DFI Magazine by Doha Film Institute

qatar RAISES DEVELOPING the WORKFORCE ITS VOICE of the future MAGAZINE BEHIND THE SCENES OF DFI

LEADING to A NEW AGE of ARAB CINEMA

Special careers EDITION

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

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.

Photograph by Brigitte Lacombe

Sheikha Al Mayassa Bint Hamad Bin Khalifa Al-Thani

DFI boarD members H.E. Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani

Founder | Chair of DFI

H.E. plays an important role in developing 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 dedicated to film appreciation, 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 community development projects with specific emphasis on promoting global responsibility for basic, quality primary education. H.E. is also Chairperson of the Qatar Museum Authority, and envisaged the internationally 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. Sheikh Mohammed Bin Fahad Al-Thani

H.E. Dr. Hassan Al-Nimah

Vice-Chair of DFI Board AND CHAIR OF FESTIVAL BOARD

MEMBER OF DFI Board and Vice Chair OF FESTIVAL BOARD

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 status 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 AlNimah 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. Hassan Al-Nimah was also nominated Ambassador at the Ministry of Foreign Affairs, as well as a permanent Delegate of the State of Qatar to the United Nations in New York.

H.E. Sheikh Jabor Bin Yousuf Bin Jassem Al Thani

member OF DFI BOARD

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 attaining the positions of Director of the Foreign Minister’s office, Director 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 Agreements and Organisations and as Chairman of the Documents Committee for The Islamic Conference Summit.

MASTHEAD Published By Doha Film Institute Executive Director Amanda Palmer Managing Director Maggie Kim Director of Operations Sue Phillips

Edited by Robb Wood Publication Manager Myriam Sioufi Art Direction Raymond Bobar Design Mona Kamel Cover photo Vlatka Augostinovic Photographers Raymond Bobar Faisal Al Thani Illustrator Rob Nield Contributing Editors Abbas Moussa Fatma Al Remaihi Contributors Alexandra Fredricks Atef Safder Ahmed Chadi Zeneddine Elly Cardwell Hanaa Issa Majid Wasi Michael Petrovich Mona Zaher Nabil Gaber Robert Verschuer Shorooq Shaheen Tarek Abu Esber Vinita Bharadwaj

Translators Abbas Moussa Rosetta International Photo Credits Ben Robinson Brigitte Lacombe Getty Images Mona Zaher Thanks to 2×4 Al Sharq Newspaper Ama Akuamoah Jean Bréhat Lea Bowman Qatar Television Black Gold Crew Xavier Castano Hervé Schneid Nathalie Cheron Selim Azzazi Bruno Dubet Volunteers Bachir El-Saghir Ghazan Farullaky

table of contents

A NEW PAGE IN STORYTELLING FROM THE GULF Auditioning for a leading role in modern Arab cinema.

DFI YEAr round events

2–DFI BACKstage

film financing 101 with producer jean Bréhat

An industry veteran talks through the main stages of financing a film.

PROMOTING DFI, AND QATAR, ON THE WORLD STAGE

1–The institute

A proud Qatari working in International Promotions for DFI describes her experience bringing film and culture from Doha to the world.

20 12 CONVERSATION WITH DFI EXECUTIVE DIRECTOR

Amanda Palmer takes student career questions.

katara photo tour

24 EmPOWERING THE VOICES OF QATAR The Profile of the DFI Education department.

31 41 8 Steps to Programming films at DTFF

32 35

A DAY IN THE LIFE OF DFI’S HEAD OF SPONSORSHIP

PUTTING ON A SHOW: Event production MARKETING AND COMMUNICATIONS AT DFI: FAQS

48 Why Volunteer at DTFF 2011

36 42 50

Professional profiles

OPERATING A CULTURAL INSTITUTION

A unique way to work

3–BE part of DFI New Media Portfolio A Gallery tour with web journalist Tarek Abu Esber

How to stay in touch?

