Lights, Camera, Blogging!

CENFLO 2012

2012-01-20T08:36:00.002-05:00

Finding a Film Festival for Your Film

It's been eight months since my last blog but it's that time again to create interest in the Central Florida Film Festival. This year will be our 7th and once again we are being held over the Labor Day weekend (August 31, - September 2, 2012) at the West Orange Cinemas, in Ocoee, Florida. It's just fifteen minutes from Disney World.

IMPORTANT DATES:

Early Bird Entries are now being taken at http://www.withoutabox.com/ thru February 20, 2012.
Regular Entries will be taken from February 23, thru April 15th, and our late entry deadline is from April 15, May 31, 2012.

All "Official Selections" will be notified as soon as possible but no later than July 1, 2012.

Labor Day weekend we will present our three day event and our gala awards show will be on Sunday, September 2, 2011, at 8:00 pm.

I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.

I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.

Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. Smart if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. We provide those films that do not become an official selection with a critique letting them know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival. It couldn't hurt.

Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.

Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox takes an 18% cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.

One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.

I hope this helps !

......and cut!

A Message From InkTip.com

2011-03-21T14:57:00.002-04:00

CenFlo Followers,

Important BLAST regarding our new sponsor InkTip.com.

Deadline for Summit / Marriott Discount: March 25th

Save $75 per night at the Marriott, Burbank while attending the Pitch & Networking Summit II. Click here to register & book your stay.

Dear Screenwriter,

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It is a number game, period. There is no escaping this fact.

At other pitch events, you are able to pitch an average of 8-12 in a day, and that is absolutely not enough.

Only at InkTip’s Pitch & Networking Summit (PNS), will you have the opportunity to personally meet and pitch an average of 25 companies (producers, agents and managers) – all in a single day.

The first Summit broke all the records: already resulting in more than double the number of options, sales, writer hires and reps than ANY other pitching event (more than 25+ deals confirmed).

If you miss out on PNS 2, you’ll have to wait another year before the next one; so take advantage of this opportunity, before it is too late, to jump start your career.

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Just some of the nearly 300 companies looking for scripts and writers include:

Grindstone Lionsgate (InkTip’s own Circle of Pain)

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FreMantle (America’s Got Talent, American Idol)

Magnet Media Group (13, Dark Tide)

PopArt Film Factory

Sogno Productions (Campus Daze)

Strategic Film Partners (Bangkok Adrenaline)

Ten-Thirty One Home Entertainment (Into the Woods)

Ed Silver Agency

Suntaur Entertainment (In Too Deep)

Daniel L Paulson Productions (Sunset Park)

New studios, production companies, agents, managers and professionals are signing on every day!

If you're a filmmaker and especially a writer you have to take a look at the InkTip site. Go to www.InkTip.com and see why CENFLO recommends InkTip to all Independent Filmmakers.

Remember the Central Florida Film Festival is currently accepting entries in the categories of Documentary, short and feature films. As always the festival will be held over the Labor Day weekend (September 2-5, 2011). For more information go to www.CentralFloridafilmFestival.com.

And Cut!

Bob Cook
Executive Director
Central Florida Film Festival
5029 Ledgewood Way
Orlando, Florida 32821
(407) 370-3703
www.CentralFloridaFilmFestival.com

Finding a Film Festival for Your Film

2011-01-12T18:10:00.006-05:00

It's been eight months since my last blog but it's that time again to create interest in the Central Florida Film Festival. This year will be our 7th and once again we are being held over the Labor Day weekend (August 31, - September 2, 2012) at the West Orange Cinemas, in Ocoee, Florida. It's just fifteen minutes from Disney World.

IMPORTANT DATES:

Early Bird Entries are now being taken at http://www.withoutabox.com/ thru February 20, 2011.
Regular Entries will be taken from February 23, thru April 4, 2011, and our late entry deadline is from April 5, 2011 thru May 31, 2011.

All "Official Selections" will be notified as soon as possible but no later than July 1, 2011.

Labor Day weekend we will present our three day event and our gala awards show will be on Sunday, September 2, 2012, at 8:00 pm.

I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.

I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.

Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. Smart if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. Here at the Central Florida Film Festival we received roughly $2000 in entry fees each year. Our cash prizes on our awards night is $2000. We also provide those films that do not become an official selection with a critique letting them know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival. It couldn't hurt.

Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.

Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox takes an 18% cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.

One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.

I hope this helps !

......and cut!

Comment on Previous Post

2010-04-19T10:52:00.004-04:00

The person who wrote the IMDB posting yesterday seems pretty upset at my response. Like I said before, I don't want to get into a debate. Both of us have our opinions. I believe "after further review," you should come up with your own. There are exceptions to every rule. Research and gut feelings are important.

I was accused of not posting his response. In my defense the Blogging Company hasn't notified me as of this morning. I saw his response posted on IMDB and have copied all but some self serving advertisements.

COPY

"I posted a response on Bob Cook's blog and just in case he doesn't post it, I will post it here for everyone to read and it is as follows: I'm the one that is being referenced in this blog, I posted the post on IMDB entitled Stop Working for Free. And I stand by that, all of you that say you want the credit on the resume well that in my opinion is just foolish. I don't care who you are, if you provide sweat equity then you need to be paid for your work period, and I do have to agree with Bob Cook on one point, Scam artist are Scam artist, I don't think that the word artist should be in the confines of the same sentence as scam or con, as ripping people off shouldn't be considered an art form. Bob made mention of SAG's contract well I for one do not care about SAG's contract allowing actors to work for free on a project under 40 minutes and under $50,000.00, point being I will never ask anyone to work for free period. My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period."

My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period. On my productions I will even pay the non-union extras $100.00 per day for a base of 8. When I say that there is no such thing as a no budget film that means somebody is getting paid, producer, director etc somebody is getting paid trust me, I guarantee it. The only one's not getting paid are those cast and crew members that agree to work for free, and that is something that no one should ever agree to period, if you want to provide your services for a cut rate that is fine but get paid something I'll say it again stop working for free.

MY RETORT

Again, I'm not disagreeing, I'm just stating if you do have an offer to work for free or feel the need --- make sure you think about it and/or research it first. If you can get a good paying gig without experience --- by all means, go for it. There's about ten years between MR. IMDB and myself and times are a changin' every year. We're both obviously passionate about the industry and both have our own practices and opinions. We're both published authors and producers. Experts? Probably not. But experienced players and teachers, agreed, we're both saying the same thing just a generation apart.

......and cut!

IMDB Postings!

2010-04-18T08:12:00.004-04:00

They've just raised the pricing on my IMDB-pro. An increase of twenty-five percent (25%) and they sent a notice that it's going to start being paid out of the credit card I have on file at Amazon. That's not the reason for this blog, I actually endorse IMDB-pro if you are in the business and need to reference actors and agents. It's also a good place to post pictures of your accomplishments and/or resume. One of the new perks is they allow up to one hundred pictures posted on your IMDB site. I've got to admit, I took advantage and it makes my site more impressive.

I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.

I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.

If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.

The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.

.....and cut!

Sounds of Silence

2010-04-12T13:10:00.004-04:00

Got a call from Los Angeles on Saturday from Greg Valtierra's wife, Anna. Greg was my first sound mixer at the B.C. Entertainment Group, Inc. and one of the producer's of my film "Blood, Sweat & Bullets." Anna told me Greg passed. Greg was eighty-eight. I worked with him for the first time twenty-three years ago on "Rock-A-Die Baby." He was a sound mixer that could hear grass grow. He will be missed by not only his wife and children but all production people that came in contact with him.

My fondest memory of Greg was his calm demeanor. We were in Colombia, South America in 1989 shooting an army commando film for a Cine Trust/Cine Colombia production company. One morning the Cartel blew up the bank across the street from our hotel. Greg was a producer for Cine Colombia. I ran and banged on his hotel room door frantic. He answered and quietly listened as I ranted about the bank blowing up down the block. Greg looked at me and smiled, "It's okay, Bob," he said, "it wasn't our bank." He had that way of keeping a level head no matter what the problem. I learned a lot from him.

