fixed by the producer. It was tough. We encoun-tered many unpredict-able situations with this film: the first big film
ever shot in Qatar. We actually had the battle scene here, it was a very enriching experi-ence… one of a kind!
InTeRVIeW By ABBAS MouSSA
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A prOfIlE Of DfI’S EDucATION DEpArTMENT
XaViEr caStanoexecutive Producer
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tHE ViSion“In the Arab world, there is a perception that filmmaking is the exclusive domain of the West, that we are just consum-ers, somehow incapable of participating,” says Scandar Copti, the Head of education at the Doha Film Institute. “At DFI, we’re trying to prove this idea wrong. Giving people an experience of the filmmaking process allows them to dis-cover their own storytelling potential, and to realise that cinema is a powerful method of expression that should be avail-able to everyone.”
If DFI wants to change the way people think about film, its education department is doing the groundwork. Copti has assembled a team of educa-tors that reflects the diversity of Doha’s population, includ-ing people from Qatar, the Arab world, and beyond. now the nine-person team is on a mission: to bring cinema to the community through hands-on programmes, where students, aspiring filmmakers, and anyone interested in film can deepen their understanding of its craft.
The vision of the depart-ment is to focus on storytelling and the arts, which creates an encouraging and safe environ-ment in which anyone can explore all that cinema has to offer. The team works year-round to organise programmes and workshops representative
of their mission, including pro-duction of short documentary and fiction films, music video production, acting, theatrical clowning, video art, animation, screenwriting, editing, and the core 1-Minute Film workshop.
tHE aPProacHCopti describes two overall ap-proaches to film education. The first is a series of programmes that caters to the broad lo-cal community by producing screenings, short workshops, and activities intended to pro-vide a general understanding of the craft.
The second approach, which accounts for the majority of the departmental effort, produces more specialised skill-building storytelling workshops, in which students create a film from the beginning to the end. Some programmes last around four months and incorporate all stages of production, from idea generation, scriptwriting, production, and editing, and include weekly theoretical, and field training. Students also gain a practical understanding of the tools of the trade, includ-ing lighting, camera, and sound equipment. Interest in these programs has boomed over the past year, with the latest acting workshop receiving eight times more applications than there were spaces available.
In crafting the programming calendar for the year, Copti and his team look at their audience
as a whole, creating activities that address the greatest areas for growth in Qatar’s filmmak-ing community.
tHE tEaM at WorkAt Copti’s right hand is film-maker Ritesh Batra. The Mumbai-born director develops the work plans, budgets, and schedule, and taps his wide network to bring opportunity for students. “Practical experi-ence is one of the best ways to give people a chance to prove themselves,” says Batra. “We’re trying to provide a compre-hensive resource for people interested in filmmaking. It’s a big mandate, and it wouldn’t be possible without strong contributions from both the education team and the rest of the departments at DFI.”
enter Lauren McCarthy. As the education Coordinator, she is the point of contact for all other units of DFI, including Communications, Marketing, and producers in new Media, all of whom promote, record, and present the programmes to local and international audienc-es. She cites the rising applica-tion numbers as a sign that the word is getting out.
The buzz has spread to Qatar’s universities, all of which have integrated DFI’s education programmes into their curri-cula and activities. Heading the collaboration with local schools is Ben Robinson, a uK-born filmmaker and cinematogra-
Casting Directors work closely with the Director to understand his requirements. In November 2009, I was in charge of finding
the lead part. I met and recorded a lot of young actors, one of them was Tahar Rahim. Jean-Jacques had already seen him in “Un Prophète” by Jacques Audiard and made his choice.
Editors perform one of the most important jobs in the industry. They select the scenes from hundreds of hours of footage, making sure
natHaliE cHEronCasting
HErVé ScHnEidFilm editor
that the selection tells the story according to the director’s vision.
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pher in his own right. He says strong relationships are the key to helping students achieve long-term success. “I stay in touch with students long after the workshops are over, to track their progress and see if there is any way DFI can help them achieve their next goals.”
Some of the most popular programmes at DFI are the animation workshops, run by Rahab elewaly at local schools and the DFI facility in Katara. The film industry veteran organizes classes for every age range, from gradeschool students to adults, introducing the concepts of cartooning and animation art, as well as devel-oping practical creative skills that can be applied to work and study in other fields.