Déjà vu?

35 38 41 44 45

Communications

video editing procurement information technology graphic Design

Afromnewthe gulf page in 8

Photograph: David Koskas & Quinta

Left page: “Antar Bin Chaddad”, Masr Alguedida Film Co. Egypt, 1961 Right page: “Black Gold”, Quinta Communications and DFI, Qatar and Tunisia, 2011

storytelling Qatar auditions for a leading role in modern Arab cinema By Vinita Bharadwaj & robb wood

One only needs to scan the local listings to witness the current dominance of western cinema at the box office.

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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 multiplexes - 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 Institute [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.

rab cinema faces two key challenges – increasing the production of new and better 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 region, producers find it difficult to recover their investment in locally produced films. According 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 circuit,” says Cherien Dabis, director 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 industry, DFI sees an opportunity. In only one year since its launch at Cannes in 2010, the Institute stepped up with a much needed film fund that facilitates the production of films offering

an Arab perspective that balances commercial interests with compelling, original storytelling. “There are now more financing opportunities for the conception and post-production of projects, but the bulk of the expense goes in the actual filming,” says Mahmoud Kaabour, the Lebanese filmmaker, whose documentary “Grandma, a Thousand Times”, received funding 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-production 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, developing the talent and capacity for filmmaking organically.

ohammed Ibrahim, a 23year 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 alongside 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.

brahim was also a participant in one of DFI’s extensive education programmes. The 9-month project funded filmmakers’ training and produced their 10-minute short films, which were screened during DFI’s Doha Tribeca Film Festival [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 filmmakers and develop film audiences. It offers year-round courses that range from intensive film labs, panel discussions, animation tutorials and weekend workshops. While education is an important 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 preferences 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 distributors. 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 audiences must demand it,” he says.

Copti, an Academy Award ® nominated Palestinian filmmaker, currently works out of Doha, where film appreciation is a key component of his department’s mandate. “Audience demands will change when audience tastes change. First, they have to be exposed to different kinds of cinema. The transformation of accepting 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 bringing varied forms of filmed entertainment from around the world to its local audiences and providing them opportunities to experience diversity within a familiar medium. DTFF is the culmination of the institute’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 department’s short film training programme 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 11

Conversation with DFI Executive director

AMANDA PALMER

As the Doha Film Institute (DFI) enters its exciting second year, weâ&#x20AC;&#x2122;re launching a new graduate programme to coincide with DFIâ&#x20AC;&#x2122;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.

Nabil Gaber

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Georgetown 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 Communications or New Media departments. These departments constantly communicate with local and international audiences and groups to build a profile of DFI as an organisation committed to building film culture and a film industry in Qatar. It has to communicate the many efforts of our year-round education 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 International Politics Major, part of your skill includes truly understanding 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 Communications team’s functioning

as they are required to communicate an organisation’s objectives and business interests; effective speech writing helps to develop strong spokespersons; and event planning is also key to DFI, considering we plan one of Qatar’s biggest cultural 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 graduate position within DFI, would I be able to grow within the organisation? What sort of opportunities 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. Organisations now understand the organic nature of careers, and the onus is increasingly being placed on companies to provide career growth, on-going training 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 professionals 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 organisation, 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 packages that are in line with international standards and other cultural organisations operating in Qatar. We believe that DFI offers graduates a unique, challenging 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 Ahmed College 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 13

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

Shorooq Shaheen

pros and cons of joining an organisation like DFI? AP: The major pro for me is the dynamic nature of our organisation and the variety of work we do. We are part of a very interesting and creative industry that is rapidly evolving. In the emerging 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, sponsorship, 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.