In addition to my films and films from his native Colombia, he worked on "Funny Lady," Hot Lead and Cold Feet" and "Disney's: Wonderful World of Color."

At the end of the titles of my early films it's Greg's voice who says "It's a wrap! It's a wrap!

The Final Word?

2010-03-29T20:23:00.007-04:00

The "Big O" contacted me again with a harassing email. This time he's pissed off I posted his previous "private" email without giving him notice. When you rant like an idiot it's not private but you are looking for a public forum. I gave you one. Perhaps he's looking for a residual for making good press. The bad news is it's annoying not good and I posted it because once you or a friend of your read it I thought you would stop. What are you....Ten? Yikes! That was rude!

He was also very upset I showed my own film STORM OF THE DEAD at the inaugural 2006 CENFLO. Why should he care? He felt politics was involved, people were rejected to place my film on the schedule and I should fess up. Actually, I screened the film because I had four full days of programming to fill and only had twenty-four films to screen. If I remember correctly on that Friday evening in August 2006, admission was free. I probably would have screened THE NOVELIST that year as we were desperate for product (rude but accurate). I say probably, as there were two filmmakers that did not get in and our winning feature that year "Beautiful Dreamer" received $1500 and a plaque. We had four finalists.

My film was NOT in competition. I screened it and performed a Q & A after. Now Ocrtavio (or however it's spelled) is quoting kids that have rented STORM and have trashed it on the IMDB review posting. I never said it was a great film but it is a distributed film. I tried to find THE NOVELIST to let everyone else watch and decide but it's not available (not rude, accurate). Perhaps it's distributed by the "Big O" himself? Ya think? In 2008, I screened our film GOIN' TO CHICAGO because it was a Presidential Election year. I screened the film and once again performed a Q & A after. ...CHICAGO was about two families struggling together during the McGovern campaign in 1968. It starred Cleavon Little and Viveca Lindfors. It was Cleavon's last film before he died. ...CHICAGO, won Best Picture at the Santa Barbara Film Festival (1990). It wasn't horror. I make horror for profit and dramas to win awards. GOIN' TO CHICAGO, which was distributed has not returned a profit to date. Our other award winning film hasn't either. Film makers make films for either profit or to win awards. I prefer profit. I've found recently that some filmmakers make films just for the fun of it and/or self distribute via the Internet. I'm too set in my ways to capitalize on self distribution but I'm learning.

Apparently, the "Big O" is now a "Big Fan" and has rented or purchased several of my low end films and quoted amateur reviewers. "...this was the worst film I ever rented," is one of the quotes. "This is the worst film ever made," was another. That kid doesn't get out much or seen THE NOVELIST yet. Most professional filmmakers know that after the deal has been made with a distributor, who cares? A distributor takes a film because they feel they can make money from it (it's the only review that matters). However, they can't all be gems. The fact they get made and money is returned should say something. I always thought it was bad enough to get trashed by professional reviewers but film is art and art is subjective and hey, I paid my bills this month. Thirteen of my films have made it to profit. I'm sorry to tell the "Big O," STORM OF THE DEAD is one of those in the black. It's not only available on Netflix (please rent it and make your own review) but it's available in eleven foreign countries and is currently playing on a horror channel in the UK. I'm not ashamed.

I'm also not a self proclaimed authority. Yet my experience does justify the means. You want my opinion I'm willing to give it. You want to ask me a question I'm willing to answer it. You want to run your own film festival? I've got a price in my head, Ocrtavio, make an offer.

I've also written a published guidebook on acting (Acting for Idiots). Read it (it's available on http://www.lulu.com/) and see if I'm a self proclaimed authority in that field as well. They also allow the readers to write reviews. It's available on Amazon.com as well.

In show business we learn every day. We learn by our mistakes and even by our successes. Today I've learned to block an email address and the feud will stop now. It's obvious he's pissed off at something other than being rejected from film festivals. I'm just not sure what it is or why? I'm not even sure what he believes he will get from harassing me. Why does he care about my career? What mission could he possibly be on? Who has put him up to this? Perhaps it will wind up a bad April Fool's joke this week.

FYI you can also purchase a copy of the "One Hundred Worst Films of All Time," by Leonard Maltin, and you know what? None of my films are listed. However, every year I do run out and purchase a new (updated) copy and hope for the best. Just remember, Ed Wood had a movie made after his life story. If that happens to me...I hope George Clooney plays me.

.....And cut!

Comments - (2)

2010-03-27T11:22:00.006-04:00

I've had a statement and a few questions asked about my most recent "You got to read this..." blog. The statement was "Why do you want to even be bothered...." which is obvious, I don't. The second asked, "during my conversation could my tone be considered or perceived as rude?" Which was a good question.

I never had a conversation with these filmmakers. The correspondence was via email. I received the critiques and scoring from my selection and judging committee and I organized it into a more tender critique. My hope was because these filmmakers were locals they would still attend the festival. I was actually rooting for them to get in until I saw the scores. I was honestly disappointed. Florida Film means local appeal and ticket sales. After the rejection letter and critique I was sent a follow up email from the producer (who I believe is either married or in a relationship with the director) trashing the rejection letter and the opinions of our committee. I responded with the "Film is art and art is subjective," but she wasn't buying in. I stopped after a couple of emails when she started to trash films that I have made and had distributed. In our final email she (Kathy) stated, "she rented one of my films and who am I to talk about good or bad?" My answer could have been perceived as rude but I thought it was defensive when I said, "The point is you had to rent it to watch it!" Until this week I hadn't heard a peep for over a year.

What I am not understanding is why? Why do they care what we think about their film? Apparently they got the film into the Ft. Lauderdale Film Festival. Lauderdale has been around twenty-five years and program for two full weeks. CENFLO is held over a weekend. That should mean Ft. Lauderdale needs four times the amount of programing. Perhaps the bar is lowered? I don't know. Usually, Ft. Lauderdale looks for Florida Premiers or World Premiers. How they program is their business and not mine. I believe I've let this wannabe get under my skin but why stop sending filmmakers critiques when most of the time we receive responses like;

Hello Bob
I wanted to thank you for your kind words of encouragement as well as the explanation as to why "LL" (title omitted) wasn't chosen. It's so vital that I know where I've gone wrong so that I don't end up repeating the same mistakes. I hope when I submit my next short the results will be different. I hope the festival is successful and that we get the chance to meet
face to face in the future. Thanks again for your time.
Regards-
NN (name omitted)

or

Bob-
Thank you so much for taking the time and sending me an email of the critiques. I've found it more helpful as a learning experience to find out what people or judges don't like rather then what they do like. I will apply the comments to the next film I am currently working on.
Thank you again for all your time in writing the email and viewing the film.
-Ian

As I've said before we've gotten a handful of "you just don't get our film," (which is fine) and several thank yous. But are THE NOVELIST film makers out of line? Have they taken this too personal? I understand when festivals get questions as to whether or not they actually watched a film. Especially when there is no explanation of rejection (I've thought it myself). But when you receive proof of "watch" that should be self explanatory. Am I taking this personal attack too personal?

....and cut!

You've got to read this!

2010-03-26T20:54:00.002-04:00

Hi Bob,

A while ago Kathy my co-producer submitted to you our film The Novelist. You rudely rejected and trashed it. I was just thinking of you because I'm planning to start an oversight process on how festivals receive, judge and reject films. This has nothing to do with our rejection but the fact that there are thousands of films, way better then what I see you accepting being rejected daily.

Anyway Bob, this is just a friendly hello to you because in my opinion you are the rudest person I have had to deal with in regard to festivals. You profess to be the know it all on film but in my opinion you are indeed void anything at all. When you turn down a great film and accept crap, that's called politics my friend. And in my opinion you are a master at it.