When she’s not supporting the animation workshops, Lau-ren Mekhael focuses on produc-
ing classes like a stunt work-shop and an express version of one Minute Filmmaking. She also worked on a specialised programme for beginning and professional directors in a joint Venture with the Qatar Founda-tion called Al Fakhoora.
Mohammed Al Ibrahim started as a student, and now works as a filmmaker and programme producer along-side the rest of the team. He’s a prime example of discovering one’s potential through film education, and sees filmmaking as not only a career path, but a way to express himself and change people’s perceptions of the world.
justin Kramer leads a music video workshop that brings together local musicians and filmmakers of Doha, adding a new dimension to both aspects of Qatari culture. He also works
with individuals to help them develop their personal scripts and production plans.
Hamida Al Kuwari works on all workshops, documenting their activities, successes, and areas for improvement. As a Qatari, she has been inspired by the rising impact of cinema culture in Doha. Beyond her daily duties, she is working to become a filmmaker in her own right.
With so many skills and personal projects to draw from, the education department is an open door to Qatar’s creative potential. Developing the film tastes and talents of a nation doesn’t come quickly, but the team is prepared to empower people’s storytelling voices one by one. As Al Ibrahim notes, this bodes well for the com-ing generations of regional filmmakers.p
Students discuss concepts in video art with instructor Köken Ergun.
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A sound designer’s job is to imagine, choose, record and assemble the most accurate sounds that will tell the story in the best way
possible. Sounds help direct the eye within the picture. It partici-pates in the under-standing of a charac-ter’s state of mind and a setting’s mood.
Grips’ responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dol-
SEliM aZZaZiSound Designer
bruno dubEtGrip
lies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts. On the set I was also in charge of maneuvering the equipment in Qa-tar’s desert… I’ll let you imagine the thrill!
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DFI oRGAnISeS yeAR-RounD professional standard courses,
from intensive film labs with internationally acclaimed directors
to cultural partnerships with other leading film institutions
around the world.
lEArN fIlMMAKING
dohafilminstitute.com/education
We ALSo PRoDuCecommunity programmes
panel discussions, animation classes,
and workshops from acting and directing
to scriptwriting and documentary.
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Save the date2011 DTFF
25–29 october
DOHA TrIBEcAfIlM fESTIVAl
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STEpS TO prOGrAMMINGfIlMS AT DOHA TrIBEcA fIlM fESTIVAl
8 our programmers have a story to tell, and each year, they reinvent the festival’s theme. First, they decide how many films they need to tell their story, then choose their subject matter grouped in film sections– Competition, World Panorama, Shorts and Special Screenings.
Filmmakers are notoriously busy and you almost never get the information you need by the deadline – set those Blackberry reminders because the chase is on! Marketing and Press need the filmmaker’s info and film stills, Venue Managers need all tech specs for sound and picture quality… good luck!
Programming meets arts and crafts when it comes to our handmade screening grids. Colour coded and made with love, we outline which films will play best in which screening venue based on technical specs, film rating, genre and marketability. “Slotting”, as it’s referred to in the festival arena, keeps programmers locked inside all weekend long!
Grab some popcorn, sit back and enjoy. Filmmakers are both excited and nervous about their first screening, jury members are busy taking notes on competition films and Doha audiences are voting for their favorites – this is what it’s all about; community coming together through film.
Here’s to you, the filmmakers, the actors and their shared stories. Together we celebrate film, emerging local and international talent and our audiences who participated. Here’s to another festival. But the work doesn’t end here; time to return films, mail out the awards and start back at 1… Film is Life!
Finally the secret is out! Audiences can check online, read up on films and get to know what the programmers have been busy with the last few months. excitement builds both among our festival staff and the community.
International Film Festival Tour: the glitz, the glam, the screenings… Don’t be fooled! It’s more work than it is play, and when submissions open, programmers are busy using their industry connections for a line on who’s new and what projects are perfect for Doha audiences.
With limited slots available, programmers fight for their favorite films to get confirmed. no room for indecision – with deadlines fast approaching and other festivals interested in your great finds, it’s about working with the team to curate a well-rounded programme.