Qatar 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 society. 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 encouraging dialogue and discussion to better understand films, as well as supporting films being made, through financing and then promoting them on local 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 examples of how I believe DFI has started to develop a sustainable film industry. Our community outreach and education departments now work year-round to foster film culture and understanding. 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. Importantly, 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 unquestionably fostered growth within Qatar’s film industry and culture. In light of the recent MENA revolutions DFI also understands, more than ever, its regional responsibly to showcase Arab and international films. DFI will be supporting MENA filmmakers in telling their stories. 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 dedication, 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 comfortable working in a creative industry. 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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The most important thing is an ethos of hard work and dedication, because when youâ&#x20AC;&#x2122;re building a film industry from scratch you need to be prepared to work very hard.

Robert Verschuer Wollongong 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 organisation 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 donâ&#x20AC;&#x2122;t have children but need to spend time with their families. So yes, itâ&#x20AC;&#x2122;s important to us that we are part of Qatar and respect the inherent value of family in Qatari culture.

their competitiveness for potential careers. At DFI, we believe in mentoring and empowerment of youth to create a talent pool required for the growth of the industry. Apart from various challenging full time opportunities, graduates 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 setup, providing an opportunity to meet a number of potentially influential 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 students the opportunity to apply their knowledge in real world environments. Volunteering: One of the easiest ways to get experience is to offer to volunteer at the various events organised by DFI, including 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

Robert: How do I apply for a

graduate position within DFI? AP: We are soon going to be

introducing a graduate development 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 15

DFI YEAR-ROUND EVENTS

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.

DFI Assembled by Myriam Sioufi

SCREENINGS & FILM TALKS This year, DFI will showcase both themed screenings and a lecture series that offer a hands on approach for every aspect of filmmaking.

DTFF Doha’s most international event showcases the best of Arab and international films.

SUCQ (STAND UP COMEDY QATAR)

TEDXDOHA After hosting the inaugural TEDxDOHA and TEDWOMEN events in 2010, DFI’s collaboration with TED will continue with new and exciting events in 2011.

WORKSHOPS

The Institute’s education team organises workshops and classes year round, from acting and animation to special effects and screenwriting.

“ I AM FILM” BRIGITTE LACOMBE 2 3

Comedian Mohamed Fahed Kamal

DFI continues to highlight comedy as an artform and support stand up comedians living in Qatar.

In 2011, Brigitte Lacombe’s “I AM FILM” ongoing photography exhibition will expand to encompass additional cinematic figures.

4 1. Tribute to Adel Imam ceremony 2. DTFF red carpet 3 & 4. Family Day

DTFF 2010 FActs & Figures COMMUNITY OUTREACH

Top to bottom, from left: DTFF Adel Imam Tribute, Sean Gallup, Getty Images; DFI Archive; Brigitte Lacombe

DFI’s Community Outreach core objective is to create synergy between the community and DFI. We achieve this by empowering and involving the Qatari community while working closely with local educational sectors, such as universities, schools and colleges, to provide internship and volunteer placements within DFI. In addition, our Community Outreach initiatives include supporting local TEDx events (TEDxDOHA), Stand Up Comics Qatar (SUCQ), the work in progress Brigitte Lacombe “I AM FILM” exhibition, yearround workshops with notable filmmakers and cinema professionals, as well as celebrating and dedicating a special day for families during the Doha Tribeca Film Festival.

The 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

28 2 4 42,000 13,000 110 10 400 832

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 Stage As 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. By Fatma Al-Remaihi

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 stakeholders, the global film community. With a range of activities, from advertising in international trade magazines to coordinating press interviews and networking with international film professionals, 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, representing 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 questions. For example, at a meeting 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 international community with a better understanding of my region, our values and support system, while clearing some misconceptions or myths they might have.

f course, a main component of promoting DFI is showcasing the filmmakers from the region. In Qatar alone, many of the people I’ve met are happy to find an outlet for their ideas

through platforms provided by DFI. It is a great joy to help channel 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 connect and understand each other; talking to them opens doors into their lives and their minds. By working with this creative community, 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, Berlinale, 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