My goal is to unify Florida filmmakers NOT REJECT THEM! And possibly put our state on the map of filmmaking. But corrupt festivals need to go. If I Had my way Bob, all festivals would be required to return the funds to filmmakers who are rejected. (This is not a lottery system) Will see how many you would accept then. Don't you agree with that concept Bob?

Anyway, I can thank you for one thing. Your choice with our film back then sent me on a new, much needed mission.

Ocrtavian O.
Director

Response:

I didn't correct anything in his letter and I believe he spelt his name wrong but to point that out would be rude. He's mad because unlike most festivals we require each judge to supply me with reasons a film is rejected and I put it in critique form. This film "The Novelist" was submitted a year ago. He must have been seething for quite sometime. I remember going back and forth with Kathy (producer I think) about our critique. I constantly say, "Film is art and art is subjective." Everyone is entitled to their opinion. I provide a critique in case the filmmakers want something for their entry fee. Hopefully, the information we provide helps them become a better filmmaker.

I know thirty to forty film festivals are following our tweets and blogs. If you've got a better way please share it. I know you can't make everyone happy but please!!! This film was the fourth lowest scoring film in the five years of submissions and the second lowest last year. In 2006 I let almost every film into the festival. Back then we had only thirty submissions, you had to be really bad not to get in that year. Like camcorder bad. That year we paid for it in the press. They hated nine of the twenty four films we had. Most of those nine were Florida films with a following. Even the public complained about these films and that's when I went to Los Angeles attended a seminar about running a film festival and changed the judging format and added www.withoutabox.com to the mix.

Since 2007, films are scored 1-10 in ten categories (total score 100) to qualify for the festival. Over the past few years our bar has raised from 60 to 70 to qualify. We receive 150 film entries in three categories and take approximately 65-70 films based on screening time. This means if I have fifteen excellent features at two hours each there may be less documentaries and shorts. Our festival until this year was only three days. This year we've added a fourth day.

Refunds? Why? It cost a festival like ours $1250-$1500 to be listed on withoutabox. They (withoutabox) then takes a 28% commission on every entry. This means when a short sends in a twenty dollar ($20) entry fee, $5.60 immediately goes to withoutabox in the form of their commission. The remaining $14.40 goes against the $1500 debt. Once the debt is washed the festival receives 72% of remaining fees. Last year we received a check from withoutabox for $350. We gave out fifteen hundred ($1500) in cash prizes and spent another $400 in plaques. It's impossible to screen them all. Last year, the festival paid for seventy-two hours of screening time (two theaters times twelve hours). It's mathematically impossible to take them all. It's impossible to take half which is why we implemented a scoring system.

Politics? What politics? The only filmmakers I know are the ones that attend the festival. The filmmakers I work with are commercial filmmakers and do not take the festival route. We meet each year at AFM (American Film Market). I've read books like, SECRETS FROM A SUNDANCE PROGRAMER, and she tells me not to even contact filmmakers other than a form letter of rejection. I only agree when I come across people like the above and that's been three times in five years (oh, right, this guy twice). The criteria she (Roberta Munroe) provides in her book for submitting a film and selecting a film I agree with and practice to the letter. I believe filmmakers deserve to know why they didn't get into a festival. Granted some festivals are too big to care. They receive thousands of entries and it would be impossible to write them all. I don't believe a filmmaker has to agree but if I can't fight with critics in the commercial arena, why should festival filmmakers?

Seriously, I am open to any suggestions. I believe in what I do. I believe my experience allows me to classify myself an an authority in the film industry. I don't profess to know everything but I have experienced much in sixteen films and I'm willing to share and network. I look forward to your comments.

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Florida versus Sarasota - Head to Head

2010-03-26T07:47:00.003-04:00

April 8th thru 18th both the Florida Film Festival and the Sarasota Film Festival will be vying for independent movie lovers. I have enjoyed both festivals in the past. However, when it comes right down to it the Florida Film Festival is in my back yard and receives my vote. I'm guessing the Sarasota Film Festival believes it doesn't pull from the Central Florida area but I've got to believe that most filmmakers won't want to be screened at both. This should bode well for Florida films and films with Florida themes as both festivals will want to draw locals to the area. They also will want premiers and perhaps borderline festival films will make the cut in Sarasota where vacancies will be created by the older FFF.

This was the main reason I placed the Central Florida Film Festival six months away from both. We can screen the best of their festivals and have a window prior to the American Film Market in Los Angeles where we can screen more commercial films as well. The Sun Screen Film Festival in Clearwater begins on April 19th. There's no reason why Floridians can't support a few films and enjoy the change in the weather at the same time.

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Florida Film Festival

2010-03-11T18:06:00.004-05:00

I don't get inspired by many things. Perhaps my dad's winning fight over Cancer, the Academy Awards, or a moving story about how someone was able to overcome adversity to succeed. However, I can now add the Florida Film Festival to that list of inspiring moments as a filmmaker.

Chris Blanc, graciously invited my wife Ginger and me, to the "Sneak Preview Party" of the Florida Film Festival (April 9-18). The party included a sneak preview program of coming attractions and films for the ten day event which will be based at the Enzian Theater in Maitland, Florida. I get it now, the difference between the Florida and Central Florida Film Festivals. Florida travels to several premier festivals including Sundance and Toronto to recruit films for Floridians to see. These are film that we would never see mainstream. In the few minutes of preview I noticed several Sundance Films and at least two Academy Award winners. These are films that Ginger and I can't wait to support.

The Florida Film Festival has been around for nineteen years and is the class of the field of Florida's offerings. It's also billed as one of the top festivals in the country. One hundred and sixty two films will be screened over ten days. There has to be something for everyone.

I'm inspired to recruit and search for films that may have fallen through the cracks so we can show them at our Central Florida Film Festival in Ocoee, Florida (September 3-6, 2010). If you're a lover of film, put April 9-18, 2010 on your calendar. There's pricing for all pocketbooks. Go to http://www.floridafilmfestival.com/ for more information and tickets.

My thanks to Chris and his staff at FFF for including us as part of the growing film community here in Orlando. We'll see you there!

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Selecting a Film

2010-03-08T07:40:00.002-05:00

It's been a month since my last post which was how to find a Film Festival for your film. In this post I will explain how our selection committee chooses film for the Central Florida Film Festival (www.CentralFloridaFilmFestival.com).

It's the day after Oscar Night and every filmmaker worth his salt should be inspired and ready to make their next project. Here at CENFLO we've already begun selecting some of our "Early Bird" entries as "Official Selections." It thought I would give a few tips to filmmakers in this post to help them receive a better chance of getting selected, not only to our festival but to most. We are currently accepting submissions through May 10, 2010 for our September festival. Our dates are September 3-6, 2010 (Labor Day weekend). Here are some of the basics;

1) Make sure you follow directions. Fill out the application in full and make sure of your check list. Don't send in one screening copy when they ask for five. Don't send in press kits when they don't ask for it.

2) Credits aren't necessary. This means if your entry is ten minutes, three minutes shouldn't be credits with the filmmaker in almost every category. We get it! You made a film. Let us watch it and judge it on what every good film should have story, production value, entertainment value, creativity, and technical know how. Placing yourself at Producer, director, writer, editor, camera, wardrobe, and coffee getter doesn't make the selection committee feel sorry for your film. If anything it takes the credit and makes it blame. Who ever heard of rolling end blame? However, think about it.....An editor can only put together what the DP shoots and the director hands him. Sometimes we can cut an editor some slack for at least shortening the product we had to sit through. Yet if the director, DP and editor are the same people they each have no one to blame but themselves. Same for starring in your own film with a group of friends and family. I'm not saying it's impossible but I am saying it's industry standard and as a new filmmaker you should play the percentages. At Sundance they prefer you have no credits at all when submitting shorts. Just roll right into the film.

3) Saying your film (short or feature) was made for a thousand dollars doesn't give you the sympathy vote either. Be honest if you have to say anything at all. Saying your film budget is a million because your girlfriend (who also starred in the film) said it looked like a million doesn't cut it either. You say your film budget was a million and it looks like a hundred thousand dollars your production value stinks. If your film was made for fifteen hundred and looks like a hundred thousand dollar film then your product has excellent production value. Many film festivals look at the production value to cost ratio. When it all comes down to it....it's programing and people have to sit through it and like it.