Choosing films for festivals is not as easy as it sounds. Programming can be like a game of snakes and ladders.
dEfinE tHE artiStic dirEction
GatHEr tHE info
announcE tHE ProGraMME
SHoW tHE filMS!
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collEct tHE filMS
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2 separate systems
incorporating over 100 speaker
cabinets
Dolby 7.1 surround system to support
film Performance systems
supported entertainment by local and international
artists.
It took 4 weeks and over 150
stagehands and technicians to
build KOAT and 2 weeks to take it
down.
It took over 2 km of steel trussing to build the 12
arches.
prODucTION
puTTING ON A SHOW:
even the simplest events require a team effort by skilled professionals. Production and technical directors, set design-ers, architects and engineers of all types to design and execute our projects year round.
The backbone of any events production team is the coordi-nators and assistants, venue managers, stagehands, riggers and labourers that make the de-signs, plans and performances come together.
During the Film Festival alone, the event production team supported over 80 events spread across 14 venues throughout Doha. Here’s a glimpse of what it took to build the Katara open-Air Theatre (KoAT) for the DTFF 2010 edi-tion, the professionals involved and the technology used.
EVENT
By MICHAeL PeTRoVICH
> Architects, Structural Engineers and Set Designers worked together to design a venue for opening and closing night gala events as well as film premieres and screenings during the festival.
> The Lighting Design team includes theatrical and architectural specialists, assistant designers, moving light programmers and master production electricians. Together they designed and engineered a system capable of delivering a light show spectacular.
SEatinG & StructurE liGHtinG & ElEctricalPEoPlE WHo MakE it HaPPEn
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2000 Seats: 300 VIP &
1700 General Admission
Screen 20 m wide by 8.33
m high
Incorporated over 1500
lighting fixtures over 17 km of
cable
Final wrapping of DTFF branding
The equivalent of 20 floors
of scaffolding supported the seating risers and projection
tower.
35 mm Film Projectors and Digital Cinema
Projection Systems were incorporated.
8 generators ranging from 500 KVA to 1250 KVA powered all of the
systems.
> Sound Designers, Audio Engineers and their assistants designed, installed, and operated the various sound systems. They not only supported film soundtracks but also a 110 piece symphony performance and multiple local and international performers.
> Video Engineers & Projectionists, 35 mm Projection System Designers, worked together to insure the image quality was world class.
> Branding specialists, graphic designers, set designers as well as stagehands combined to execute the finishing touches.
audio ProJEction brandinG
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programming
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new media
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film financing
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film financing
new media
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TrainingsTrAININGS
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cOMMuNIcATIONS & MArKETING AT DfI: fAqs
> What’s unique about the Communications department at DFI?We’re a Qatari organisation with a focus on engaging the local community, and we’re also operating in the international spotlight, so we’re always relat-ing our story to a wide constitu-ency. Communicating with such a diverse range of people adds to the challenge but enchances the reward.
> What does the Marketing team do at DFI?Marketing at DFI is where elements of communications, production, and business funda-mentals come together. It is an active job that requires collabo-rating with all departments in the company and interacting with local and international communi-ties. usually, marketing activities are part of an overall campaign that incorporates many differ-ent elements, like advertising, promotions, and events.
> What’s unique about the Mar-keting department at DFI?Many companies hire outside agencies to develop and imple-ment their marketing initiatives. At DFI, we develop our own campaigns with our branding agency, and do the creative work ourselves with an in-house studio of graphic design-ers, photographers, and media producers.
> What does the Communica-tions team do at DFI?In a nutshell, Communications is about “telling the organisa-tion’s story” to people both in-side and outside the company. As a new organisation on the forefront of the high-profile arts industry, the work of DFI’s Com-munications team is especially important.
> What are the responsibilities of a Communications team member?our team develops the overall communications strategy and oversees activation and imple-mentation. That includes writing press releases, working with journalists to develop their sto-ries, booking interviews, win-ning third-party endorsements, getting photo credits, network-ing, and scheduling speaking opportunities for the company leadership, to name a few.
> What’s the difference between Marketing and Communica-tions Departments at DFI?Communications tells DFI’s story; marketing motivates people to act. The main goal of marketing is to match a com-pany’s products and services to the people who need and want them. At DFI, that means iden-tifying the audience for our vari-ous initiatives and then creating a strategy and action plan that persuades that audience to get involved.