MAR

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

APR

MAY

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and proper offices! It has been satisfying to watch DFI grow from a once-a-year festival event into a leading international 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 contributing to Qatarâ&#x20AC;&#x2122;s vision. This year, people at the Berlin International Film Festival were congratulating me on Qatar hosting the 2022 World Cup â&#x20AC;&#x201C; in fact, one writer/producer even suggested that we produce 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

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Dubai

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Doha Tribeca Pusan

Locarno Giffoni

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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 elements months in advance from our base in Doha to make sure everything goes smoothly once weâ&#x20AC;&#x2122;re there. If we have done our jobs effectively, we walk away feeling a sense of achievement and accomplishment.

2011 19

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, succulent 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.

By Chadi Zeneddine

2 3

1 4 7

alleys and discover a new favourite spot every day.

showcased at the Katara Opera House.

3 – The Mosque Deadlines are part of our daily working lives but when the Muezzin recites the Holy words, Katara transforms into a spiritual, timeless space.

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.

1 – The Amphitheater In the early morning, facing the hypnotic sea before going into your office, you can walk through the promenade and find serenity through an infinite view of the city.

4 – The Cuisine Work wouldn’t be complete 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.

2 – The Alleys Katara never ceases to surprise you as you walk down its intricate alleys. Between stressful working hours, you can walk down the

5 – The Katara Opera House Music, Cinema, Performing Arts and Dance are some of the rich cultural activities

7 – The Patio DFI has a courtyard that allows sunshine to brighten your day. The Spanish patio is where we brainstorm on our next initiatives. 8 – The Garden We are done for the day. Even when you leave Katara, its beauty never sleeps. Can’t wait to come back to work tomorrow.

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KATARA PHOTO TOUR

Photographs by Raymond Bobar, Faisal Al-Thani, Katara Archives

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Film Financing 101

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

Photo: Getty Images

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Producer Jean Bréhat at opening night, DTFF 2010

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. Script development Usually, 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 “blueprint” 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-production The planning of the shoot happens in pre-production. The producer manages the funds he has raised to build the production team, scout and secure the shooting locations, cast the actors, hire technical crew like lighting and sound professionals, and start preparations like wardrobe and set design. Production As 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 equipment, plus travel costs, location permits, and insurance. Post-production Once 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 marketing For most independent films, now is the time to secure a buyer. To get noticed, you need to print a lot of professionalgrade 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 23

#2 backstage

Scandar Copti

Rahab Elewaly

Justin Kramer

Mohammed Ibrahim

Ritesh Batra

Lauren McCarthy

“ BLACK GOLD” BREAK 24

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”.

Photographs Edu Team: Raymond Bobar

Hamida Al-Kuwari

Ben Robinson

Lauren Mekhael

Empowering the Voices of Qatar A Profile of DFI’s Education Department

Interview by Abbas Moussa

XAVIER CASTANO Executive Producer

As the Executive Producer 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 encountered many unpredictable situations with this film: the first big film

ever shot in Qatar. We actually had the battle scene here, it was a very enriching experience… one of a kind!

THE VISION “In the Arab world, there is a perception that filmmaking is the exclusive domain of the West, that we are just consumers, 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 discover their own storytelling potential, and to realise that cinema is a powerful method of expression that should be available 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 educators that reflects the diversity of Doha’s population, including 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 department is to focus on storytelling and the arts, which creates an encouraging and safe environment in which anyone can explore all that cinema has to offer. The team works yearround to organise programmes and workshops representative

NATHALIE CHERON Casting

Casting Directors work closely with the Director to understand his requirements. In November 2009, I was in charge of finding 26

of their mission, including production 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 APPROACH Copti describes two overall approaches to film education. The first is a series of programmes that caters to the broad local community by producing screenings, short workshops, and activities intended to provide 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, including 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

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.

as a whole, creating activities that address the greatest areas for growth in Qatar’s filmmaking community.