4) Stay away from over use of toys. We get it, you got some FX tools for your birthday. If your film needs visuals make sure they aren't over used or repetitive. It's amateurish and stand out like a sore thumb.

5) Tell the story. If you tell a good story - your chances are much better on getting selected.

6) Don't fall in love with every shot. Documentaries, shorts and features alike drag on and should have been tightened. Documentarians make sure the repetition sends a message and not just repeats the same information over and over. You will lost the audience and selection committee as well. Short filmmakers, there's a reason they call it a short! If a short is less than ten minutes and has production value and/or entertainment value there has to be a place for it.

7) Maintain interest. Keep the viewer's eye moving. Either move the actors or move the camera.

8) Use better actors. Did you know that the Screen Actors Guild has several contracts including one for shorts where you don't have to pay the performers? The film has to be under thirty minutes and the budget less than fifty thousand dollars. Professional actors like to showcase their work. If you have a good script don't be afraid to ask. Contact your local SAG office for details.

It also helps to be honest with yourself. As a filmmaker you've got to learn to find a thick skin. We get better with trial and error. Listen to critiques. If several critics say the same thing chances are pretty good they're right and you're wrong. Be proud you're a filmmaker but be humble. No matter how old you are it's a learning process. We learn as filmmakers every day and receive inspiration from normal day to day life. Embrace it and go out and make a film. Hopefully, it will wind up on one of the screens at the West Orange 5 during the Labor Day weekend. The Central Florida Film Festival wants to make you better filmmakers.

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Choosing a Festival for your Film...

2010-02-05T06:54:00.007-05:00

Now that we've completed a film, what do we do with it? It's a question every producer and director asks themselves right after the wrap party. If it's a documentary, you'll want to know how to get your message out. If it's a short, you'll want people to watch it on a movie screen. If it's a feature you've got to figure out a path to get your investor's money back.

Best Short, Best Documentary and Best Feature are categories found in almost all film festivals. And let's face it, winning an award will definitely help the marketing of your film. Festivals have entry fees and this can become quite costly, especially if you haven't budgeted funds to market your project. I bet you didn't know that many festivals in foreign countries do not require an entry fee. In the US an entry fee is used to offset the costs of selection and in some cases assist in paying for any cash prize. A festival such as Sundance will receive five thousand entries and select under two hundred.

So, how does a filmmaker select the right festival? Each film festival has their own selection process. An experienced film festival has tweaked this process and understands what the community wants to watch and the types of films they want representing their festival. Every filmmaker wants to get into Sundance. According to Roberta Munroe, a former Sundance programmer, Sundance, considered the "Holy Grail" of film festivals, is the toughest to get into. They select only 2% of the films submitted. Even if you are selected it doesn't guarantee fame and fortune for you and your film....Only prestige. As a filmmaker you need to research as many film festivals as possible. www.Withoutabox.com is a fairly good resource and it's free to sign up. You can also cut out the middle man by registering directly through their site and save money off the festivals' entry fee.

What do you need to look for in a festival? How will the festival help the promotion of my film? Where will the film play? Is there an award show? Richard Kraft, who's documentary FINDING KRAFTLAND won Best Documentary at a couple of festivals (including mine) told me he was accepted to twenty five festivals and sent off to a hundred. He told me of several bad experiences including a festival that screened outdoors in a driving rain storm under a tent. He thought he was going to die! Neil Mandt, who's feature film LAST STOP FOR PAUL won more than thirty festival awards, told me many of the festivals "just sling out certificates during the awards presentation." He also told me he chose our festival because he heard the awards show was inspiring and worth the effort to attend. I produce our awards show to inspire filmmakers. I want them to picture themselves someday at the Kodak Theater in LA, accepting an Oscar.

Think about winning a festival and not just screening. It really doesn't help your feature if you didn't make the finals of the BF IOWA Film Festival. Being an "Official Selection" to a more experienced film festival is better than winning a festival where the films were shown on a big screen TV. Use your head! How do you know if your entry to a film festival is really screened and watched by a selection committee? What do you get for your film by entering this particular film festival? Here at the Central Florida Film Festival I make sure our judges, before rejecting a film, critique the film to let the makers understand why. This serves two purposes - 1) It proves we've watched your film and can document it with a specific (not general) critique and 2) It will hopefully help you next time around. Perhaps even make you a better filmmaker.

You might want to start out near home. When I was living and making films in LA we entered our film GOIN' TO CHICAGO to SAN DIEGO, SANTA BARBARA, and SAN FRANCISCO before even thinking about branching out to other festivals. When we were accepted to the Santa Barbara International Film Festival we stopped applying. Santa Barbara was prestigious enough and close enough to help the marketing of our film. We were lucky enough to win Best Picture that year (1990) and I've got to admit "Best Picture" looked better than "Official Selection," on the new poster. To this day I don't know why the other two festivals rejected our film but I'm glad it was good enough for SANTA BARBARA. Hence, the reason, I tell filmmakers why they didn't get into our festival. It stops them from wondering if we watched at all.

Take a look at the films that have previously won at the festival you're thinking of entering. How does your film stand up to previous winners? Look at the production value, the length, the topic anything that can give you an idea of your chances of selection. I bet you didn't know that a five minute film with good production value has a better chance of getting into a festival than a forty minute film with similar production value. The selection thinking is there's always room for a good five minute film. Sometimes funny is better than serious. Many festival pieces are of a serious topic and a good comedic short is a welcome relief. This is true not only for our judges but as a programmer for our audience as well.

Finally, don't let your pocketbook limit your chances of getting into a festival. Once you've won a few awards, other festivals will seek you out and invite you and in many cases waive the fees. Our festival has a "No Waiver" policy but over the years I have invited six films that I believed the residents of the community needed to see. Name value, production value and a resume make a film valuable to a festival programmer.

I hope these pointers have helped and I look forward to seeing you at the movies.

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Academy Awards Rant & Predictions

2010-02-02T18:03:00.008-05:00

March 7th is the date the film industry is marking down in it's calendar. The night of the Academy Awards, where Oscar parties will be everywhere with fun, games and of course predictions.

I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!

I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.

Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!

Let's move onto the guessing game -

Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.

Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.

Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).

Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?

Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!

Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?

Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short

Who cares?

Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.

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Filmmakers, phonies and frauds!

2010-02-02T07:35:00.004-05:00

Film makers are a funny breed. They will find an idea they are passionate about and in many cases find a camera, crew, cast and just start shooting. The old expression "we can fix it in post," is more prevalent now than ever before with anyone who owns a PC having the tools to edit.

Year's ago when festival films were still made on film there was more thought behind the process. Just making and finishing a film was an accomplishment in itself. Finding distribution was another feat that was hard to come by. It wasn't until the eighties when distribution opened up to include video and additional cable outlets that a person could make a good living making films and not have one in theaters.

Many films are being made today to get the film maker listed on IMDB. If you're not on IMDB you're not in the business (is the thought process) and films with little merit or production value proudly display their title, cast, crew and other important (not really) IMDB information on the Internet site. Those that haven't created a credit on IMDB can actually purchase them. I've heard an executive producer's credit on a short can go for as little as two or three thousand dollars. These people still think they're film makers and not frauds. "I need the credit to show my investors I have experience," wow, did he just say that? To me it's better to be honest with your investors and create a business plan with elements of the project outlining where the investor's money will travel and hopefully end with it traveling back into his pocket. I had an actress one time refer me to her IMDB site where she had numerous credits. However, next to each credit it said "uncredited." You earn a credit. Having an "uncredited credit" is like have a salary with no money. There's a reason you didn't get a credit and it was probably because you were an extra!