IT WAS ALWAYS clear to me that I’d be working in the Communications field some day – at the age of 6, I used to present a radio show that was broadcast only in our house! With this goal in mind I studied at the Univer-sity of Haifa, where I got a degree in Media and Political Science, and started working in radio and journalism in Palestine. After working in the press for sev-eral years, I decided to move to the other side of media and joined ACW Grey, one of the biggest advertising agencies in the world, where I developed marketing strategies for internationally known companies. Four years later, I got the opportu-nity to work on a film called “Ajami”, directed by Scandar Copti, which was a project filled with many social and political challenges as I was promoting a film that discussed re-alities many people try to ignore. Little by little, I got hooked on the film world, and I then joined the Communications department at the Doha Film Institute (DFI). Now I work to highlight DFI’s initiatives and ed-ucational programmes, and to promote Arab talent and films on both a local and international level.
By MAjID WASI & RoBB WooD
(ProfilE)
Mona ZaHEr coMMunicationS
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NEW M
EDIA p
OrTfO
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A GAllEry TOur WITH A DfI NEW MEDIA jOurNAlIST, TArEK ABu ESBEr
Wit
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dfi’S inSPirEd WEbSitE
2010 saw the total re-launch of our user friendly media-packed website, www.dohafilminstitute.com, an important tool in providing DFI followers with our news and current activities.
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Social MEdia
Here at DFI we utilise our Facebook and Twitter accounts to update and encourage interaction and feedback with our followers. By the end of 2010, our DFI facebook page ‘likes’ had gone up by 81%, compared to the previous year; more than two and a half million people had viewed our ‘NewsFeed’ stories; and our twitter account is still growing, with over 2.626 followers.
DFI’S MONTHLY ACTIVE UNIQUE USERS ON FACEBOOK
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MONTHLY ACTIVE USERSThe number of people who have interacted with or
viewed DFI’s Page or its posts since its launch in May 2010. This includes interactions from Fans and non-Fans.
Education
DFI’s year-round educational programmes aim to inspire and support a new generation of Qatari, regional and international filmmakers. We support this by capturing these workshops for online audience.
#2 BAcKSTAGE
I WENT to university to study film and media, as it was my dream to become a director – I never thought I would end up working in video editing, which is a career I now love. For my university graduation project we were asked to make a 10-minute documen-tary film and, after the events of September 11, I decided to make my film about the way Muslims were being viewed in western so-cieties. I chose the sub-ject “A day in the life of a Muslim woman in London”, and followed my sister through her daily routine. I worked 18 hours a day in order to edit my piece. To my surprise, my hard work paid off and I was awarded the highest marks in my class – my film was also aired on various TV stations af-terwards. Since gradu-ating, I have tried every possible way to work in cinema – I started by making tea and coffee for the crew, then I became an Assistant Editor, then moved up to Editor. I have been lucky to have worked for some of the biggest TV stations around, and my work has been aired on the BBC, Channel 4 and Discovery Chan-nels. Doha Film Insti-tute (DFI) has served as a turning point for me, allowing me to move from television back to my first love, cinema.
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docuMEntariES
As the co-producer of the Arab block-buster, “Black Gold”, DFI’s content team had unique access on location to the set, cast, and crew. This exclu-sive content allowed us to produce behind-the-scenes documentaries of the film, editorial blogs from Produc-tion Assistants on set, and videos of renowned director Jean-Jacques Annaud filming in Qatar.
dtff 2010
“Guess who is coming to Doha?” and “Festival Countdown” were two of a series of video packages created to build anticipation for DTFF 2010. A tour of the festival site was created for both locals and those travelling to Doha. DFI covered all Festival programmes, including panels, masterclasses and community events, and, of course, live coverage of the red-carpets and the opening and clos-ing ceremonies.
abdul Jabbar MakkiVidEo EditinG
(ProfilE)
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frESH contEnt
We’re constantly updating our site to make sure you’ll find something new every time you visit. Come see for yourself!