THE TEAM AT WORK At Copti’s right hand is filmmaker Ritesh Batra. The Mumbai-born director develops the work plans, budgets, and schedule, and taps his wide network to bring opportunity for students. “Practical experience is one of the best ways to give people a chance to prove themselves,” says Batra. “We’re trying to provide a comprehensive 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 audiences. She cites the rising application 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 curricula and activities. Heading the collaboration with local schools is Ben Robinson, a UK-born filmmaker and cinematogra-

HERVÉ SCHNEID Film Editor

Editors perform one of the most important jobs in the industry. They select the scenes from hundreds of hours of footage, making sure

that the selection tells the story according to the director’s vision.

Photographs Workshop: Mona Zaher

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 developing practical creative skills that can be applied to work and study in other fields. When she’s not supporting the animation workshops, Lauren Mekhael focuses on produc-

SELIM AZZAZI Sound Designer

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

ing classes like a stunt workshop 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 Foundation called Al Fakhoora. Mohammed Al Ibrahim started as a student, and now works as a filmmaker and programme producer alongside 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 coming generations of regional filmmakers.p

possible. Sounds help direct the eye within the picture. It participates in the understanding of a character’s state of mind and a setting’s mood.

Bruno Dubet Grip

Grips’ responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dol-

Students discuss concepts in video art with instructor Köken Ergun.

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 Qatar’s desert… I’ll let you imagine the thrill!

GET INVOLVED

LEARN FILMMAKING 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. We also produce community programmes panel discussions, animation classes, and workshops from acting and directing to scriptwriting and documentary.

Photograph by Ben Robinson

dohafilminstitute.com/education

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DOHA TRIBECA FILM festival Save the date 2011 Dtff 25–29 October

8 STEPS TO PROGRAMMING FILMs AT DOHA TRIBECA FILM FESTIVAL

Choosing films for festivals is not as easy as it sounds. Programming can be like a game of snakes and ladders. By Alexandra Fredricks

DEFINE THE ARTISTIC DIRECTION 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.

collect the FiLMS

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.

Illustrations by Rob Nield

Select the films

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 wellrounded programme.

GATHER THE INFO

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!

show the films!

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.

SCHEDULE THE SCREENINGS 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!

announce the programme 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.

CELEBRATE 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!

2 separate systems incorporating over 100 speaker cabinets

putting on a show:

EVENT PRODUCTION Even the simplest events require a team effort by skilled professionals. Production and technical directors, set designers, architects and engineers of all types to design and execute our projects year round. The backbone of any events production team is the coordinators and assistants, venue managers, stagehands, riggers and labourers that make the designs, plans and performances come together. During the Film Festival alone, the event production team supported over 80 events spread across 14 venues throughout Doha. Hereâ&#x20AC;&#x2122;s a glimpse of what it took to build the Katara Open-Air Theatre (KOAT) for the DTFF 2010 edition, the professionals involved and the technology used.

Dolby 7.1 surround system to support film

Performance systems supported entertainment by local and international artists.

It took over 2 km of steel trussing to build the 12 arches.

It took 4 weeks and over 150 stagehands and technicians to build KOAT and 2 weeks to take it down.

By Michael Petrovich

People who make it happen 32

Seating & Structure

Lighting & Electrical

> 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.

8 generators ranging from 500 KVA to 1250 KVA powered all of the systems.

Incorporated over 1500 lighting fixtures over 17 km of cable

Screen 20 m wide by 8.33 m high

Final wrapping of DTFF branding

2000 Seats: 300 VIP & 1700 General Admission

35 mm Film Projectors and Digital Cinema Projection Systems were incorporated.

The equivalent of 20 floors of scaffolding supported the seating risers and projection tower.

Audio

Projection

branding

> 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.

orships

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sit our careers page:

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‫ ‏‬ona Zaher M ‫‏‬Communications (profile)

Communications & MARKETING at DFI: FAQs By MAJID WASI & ROBB WOOD

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 University 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 several 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 opportunity 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 realities 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 educational programmes, and to promote Arab talent and films on both a local and international level.