The ironic thing is I have a few credits listed on IMDB and some of the information is incorrect. It's like trying to break a code to get our film festival IMDB credit fixed so it makes any sense. We've got winners listed all the way back to 1994 but our festival started in 2005. It's important for a film maker to create pride in his work and even to embellish his accomplishments. Remember, there is nothing wrong with starting out with a good short or documentary before he tackles a 90 minute plus feature.

Next time I will donate time to find the perfect festival for your film!

Until then....GO COLTS!

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Why no waivers?

2010-01-23T07:14:00.002-05:00

For five years the policy of the Central Florida Film Festival has been not to grant waivers. There have been few exceptions and even then it was when extra screening time was available. I can't speak for other festivals but CENFLO relies on entry fees, admissions, and sponsorships to make ends meet. Nobody affiliated with our festival receives a salary. Many festivals, even a few in the state of Florida, pay their Executive director as much as fifty thousand dollars to run the program. We put all money back into the festival.

To date we've received nine early bird entries and eleven waiver requests. Don't they teach marketing your film anywhere? Our entry fees start at twenty dollars and we provide a critique if you don't qualify. There are a few requests with a good cause and even some documentarians who I know are probably broke and used their last dollar to make their point. However, there are others that are just plain CHEAP! "We spent all our money in post." Too bad! We spent all ours on screening costs and publicity to make sure the films are viewed!

Do filmmakers have access to sponsors? How about having Grandma put up the $20 as a Christmas or Birthday gift and then split the prize money with her if you win? Have you tried asking a local business to put up entry money in exchange for a credit and a split? I hate to sound like bitter grapes but as a filmmaker I have never had to beg for post or marketing money for my films. It was budgeted. We've done what we could to fight inflation. We've kept most entry fees the same as last year and even lowered the "Early Bird" fees. Take a look at what we provide as a festival and research other festivals and see what they provide. Take a look at previous winners. Does your film stack up? It means something to a film's value to have "Official Selection," "Finalist" or "Best Picture" displayed on the poster. It also means something to the value of the project when a film maker enters the film, pays the fee, and hopes for the best.

If there is a better way, please let me know.

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Early Bird Entries

2010-01-22T08:04:00.007-05:00

The 5th Annual Central Florida Film Festival, to be held over the Labor Day weekend (September 3-6, 2010), at the West Orange 5 Theater in Ocoee, is now accepting "Early Bird" entries in the categories of Feature, documentary and shorts.

There are cash prizes, beautiful plaques and an excellent awards show. The festival also presents an award to the media choice and to the Best Florida Project.

Short Film makers should take advantage of the fact that every film that fails to become an "official selection" receives a critique of their work explaining why. It's a process that is done by very few festivals and worth the price of the entry fee. The reason I single out short filmmakers is the "Early Bird" entry fee is only $20 (thru http://www.withoutabox.com/). Because we are a cash competition we offer no waivers and twenty dollars is about as low as it gets. If you're film was made because you're a student, enthusiast, or for your director's reel, spring for the $20 and become part of Florida's fastest growing Film Festival. For more information visit our website at http://www.centralfloridafilmfestival.com/ and take advantage of the "Early Bird" discount via withoutabox, now through March 1, 2010.

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"Avatar" Still #1

2010-01-22T07:45:00.004-05:00

Remember back to last year when I thought SHERLOCK HOLMES would knock AVATAR out of the top spot? Well it's been six weeks and there's no end in sight. I definitely underestimated the power of IMAX and 3D. It turns out 77% of AVATAR'S box office is coming via IMAX and 3D. It's time to give AVATAR its due.

It's already fought off DENZEL WASHINGTON and as former box office giants MEL GIBSON and HARRISON FORD line up to take their shot at #1 AVATAR keeps rolling like a freight train or in this case a money train. My hats off to James Cameron as director of the two top grossing films of all time. In forty or fifty years it's safe to say on Oscar Night, the Academy will be giving away a James Cameron Award. Of course that will be after he receives yet another Oscar this February.

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"In your face-book!"

2009-12-28T11:07:00.007-05:00

I received a "special offer" from CLASSMATES.COM to renew my membership that I had let run out a few years ago. They offered one year at $9.95. I thought it was worth it because I have a High School reunion coming up. I missed out on all the other reunions and wanted to make sure this time I at least heard about it. As I started the process of signing up once again my wife informed me that spending $9.95 to keep in touch was old fashioned. Since it was my wife's idea to start my blog almost a year ago I deferred to her computer savvy. She told me FACE BOOK is free and where everyone goes to keep in touch.

For free? How could I go wrong......"Let me count the ways." I signed up and completed my profile. If you complete all the details it is time consuming, however, by the time I finished my profile page, I was contacted by three people who wanted to "Friend" me. I had little to no idea who these persons were and even read their profiles hoping for a clue. Two more "Friendings." One was a person I've been avoiding all my career, so why would I want to "Friend" him? Not understanding this concept but I'm sure it will clear up as I work out the kinks. I did a search for my High School to no avail. Apparently, in Levittown, New York, Memorial High School, no longer exists. I found Division, Island Trees and MacArthur but no Memorial. We were the oldest of the four Levittown High Schools and it would make sense that the building was either torn down or made into something else but someone else from my high school has to be listed somewhere on this FACE BOOK? No? I've now been friended by five more strangers and two more people that if I wanted to stay in touch with, I would....via telephone. My account is less than two hours old. I now tried to cross reference people that went to my High School and a community college in the neighborhood which was listed. Couldn't find a soul. My wife couldn't make heads or tails of it either. She repeatedly asked "you sure you have the school name right? I only went to the school for four years, I'm pretty sure that Levittown Memorial High School was the place I was president of the drama club, DJ on the radio station, and lettered in three sports at! I started to put names into the "Friend me" list. After all, why not, I was now asked to be friends with seventeen people I couldn't remember, perhaps I can find one classmate who could tell me if we're planning a reunion anytime soon.

I then tried to link my FACE BOOK account to my BLOG. I clicked on the button that said, "click here to link." I did and nothing. I did it again and nothing. I did it a third time and gave up. I then went to my blog site to post my Face Book account and found three places for a logo to be transferred. Completely screwed the cover page of my blog account. It appears "Baby Boomers" of the 50s aren't as likely to be on FACE BOOK as they are to be on CLASSMATES. I remember having no problems finding almost my entire LMHS graduating class a couple of years ago when the site first came out. However, since high school, I've lost touch with all but one of my classmates and he was my best friend when I lived in New York. I didn't need FACE BOOK or CLASSMATES to keep in touch with him. I still talk to Johnny four times a year and I don't even have to "Friend" him. You see, we were already friends.

I cancelled my FACE BOOK account a little more than three hours after I signed up. People of this generation have way too much time on their hands to maintain such a detailed account. And who has time for that many friends? Now that I think of it, if someone from Levittown Memorial High School in New York wants me to attend a class of '70 Reunion, GOOGLE me!!!

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Avatar Stays #1

2009-12-28T10:47:00.004-05:00

I could cry foul and say 7000 screens versus 4000 screens, no wonder they stayed #1. However, during the holiday season anything goes. I did read that 75% of all Avatar's box office came from 3-D and IMAX theaters. Sherlock Holmes ran second at $65 million with a smaller nut to crack. Speaking of NUTS, Alvin and those pesky Chipmunks came in third at $60 million. Disney's "Princess and the Frog," despite good reviews and an excellent family viewing, dropped down to seventh place not even cracking the ten million dollar mark. What gives? Could it possibly be because the princess is black? I sincerely hope not! It's probably the best well rounded Disney animated film since "Beauty and the Beast."

I heard somewhere that people are getting paid to plug certain products on their blogs. I have yet to be approached but if I start ranting how good something is nowadays you've got to figure the check is in the mail. I also heard that people are selling the names of their followers to spam sites. Fear not, I don't need money bad enough to sell out people that want to hear what I have to say but be careful out there.

We begin accepting "Early Bird" entries, January 15, 2010. Prize money stays the same for features ($500), shorts ($250) and Documentaries ($250). The best Florida project receives a plaque and a one hundred dollar check.

Hove a safe New Years!