Production
“The Haggler” is the main character in a comedic series of in-house ads for DFI. We follow his blind enthusiasm for filmmaking, learn how not to do things, and show our audience that if they are truly born to work in film, then DFI is here to help.
dfi at intErnational filM fEStiValS
The Doha Film Institute was launched at the 2010 Cannes Film Festival, and since then our New Media production team has covered film festivals around the world, from Berlin, to Dubai and Tribeca New York.
briGittE lacoMbE EXHibit, VidEoS, WEb
DFI and Brigitte Lacombe launched “I Am Film: Work-In-Progress”, a multimedia City Exhibit showcasing portraits of prominent international and regional film icons and emerg-ing talent, as well as http://iamfilm.dohafilminstitute.com, which encom-passes in depth video interviews with both legendary and emerging Arab film figures.
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Be part of the excitment apply atDohafilminstitute.com/careers
VOluNTEErSGEt inVolVEd
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I JOINED the Doha Film Institute (DFI) after at-tending the Career Fair in Doha. I was actually looking for a job for my friend, who had just relocated to Doha, and had left both his and my own résumé at the DFI booth. A few months later, and I had
a new job at DFI! As Procurement Officer in the Finance Depart-ment, my main task is to fulfill the requests of my colleagues for purchasing equipment and products. There is a process involved, from checking items for quality to payment due
dates, and, of course, comparing prices. My work at DFI requires diplomacy and social skills, and includes the ability to negotiate, be decisive, and build rela-tionships, all of which I enjoy doing, and I also help in the preparation of financial reports. My
career started in Cairo after I obtained my B.Sc. from the Faculty of Commerce at the Uni-versity of Ain-Shams. I initially started in the field of marketing before working for an import-export company, where I gained a lot of procure-ment experience.
A DAy IN THE lIfE Of DfI’s HEAD Of SpONSOrSHIp
deal. l think through the next steps for activating the agree-ment. oh boy there will be a lot to do. I may need to hire an account manager for this.
> 11:15 AM I meet with the education team to brainstorm sponsorship opportunities for local companies. It’s a fun ses-sion that produces great ideas and a few laughs.
> 12:30 PM Lunch outside in the courtyard with colleagues.
> 1:30 PM I finalise a Powerpoint presentation for my meeting this afternoon. our office is an open-plan, so the buzz of activity around me keeps my energy up.
> 3:15 PM I hop in the car to meet with a new potential spon-sor for DTFF. Doha is booming, and there are a lot of compa-nies looking to make a name for themselves by associating themselves with our events. I have a good feeling about this.
> 5:30 PM Back at the office, I meet with our in-house lawyer to revise a client contract. every detail counts in these agree-ments. Sometimes I feel like a lawyer myself.
> 7:30 PM I receive news that a local media company has ac-cepted a proposal I sent them a few weeks ago. A nice way to end the day – and to get moti-vated for tomorrow!
the huge to-do list ahead of me, I know the feeling will pass…
> 9:15 AM I race through the remaining emails in my inbox. one of my favourite things about working in sponsorship is working with so many different people. But that also means get-ting emails from all of them!
> 10:15 AM I review a contract we are negotiating with a new company. This would be a big
> 7:00 AM Alarm goes off and I reach for my Blackberry. 15 new messages. I am negotiating a deal with a new york-based company this week, so my inbox has been filling with their emails overnight. I quickly reply to three urgent ones and save the rest for the office.
> 9:00 AM I arrive at my desk. The morning walk to our office, by the sea in Katara, has given me a refreshing sense of calm. With
She’s gone from her home country of Lebanon to Harvard Business School and management consulting jobs in New York City. Now Hanaa Issa stays busy bringing big business to DFI.
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OpErATING A culTurAl INSTITuTION
A uNIquE WAy TO WOrKBy ABBAS MouSSA
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tHaSnEEM raHMan aHMad al aZHarinforMation tEcHnoloGy
IN 2009, I was looking through the ‘Careers’ section on the Doha Film Institute (DFI) web-site and learned that they were looking for an IT specialist. Realising I had the necessary skills and technical experi-ence for a role that also combines my love for
cinema, I applied imme-diately and was hired shortly thereafter. I now work full time at DFI doing a role I love, while also finishing my PHD in Commercial Informa-tion Systems. There are many tasks that I per-form at DFI on a daily basis, such as database
management, operating information technol-ogy and assisting my colleagues with their IT requests. I am also able to take part in activities that are normally out-side of my job descrip-tion, such as having the opportunity to play a role in an educational
film directed by my col-league, Ben Robinson, which was a realisation of my childhood dream. I also write short stories, love acting, and enjoy all kinds of art – I’m a skillful Break-dancer! – so who knows what else DFI can help me accomplish!