> What does the Communications team do at DFI? In a nutshell, Communications is about “telling the organisation’s story” to people both inside and outside the company. As a new organisation on the forefront of the high-profile arts industry, the work of DFI’s Communications team is especially important. > What are the responsibilities of a Communications team member? Our team develops the overall communications strategy and oversees activation and implementation. That includes writing press releases, working with journalists to develop their stories, booking interviews, winning third-party endorsements, getting photo credits, networking, and scheduling speaking opportunities for the company leadership, to name a few. > What’s the difference between Marketing and Communications Departments at DFI? Communications tells DFI’s story; marketing motivates people to act. The main goal of marketing is to match a company’s products and services to the people who need and want them. At DFI, that means identifying the audience for our various initiatives and then creating a strategy and action plan that persuades that audience to get involved.

> 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 relating our story to a wide constituency. 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 fundamentals come together. It is an active job that requires collaborating with all departments in the company and interacting with local and international communities. Usually, marketing activities are part of an overall campaign that incorporates many different elements, like advertising, promotions, and events. > What’s unique about the Marketing department at DFI? Many companies hire outside agencies to develop and implement their marketing initiatives. At DFI, we develop our own campaigns with our branding agency, and do the creative work ourselves with an inhouse studio of graphic designers, photographers, and media producers.

A gallery tour with a DFI NEW Media journalist, Tarek Abu Esber

DFIâ&#x20AC;&#x2122;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.

36 edited by elly cardwell

With media consumption at an all time high, people look to online media content for up to date information. DFI offers original videos, photos and blog coverage of the film industry, plus film reviews and previews of our own educational workshops.

new media Portfolio

#2 backstage DFI’s monthly Active unique users on facebook

150.000

100.000

50.000

December

November

October

September

August

July

0 June

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.

200.000

May

Social Media

Monthly active users The 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.

Abdul Jabbar Makki Video Editing (profile)

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 documentary film and, after the events of September 11, I decided to make my film about the way Muslims were being viewed in western societies. I chose the subject “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 afterwards. Since graduating, 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 Channels. Doha Film Institute (DFI) has served as a turning point for me, allowing me to move from television back to my first love, cinema.

Documentaries As the co-producer of the Arab blockbuster, “Black Gold”, DFI’s content team had unique access on location to the set, cast, and crew. This exclusive content allowed us to produce behind-the-scenes documentaries of the film, editorial blogs from Production 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 closing ceremonies.

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.

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 emerging talent, as well as http://iamfilm. dohafilminstitute.com, which encompasses in depth video interviews with both legendary and emerging Arab film figures.

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.

Fresh Content We’re constantly updating our site to make sure you’ll find something new every time you visit. Come see for yourself!

GET INVOLVED

volunteers Be part of the excitment apply at Dohafilminstitute.com/careers

A Day in the Life of DFI’s Head of Sponsorship

#2 backstage

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.

Photograph by Raymond Bobar

> 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

> 11:15 AM I meet with the Education team to brainstorm sponsorship opportunities for local companies. It’s a fun session that produces great ideas and a few laughs. > 12:30 pm Lunch outside in the courtyard with colleagues.

By hanaa issa

> 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.

deal. l think through the next steps for activating the agreement. Oh boy there will be a lot to do. I may need to hire an account manager for this.

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 getting emails from all of them! > 10:15 AM I review a contract we are negotiating with a new company. This would be a big

> 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 sponsor for DTFF. Doha is booming, and there are a lot of companies 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 agreements. Sometimes I feel like a lawyer myself. > 7:30 pm I receive news that a local media company has accepted a proposal I sent them a few weeks ago. A nice way to end the day – and to get motivated for tomorrow!