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Four Hundred Million Dollars? Really?

2009-12-21T18:45:00.006-05:00

I got to see AVATAR this weekend and I thought it was well done. I didn't think it was the greatest thing since the talkie but I thought it was worthy of Oscar mention. What I'd like to know is how a studio can "green light" a film at an expense of $400 million dollars? TITANIC, Cameron's first two hundred million dollar feature stayed on top for about twenty weeks and became the industry's standard as well a top box office hit of all time (I would still like to see the numbers compared to GONE WITH THE WIND if we included box office prices in 1939-1940). AVATAR was a formula movie, with brilliant special effects. Once the audience gets over being mesmerized over the transitions into the fantasy world isn't the story something we've seen before? I mean it had little bits and pieces of several cinematic classics all rolled up into one. Fine performances, excellent effects and a director's vision second to none but four hundred million dollars? Do you have any idea what the film has to gross even receiving a 60-65% cut? It's absurd. However, it should walk away with at least eight Oscar nominations and I guarantee at least four Academy Awards (Editing, Sound Effects Editing, Sound, Visual Effects). I'm not sure Screenplay, Cinematography, Costume or a supporting actress award are guaranteed.

Check out the film this holiday season before SHERLOCK HOLMES knocks it out of the #1 spot!

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Festival Porn

2009-12-21T15:41:00.004-05:00

I've got to ask, why are porn sites following my blog and the festival twitter sites? What could they possibly get from it? I don't get it. I just received the fifteenth person saying they are following the festival site and when I go to find out who they are, it's an amateur porn site.

I looked through hundreds of photos (strictly research) to try and find a connection to the film industry to no avail. I just don't get it. I've blocked them and I hope I didn't hurt any ones feelings. Perhaps I should include a porn category at our film festival but then I would have to hold it at the Pussycat Theater instead of the classier West Orange 5.

If someone could explain it to me I would appreciate it and I would share it with my readers. In the meantime have a healthy and happy holiday season.

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Thank you! We're Planning for 2010

2009-12-14T08:41:00.006-05:00

I want to thank the filmmakers that sent emails of heartwarming thanks and good wishes. I guess two bad apples does not a festival make. The Central Florida Film Festival will be returning over the Labor Day weekend (September 3-6) in 2010. We will even be adding another day (Monday). It appears most Florida filmmakers like what we are doing for the film community in Central Florida. I am also pleased to announce that our two main sponsors, MARSHALL ENTERTAINMENT INSURANCE and BIGSTAR.TV, will be returning.

I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.

The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!

CENFLO is one of the few festivals to provide any rejected films a critique explaining why.

Category and Prizes:

Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)

We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.

"Upward and Onward!"

......and cut!

Festival for Sale?

2009-11-25T07:28:00.004-05:00

I actually got accused last night by a filmmaker for NOT sending payment. When I said it was paid on September 9, 2009, (Three days after completion of the festival) there was an argument. The filmmaker went on to say other filmmakers he had spoken to, said we couldn't pay our bills and haven't received checks. I know exactly who he spoke to and the quoted person wasn't due a check. Only winners received checks. I also knew who he spoke to from the confidential information that was quoted back to us (by this time my wife Ginger took the phone).

Let it be understood that I paid most of my festival bills in advance and only the hotel, catering, and prize money were outstanding. They have ALL been paid (in full). The Central Florida Film Festival has no outstanding debts and an excess in the bank account to cover the corporate fees, accounting and start up for next year.

It's obvious to me that the check (#1043)was either misplaced by the filmmaker or lost in the mail. I had a return address on the envelope but we never received it. Upon review of the check book, the check in question is still outstanding. All other winning film checks have been received and cashed. I believe the check in question is either on his desk or in the dead letter office (if there's still such a thing). A replacement check will be sent out today and a "stop payment" (costing the festival $35) will be done on the check in question. The ironic part is that I advanced this person $60 (cash), out of my pocket because they didn't have cab fare to get to the airport (they asked and told me the reason). I even wrote a note, included with the final payment citing the advance of sixty dollars and why the check wasn't for the exact amount (in case they forgot).

This is why I am asking my attorney after the holiday, how to either sell or dissolve my organization. Our film festival is a "not for profit, charitable, organization created to advance Independent film in the Central Florida area." We've given it four years and this is the thanks we get. We're a turn key operation, we can qualify for the Academy of Arts & Science assistance program in our sixth year, and we have a following and excellent track record with our vendors. Any interested buyers out there? I'm serious! I will do more for Independent film by returning behind the camera.

In the meantime have a healthy and Happy Thanksgiving.

.....And Cut!

And of course a retort!

2009-11-20T07:52:00.003-05:00

Only two cents? It read like two dollars worth!

The article I referred to was about the BRAD PITTS of the industry. "A-List" actors are actors that are supposed to drive the film to success. It was in the papers and on CNN again yesterday. They had a dollar for salary compared to dollar for box office return. Not good for many major stars (or as the industry calls it "A-List").

I would like to find out which studios you are quoting when you say "on average studios make money?" We've got quite a few film makers out there that follow my blog. Anyone have a success story? Something to share? I believe, there isn't a studio head in his right mind that will say you're film is in profit (unless of course it's a lightening strike). Creative accounting is something every "major" studio has and even a few 2nd Tier Distributors. Every studio banks on a lightening strike. TITANIC (the first $200 million dollar film) in it's own way was a lightening strike. No film had ever grossed over a billion dollars and no man in his right mind would put that in a business plan or corporate projection. HONEY I SHRUNK THE KIDS was a studio film made for about the studio minimum that translated into "a lightening strike." The return on the film was way over expectations. You're right when you say there's no
"Magic Formula." but there is an industry formula and most films attempt to follow that path or they are scooted out the door (lightening strikes excepted).

I agree with most of your statement. However, lightening strikes and the search there of are part of our industry as well. Show me a major studio and I can tell you his most recent buyer or take-over. The films you quote (I guess your favorites, as I quoted mine) were nothing more than lightening strikes too. Kevin Smith's CLERKS was his lightening strike. Funny to you and high grossing to the studio but an Independent film maker just the same. Billy Bob was nothing but a two bit actor before SLING BLADE and like ROCKY for Stallone (one of his lightening strikes) wrote a script to showcase a character they were passionate about.

A good business savvy producer definitely helps but luck and passion should be included in the formula because without a chance of lightening you're just another film! And to think I'm based in Florida, the lightening capital of the world! If there are any other responses or comments, please feel free.

......And Cut!!

Great Response!

2009-11-20T07:48:00.004-05:00

From: Alan Whitney - a producer/director in the Central Florida area.

Here is my two cents worth. I do not think there is a magic formula that can be followed. I think that making a movie is an art, but making money on a movie is a business. Writers, Actors, Directors, Set Designers, Costume Designers, DPs, etc. are artists, but need to be aware of the business side of things. Producers need to be astute business people. There are good artists and bad artists and there are good business persons and bad business persons. It seems that most independent filmmakers want to be an artists and most people involved with the film making process do need to be artists. But without a business savvy production, a project is destined to be part of the 80% that do not make any money.
There seem to be many ways to have a successful film – lightning strikes that are unique ideas or unique marketing campaigns (ref: Blair Witch, District 9, Paranormal Activity), big money studio marketing campaigns, big money star power, big money productions, etc. Other than lightning strikes, most of these ways require lots of money. Not all big money films make money, but on average studios make money so there must be something to throwing cash at enough films to get a return. One common element is that for the most part (again, other than lightning strikes), the films that make the money are quality projects - quality writing, quality acting and quality production.
Independent filmmakers have to rely on something else than big money. So the budgetary constraints leave lighting strikes or quality productions of quality ideas. Lightning strikes are like lottery tickets, so the best odds are to make quality projects - with one caveat that if you think you have the winning lottery numbers (i.e. a sure fire marketing idea or a sure fire gimmick), you should go for it.
Quality writing can come from strange places (ref: Juno) and quality acting can be from newcomers (ref: any early Kevin Smith, Richard Linklater or John Hughes film), but a recognizable face will help since they are most likely recognizable because they are quality. A recognizable face to me does not mean that you need Brad Pitt, etc., just someone that people know (ref: Richard Jenkins in The Visitor) Like quality acting and quality writing, quality production requires true artists. The business side of it is finding artists within your budget - after all, Ben Affleck and Jason Lee only got a few dollars for doing Mall Rats and Chasing Amy. It seems that cream has a way of rising to the top.
Crocodile Dundee was a lightning strike that captured the imagination and made a household name out of Paul Hogan - for a short time. Little Miss Sunshine, Juno, Fargo and Sling Blade are great stories that had name actors (even Billy Bob Thornton had done a dozen or more films before Sling Blade, though he was not a big money star yet). Saw was an original idea that was timely (as was Hostel), Friday the 13th created great quality scares using suspense, shock and gore (one of the first to do this to near perfection as was Halloween and Nightmare on Elm Street), and Night of the Living Dead was a trailblazing idea (the many versions that followed did not gain the cult status as the original). Although it is common belief that horror films are the most marketable, for the most part it is the truly original ideas and quality productions that make the bigger money.
Anyway, that is my opinion for what it is worth....