(ProfilE)
dministration is the backbone of an organisation” says Sue Phillips, the former Direc-tor of Foreign Bureaus at Al jazeera who joined the Doha Film Institute in november of 2010. “It gives the organisation definition, strength, and should provide an operational structure that enhances the performance of its employees. of course, every institution has different performance needs, so there’s no single formula for success.”
She would know. With decades of experience in the media industry making com-panies run smoothly, faster, and better, she has turned her attention to finding a winning operational formula for one of Qatar’s newest and most dynamic institutions.
As DFI’s Director of opera-tions, Ms. Phillips is currently recruiting for positions in Hu-man Resources, Finance, Legal, Logistics, and Government Re-lations, and says that applicants to DFI shouldn’t expect just an-other company. DFI is a unique institution in many ways, and the uniqueness is reflected in both the work environment and the type of work employees do. “As a dynamic, community-minded cultural organisation, we think beyond the bottom line. We have a special need
to create an open atmosphere where staff can interact quickly, creatively, and easily as a team, and empower people to contrib-ute their own voice and ideas to the things we do here.”
o ne can often find Dana An natsheh roaming through the office, tapping differ-
ent people on the shoulder to discuss their travel needs. As Travel Assistant, she makes sure that everyone gets where they need to go, when they need to be there. Because DFI works on the international stage but maintains a community-focus, staff are constantly on the move – either around Qatar or internationally. “It is hard
work, but at a cultural organisa-tion like DFI I feel like my efforts are contributing to something I believe in. That makes it easier to keep up with the pace of things, and the friendly office environment creates a lot of fun collaborations.”
That dynamic atmosphere starts with DFI’s home at Katara. The office space is an open-plan layout. eliminating walls from the space means that at any given time, you can see every-one in the office and managers are always accessible to their teams. This structure allows for quick, easy interaction amongst staff, making things like spontaneous brainstorming and informal meetings stan-
a average website requests by DFI staff per day
Terrabytes of storage available on DFI’s servers
Number of DFI servers
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Mbps, the internet connection speed through our optical fiber cable
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In July of 2010 I moved to Doha, where I started working for the Doha Film Institute (DFI) with a creative and collaborative crew of designers and media professionals. I work on the design of published materials, as well as branding,
and advertisement campaigns for the Institute. This is my first time living in an Arab country and experiencing Arab culture and civiliza-tion, and I do enjoy it! I got my start in this field when I studied photography, painting
and printmaking at the Bucharest University of Fine Arts. While pur-suing my specialty in multimedia, I realised that I had fallen in love with typography. After graduating, I attended typography courses at the University of Read-ing, United Kingdom. I
worked as an Art Direc-tor at three different magazines: ‘Esquire’ and two others from Bucharest, ‘Punctum’ and ‘Decat o Revista’, and have also worked for many years as a freelance designer in the film industry.
was educated as an electrical engineer, but changed paths to accounting after discovering the supportive work environment at DFI during a temporary work assignment. She started work in December of 2010 as an Assis-tant Accountant, and has found that finance in a media organ-isation requires quick thinking and flexibility. “This isn’t your average accounting job,” she says. “I’m learning something new every day. Luckily, DFI sup-ports my efforts to develop my skills and career path, all while participating and learning about the other departments at DFI like Broadcast and education.”
a t the core of the organisa-tion, administrators are constantly interacting with
different departments inside the organisation, as well as with different parts of the Qatari community.