Iman Ghareeb Procurement

Photographs by Faisal Al-Thani

(profile)

I joined the Doha Film

Institute (DFI) after attending 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 Department, 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 relationships, 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 University of Ain-Shams. I initially started in the field of marketing before working for an importexport company, where I gained a lot of procurement experience. 41

Operating a Cultural InstitutioN

A Unique Way to Work Oles eat officii simendero mi, quam restia dolorestis asit lanimpo rentore quatur? Inust voluptassit, omnisquatur? By ABBAS MOUSSA saeriat ius

dministration is the backbone of an organisation” says Sue Phillips, the former Director 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 companies 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 Operations, Ms. Phillips is currently recruiting for positions in Human Resources, Finance, Legal, Logistics, and Government Relations, and says that applicants to DFI shouldn’t expect just another 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, communityminded cultural organisation, we think beyond the bottom line. We have a special need

IT By the Numbers 10158 24 16 2 156

average website requests by DFI staff per day Terrabytes of storage available on DFI’s servers Number of DFI servers Gigabytes of web traffic on an average work day Mbps, the internet connection speed through our optical fiber cable

to create an open atmosphere where staff can interact quickly, creatively, and easily as a team, and empower people to contribute their own voice and ideas to the things we do here.”

ne can often find Dana An Natsheh roaming through the office, tapping different 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 communityfocus, staff are constantly on the move – either around Qatar or internationally. “It is hard

work, but at a cultural organisation 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 everyone 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-

Thasneem Rahman Ahmad Al Azhar Information Technology (profile)

In 2009, I was looking

cinema, I applied immediately and was hired shortly thereafter. I now work full time at DFI doing a role I love, while also finishing my PHD in Commercial Information Systems. There are many tasks that I perform at DFI on a daily basis, such as database

management, operating information technology and assisting my colleagues with their IT requests. I am also able to take part in activities that are normally outside of my job description, such as having the opportunity to play a role in an educational

film directed by my colleague, 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!

Photographs by Faisal Al-Thani

through the ‘Careers’ section on the Doha Film Institute (DFI) website and learned that they were looking for an IT specialist. Realising I had the necessary skills and technical experience for a role that also combines my love for

Nasser Abdullah, Protocol and Government Services Officer.

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,

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 Assistant Accountant, and has found that finance in a media organisation requires quick thinking and flexibility. “This isn’t your average accounting job,” she says. “I’m learning something new every day. Luckily, DFI supports my efforts to develop my skills and career path, all while participating and learning about the other departments at DFI like Broadcast and Education.”

t the core of the organisation, 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 Officer, relied on the fluid working 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 developing quickly, and the people who work here are developing along with it.” p

TIPS from the hr team > Always check our website, as we continuously post new job opportunities > Be clear and detailed in your CV and application submitted

> Show all your working skills and talents > All nationalities from the Arab world and the world can apply

> Send a cover letter to Specify the job(s) that you want to occupy

Raymond Bobar Graphic Design

Photographs by Faisal Al-Thani

(profile)

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 civilization, 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 pursuing my specialty in multimedia, I realised that I had fallen in love with typography. After graduating, I attended typography courses at the University of Reading, United Kingdom. I

worked as an Art Director 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.

“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.

DÉJÀ VU Answer: Colombia 46

“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 47

WHY VOLUNTEER AT DTFF 2011

Do 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

> 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, organised 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 professionals that are available to help). You could be involved in many different departments: Box Office, Broadcast, Commu48

nications, Content, Education, Family Day, Festival Operations, Guest Services, Merchandising, Special Projects, Guest Relations, 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 often 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 priceless experience.

> What’s so special about being a volunteer? This is best discovered firsthand, 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 official 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 Certificate of Appreciation, marking your involvement in this year’s edition

#3 be part of DFI

testimonials 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 department. 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

How can I apply Check our website for regular updates on voluteer opportunities dohafilminstitute.com/careers

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