A tutor of a workshop.
Udayan Prasad is a multi-award-winning director whose earlier films include the MY SON THE FANATIC by Hanif Kureishi and BROTHERS IN TROUBLE, winner of the Golden Alexander Award at the Thessaloniki Film Festival. He also directed THE YELLOW HANDKERCHIEF starring William Hurt, Maria Bello, Kristin Stewart, and Eddie Redmayne, which premiered at the Sundance Film Festival and was released in the US by Goldwyn Films.
Dan Clifton is an award-winning writer and director working across documentary and fiction, often on projects at the intersection of the two genres.
Claire has worked in the film and television industry for over 25 years, starting with Walt Disney Studios in Los Angeles in the ‘90s. She transferred back to London and became Development Executive for the new UK Disney Channel, working on award-winning children’s programmes, including a comedy drama penned by Mark Haddon. She then moved to CBBC, where she developed teen dramas such as CAVEGIRL with Danny Peacock.
Production Designer, Set Decorator, Art Director Rebecca Morton has over 25 years’ experience working in all levels of TV and film. She originally trained in Theatre Design at Wimbledon School of Art and when on to design sets and costumes for various dance and fringe productions. In 1996 Rebecca got her first break in TV becoming the design assistant for Ragdoll Productions’ Teletubbies.
Chi Yu is a Writer/ Director who graduated with a MA in Filmmaking at the prestigious London Film School in 2013. He was mentored by UK Producer Margaret Matheson in his final year. He was funded by Film London's London Calling and London Calling Plus Schemes and has had films shown at festivals in the UK and Ireland. He has been part of the BAFTA Crew scheme and has devised and taught courses for LFS's Outreach Department.
Andrew Speller is an experienced Cinematographer and Camera Operator with a professional career in the Film industry of over 30 years. An early passion for drawn, painted, photographed, static or moving images, developed into filmmaking.
Documentary experience shaped an intuitive awareness of being able to read situations as they evolved, to find the shots that supported the emotion and an ability to get the camera to where it should be to tell the story, readily transferred to narrative filmmaking in TV Drama and Features.