nasser Abdullah, Protocol and Government Services of-ficer, relied on the fluid work-ing system while facilitating the co-production of the battle scenes in the blockbuster film “Black Gold”. Working with over 200 cast and crew from Tunisia and other parts of the world, all here to work intensely through a grueling shooting schedule, required a lot of quick-thinking
and coordination with almost every department at DFI. Some days, he would start at the emiri Diwan, drive to the set in Mesaieed, and be back at the office in Doha for meetings in the afternoon. “on the set things changed every day and we had to adjust quickly. That was when I noticed the strength in an adaptable working system.” ultimately, the shoot was a success. “It felt good to see such a big project come together in Qatar. DFI is devel-oping quickly, and the people who work here are developing along with it.” p
> Always check our website, as we con-tinuously post new job opportunities
> Be clear and detailed in your CV and applica-tion submitted
> Send a cover letter to Specify the job(s) that you want to occupy
tiPS froM tHE Hr tEaM
> Show all your work-ing skills and talents
> All nationalities from the Arab world and the world can apply
(ProfilE)
ON THE SET THINGS cHANGED EVEry DAy AND WE HAD TO ADjuST quIcKly. THAT WAS WHEN I NOTIcED THE STrENGTH IN AN ADApTABlE WOrKING SySTEM.”
dard practice. It also creates an office buzz that keeps things active, tapping the energy of the diverse staff from over 22 different nationalities.
The open-plan layout enables a dynamic way of working by design, to support the dynamic type of work that people do at the Institute. nagham Dahleh,
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Nasser Abdullah, Protocol and Government Services Officer.
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DÉjÀ Vu
“tHE tWo EScobarS”
can you naME tHE country WHErE tHiS docuMEntary took PlacE?
“ The Two escobars”, by jeff and Michael Zimbalist was screened at DTFF 2010 as a Middle eastern Premiere.
Answer: Colombia
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“HaWi”
WHicH EGyPtian band did tHE Soundtrack for tHiS filM?
“Hawi” by Ibrahim el Batout, was screened at DTFF 2010 as a world Premiere, where it won the award for Best Film.
Answer: Massar egbary Band
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> What is DTFF?As the Doha Film Institute’s annual celebration of film, the Doha Tribeca Film Festival (DTFF) is a community minded event that showcases the best of Arab and international films. DTFF is a truly global event, or-ganised by a Doha-based team comprised of more than 200 staff members representing 22 nationalities, including a vital core of Qatari participants.
> What will I be a part of as a volunteer?every department’s volunteer needs vary in numbers and there is a place for every skill level and experience (from students to mid-career profes-sionals that are available to help). you could be involved in many different departments: Box office, Broadcast, Commu-
nications, Content, education, Family Day, Festival operations, Guest Services, Merchandising, Special Projects, Guest Rela-tions, Hospitality, Marketing, Panels and Production.
> What role do the volunteers play in all of this?The Doha Tribeca Film Festival could not happen without the dedication and hard work of our volunteers. Volunteering is of-ten the first step in the door for people interested in pursuing or advancing a career in the film industry. These positions are unpaid but will provide price-less experience.
> What’s so special about being a volunteer?This is best discovered first- hand, but as a volunteer, you’ll:
gain work experience and be exposed to professionals at high level
be among the first to see new and exciting films at the festival
network and make a lot of new friends
earn vouchers to attend screenings and panels for every shift you work
get a gift bag, including an of-ficial DTFF T-shirt
receive your own festival badge
receive an invitation to the Volunteer Appreciation Party at the end of the festival
be awarded an official Certifi-cate of Appreciation, marking your involvement in this year’s edition
WHy VOluNTEEr AT DTff 2011Do you have a passion for film and a desire to help create one of Qatar’s key cultural events?By FATMA AL ReMAIHI & MyRIAM SIouFI
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I volunteered with TEDxDoha during the Doha Tribeca Film Festival 2010. I assisted with the registration of participants, and relayed information to guests using the shuttle bus regarding directions to the venue. It was a great experience and provided the opportunity to learn more about TEDx talks, as well as meet new people, and I really enjoyed listening to all the speakers sharing their experiences. I look forward to being involved in future editions of the festival and encourage everyone to undergo this unique experience.
– BACHIR eL-SAGHIR
It was a real experience to be volunteering for the Doha Tribeca Film Festival 2010. We had a great time in 2010 – I was working with the Guest Services Department and was actually awarded the Best Volunteer of our depart-ment. I worked at most of the venues we had in the festival, and it was a great experience. I believe it is the best department to work with as you get to meet all the celebrities! I hope to be part of DFI and DTFF again, and I do look forward to the 2011 edition.
– CAPT. G KHAn
tEStiMonialS
HoW can i aPPlyCheck our website for regular updates on voluteer opportunitiesdohafilminstitute.com/careers
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