Alan Whitney

I told you so!!!

2009-11-16T13:58:00.008-05:00

There's an article in the Hollywood Reporter entitled, "Hollywood rethinks use of A-List actors." You can also find it on IMDB-pro. The article explains, "studios have decided to think twice about splurging on A-list movie stars and costly productions in reaction to the poor economy." It went on to quote box office figures from such films as THE HANGOVER ($459 Million), DISTRICT 9 ($200 Million) and even the new low budget thriller PARANORMAL ACTIVITY ($100 Million) of examples of films made for less money with no major stars that have obtained a large return on their investment.

I've been saying this in my business plan for over twenty years. Constantly both Major and second tier distributors would listen to my pitch or watch my completed film and state "we like it but you need a name to drive the picture into profit." Filmmakers go out, find a star who likes the script, but now your budget has doubled or even tripled because you had to add the additional expense of "Star Power." Now, it takes longer to get to profit. However, when it comes right down to it, the film is either entertaining or it isn't. It doesn't matter who's in it. Was the comedy funny and was the thriller, thrilling?

I went to the movies this weekend and even in this economy the West Orange 5 theater in Ocoee was packed. I spoke with the owner of the theater (Patrick) and he mentioned that "2012" will do quite well and that "DISNEY'S SCROOGE" not so much. "2012" is an effects driven film with John Cusack as the main star and SCROOGE is animated with Jim Carrey. SCROOGE has done in two weeks what "2012" has done in three days and PARANORMAL ACTIVITY has grossed more than the two films combined and I don't even remember the star of that film. It shouldn't take a marketing genius to know to get a film to profit you've got to keep costs down and production value up. If the studios listened to the independent filmmaker decades ago there wouldn't be a slow economy for studios.

My point is --- people are still going to the movies in droves! The good films do good and the bad films tank! The studios have been putting out more bad films with major stars creating enormous budgets and loss. then they toss good money after bad by buying advertising and trying to shove the film down our throats. Studios used to place 35-40 films on a production slate. There is an enormous amount of red tape to get a film "Green Lit" for production. Years ago, independent film makers earned what was called a "Negative Pick up." The studio would purchase the film because they knew it would make money and add it to their distribution slate. "CROCODILE DUNDEE' was made by Paul Hogan for a modest eight million or so Australian dollars. Paramount purchased the distribution rights for $10 million and invested a few million more in prints and advertising and it grossed $178 Million at the box office. No one knew who Paul Hogan was but a year later he was a household name and the studios raked in the bucks for two sequels as well. BLAIR WITCH was purchased for a couple of million and there was another large investment in retouching the film and for prints and advertising. The film was the highest grossing film in quite sometime and still ARTISAN managed to go broke in a couple of years making or distributing high priced films like REPLICANT. Hell, they made a remake of BLAIR WITCH (without the original filmmakers) for fifteen million and lost money! The original grossed over $250 Million worldwide and was made for under forty thousand. Artisan is now part of Lion's Gate, who has created a knack for picking up low budget horror films and turning a profit.

Remember Cannon International with the cousins Golan-Globus at the helm? They made and purchased low end product in the 80s and made a fortune. Once they got the studio mentality and started hiring big box office stars and shifting their business plan they were doomed for failure. Remember PIRATES (1986/Walter Matthau) made for an estimated $40 million and had a box office gross of $1.7 million? How about RUNAWAY TRAIN (1985/Jon Voight and Eric Roberts) made for and estimated $35 million and had a box office gross of just under $8 million? Cannon for years made more money on their low end product line than they did with their high priced, star driven films. Remember SLING BLADE? Who was Billy Bob Thornton until SLING BLADE was released? FARGO, LITTLE MISS SUNSHINE, JUNO, and don't force me to go down the list of horror films like CABIN FEVER, SAW (original), FRIDAY THE 13TH (original) and George Romero's classic NIGHT OF THE LIVING DEAD.

What I'm really surprised at it that it took the studios this long to make the announcement of something independent filmmakers have know for decades. If you're looking to invest in a film, seek out an independent filmmaker. Take a look at his business plan and roll the dice. You might be surprised at the outcome. People still go to the movies. They rent them online, watch them on the web and even still view them on cable TV.

.....and cut!

The Circle of Life!

2009-11-09T12:03:00.006-05:00

It's been over a month since my last blog and I have much catching up to do. I guess I've got a lot of homework to do as well. It appears as if a group of filmmakers made a movie for fifteen thousand dollars and have almost reached the $100 million mark in domestic sales. I had the same budget for a film festival and lost five grand! How does that happen?

I'm well aware of lightening striking, lottery tickets, even "being in the right place at the right time" and other film miracles but how? In this economy are people going to the movies to see a supernatural film made for $15K? I need answers and I hope one of you out there has one or two. When lightening struck years ago with BLAIR WITCH, I understood. They had a gimmick...the Internet. A marketing tool that wasn't developed and they used to their advantage. The Haxen team from Orlando worked hard to create the story and work the audience at Sundance. They also opened many a door for other independent film makers as they demonstrated that horror still sells worldwide. Sequels aside, BLAIR WITCH should be an inspiration to young film makers everywhere to go and make your film. I've been doing so for years but was inspired by NIGHT OF THE LIVING DEAD. That was George Romero's classic made for thousands that returned millions back in 1968.

Every few years there's a film made that a studio takes a chance on for what it is--Entertainment. I guess the idea is to make movies as a hobby until one is bought, you make millions and then go on to make a living at it. In the 80's things were different. VHS was just rounding into form and Mom and Pop video stores were springing up everywhere. ALL studios and distributors (large and small) would fight for new product. You couldn't make a film that didn't get distribution and a decent advance. Careers were started, scream Queens were crowned and the movie industry boomed. We prospered until BLOCKBUSTER put mom and pop out of business and their relationships with the "major" studios put the Indy film maker scampering to foreign territories to earn a living. Now online distribution (NetFlix) has done the same to Blockbuster. Stores all over the country are liquidating and being boarded up. Talk about Karma! But is Internet distribution really worth a film investor's money? How can we look our investors in the eye and ask for $500K and even attempt to explain how the money will be returned via a business plan?

It's time for me and other independent veteran filmmakers to figure it out and get working. Just when I thought "if I can't make movies, I can always go and work at Blockbuster!" Horror still sells. Obviously people still go to the movies to watch it. Apparently, the studios are wrong and horror doesn't need to be star driven. The films just need to have an original idea and scare the bejesus out of us. Can't talk any more today, I've got to get writing a new comedy. Perhaps I can add a killer ending!

......And Cut!

Prison Hy gene Films

2009-10-04T11:12:00.005-04:00

Hey, at least it's film! Every few years I get the urge to make another feature. The film festival gives me a fix but sometimes it makes me long to return behind the camera. I'm close to returning a profit on "Storm of the Dead," (available on Netflix) a film I made in 2006 and I'm ready to try again. I've applied to every project in need of a director. I was thinking how bad could Prison Hy gene Films be? Film is film, right?

The IMDB postings are a joke. I've applied to anybody seeking a director but they are looking to attach a front line director in order to raise funds. I actually had one producer/writer ask me to rewrite the script for the screen and present it to my investors. I don't know what they're teaching these people in film school but "chain of command" isn't one of them. The producer hires the director and by hire I mean pay the director for work to be done on a project. I constantly see on IMDB the same people rewording their posts in an attempt to get something for nothing. Whatever happened to the good old days when people actually made money making movies. It seems in this computer age where everyone and his brother has a HD camera everyone is making a movie but very few have the ability to hire someone.

It's frustrating but as a product of the film industry boom of the 1980's there is a formula to follow. I just have to be patient and weed through the scam artists. In the 80's you could always find a video distributor that would put up a few hundred thousand to make a film with a recognizable name or two. Now, very few want to pay advances. They would rather you make the film and they bid on the project after the fact. I know an "A-List" director who made a film for twenty-five million and it went direct to video. How the hell am I supposed to compete with that? You use the SAG-indie contracts and they make you place the SAG logo according to budget. You're using a $200K and under it's in one spot but you use a $625K and under budget is found in another spot. You think the distributors don't know that? How can you tell someone you made a film for $500K when your SAG logo is placed where the $200K budget requires it? Simple, you can't. Now you've got to out smart them. Make the film for $100K and place the logo in the $200K spot. At least they'll think you spent $200K. Better yet, make the film for $400K and place the $625K logo and perhaps you can make $225K.

I'd rather pay the actors regular scale, place the SAG logo where ever I choose and let the buyers argue over how much I made the film for..... They don't teach that in film school either! Film makers are fighting, pushing, shoving for the right to receive tax incentives from different states. That's all well and good if you have a high enough budget to make tax incentives worthwhile. If you have the 'cash' you have the ability to create your own incentives by making better deals. I'd rather save $2500/day on location fees than receive fifteen percent of my tax expenditures back. Work it out on paper and then decide what's best for the project. In the meantime, if you're in need of a veteran director that can give you a production value to cost ratio of over 7 x 1 and has a track record with distributors, give me a call. I'm looking for a funded project!

.....and cut!

5th Annual Central Florida Film Festival

2009-09-24T17:12:00.005-04:00

The time for rest and relaxation is over. It's time to begin preparation for the 5th Annual Central Florida Film Festival. We will be accepting early bird entries sometime in January. Look for our postings on both http://www.withoutabox.com/ and our official festival site http://www.centralfloridafilmfestival.com/.

We are fortunate to be able to announce that we will return to Ocoee, Florida and the West Orange 5 Theater. It's a good thing for a community when Ocoee, Mayor Scott, the Chamber of Commerce, Ocoee High School and several business all were happy with the announcement. It has been our tradition to hold the festival over the Labor Day weekend. Our 2010 dates are; September 3-6, 2010. We plan on making a few changes including the retention of our two major sponsors, dropping and adding some sponsors, deleting at least two categories and consolidating venues where possible.

Two categories going away are "Best Gay Themed Film" and the "Mini Feature." We had hoped for support from the Gay community with our celebration of Gay Film program which featured lunch, VIP guests, music, and a six hour long block of Gay Themed Films. The program cost almost forty percent of our budget and we received more hate mail than we did patrons. The amount of submissions was equal to what we generally receive but wasn't enough to cover the additional prize money. It's apparent there isn't enough local support to continue the program. In the past, Gay themed films have done well in competition with our mainstream projects and we will continue to evaluate each entry on production value, commercial value, and artistic value, regardless of content. We also received a disappointing amount of mini feature entries. Also, not enough to cover the cost of the new category. I had hoped to provide a haven for film makers who made films too long to be considered a short or too short to be considered a feature but apparently there aren't enough of these films to warrant it's own category. We will accept mini features as shorts and they will be judged on a project to project basis.

There will also be a shake up in our production staff and with our board of directors as well. Watch our website: http://www.centralfloridafilmfestival.com/ for announcements. I am determined to bring additional jobs to the Florida production community. Hopefully, the Film Commission and various state organizations will see the value in what we are planning and help where possible. One program we are proud to come up with is a program that would include Florida High School (age) film makers. Donna Wagner who runs the TV & Film Department at Ocoee, High School will be instrumental in the creation of a program that could win a student a scholarship. I'm working out the incidentals and hope it's completed in time for our 2010 program.

I will continue to keep this blog as a sounding board for film production information as well as updates for our film festival. I hope your summer was a productive one and now it's on to the fall season and our Holiday Blockbusters!

......And Cut!

CENFLO 2008 - 2009 - 2010

2009-09-13T12:04:00.005-04:00

In 2008 at the Osceola Center for the Arts (Kissimmee) we sold 497 tickets. This included all access passes, seminars and daily movie tickets. This year at the West Orange 5 theater and Ocoee Hotel venues we had 889 patrons. Quite a record! However, I was hoping for one thousand but it gives us something to shoot for next year. We saw advertising and sponsorship revenues drop by almost seven thousand dollars. Companies like FINAL DRAFT, MINI MOVIE CHANNEL, MEDIA DISTRIBUTORS, and PUBLIX cited economic problems and pulled their support. Hopefully, they will rebound and support us next year. We also increased spending this year with the hope of creating awareness of the festival and it's economic impact on the community. Speaking with Ocoee, Mayor Scott, who attended all three days, I believe we succeeded in that accomplishment.

However, like most businesses, there will be some economic changes to CENFLO in 2010. We are dropping at least two categories from our lineup. I believe each category should be able to support itself with entry fees and local ticket sales. Both our Mini Feature and Gay & Lesbian categories failed to meet the required amount of entries and local interest and will be dropped. The "Celebration of Gay film," party and block of Gay themed movies placed a heavy economic burden on the other film categories. In short, we're going back to the basics.

Shorts, Documentaries, Features, and even the Best Florida Project will all return. We are currently working on a program for High School student filmmakers and hope to have it in place for 2010. Our "Breakfast with the Screenwriters" panel was a huge success and we will renew the program and add a "Breakfast with the Producers" and a third breakfast to be announced for our lineup in 2010. We will also cut back spending on hotel rooms and parties. Unless there is a sponsor willing to pick up the entire cost there is no sense. Filmmakers are always willing to meet somewhere and pay a cash bar to unwind. Tambora's Restaurant was an excellent example of a local business helping out. They offered a 20% on all food and offered "Happy Hour" drink prices. We will look into expansion where the community benefits and the festival doesn't get stuck with the tab.

We will also be adding a few things including celebrity guests. Right now, I'm heading to Lake Tahoe, Nevada, to meet my hard working wife (she's working the Bonanza 50th Anniversary Convention). The festival and the convention will be over and we can spend a few days unwinding and making plans for next year. Fear not! The economy will work itself out. The world needs film and we're here to makes sure we do our part to protect the industry here in Central Florida.

And cut........

Post Festival Rant

2009-09-13T11:01:00.007-04:00

On Monday, September 7th, we wrapped our 4th annual Central Florida Film Festival. My thanks to Ocoee Mayor Scott, the Chamber of Commerce and Donna Wagner and her television and film student volunteers from Ocoee, High School for their support.

Now that the numbers have been tallied we showed an increase in ticket sales (up 200+) but the overall cost of the festival has us losing almost five thousand dollars. How is this possible? Last year in Kissimmee, Florida, the local hotel (the Clarion) saw value in having a film festival in their community. They give us five complimentary rooms for our VIPs and workers and a 20% discount at the restaurant for festival ticket holders. In return we made sure everyone attending knew about the discounts and the Clarion because the "Official" hotel of the festival. The advertising alone for a hotel is worth thousands of dollars. The Labor Day weekend in Florida is a slow weekend and many rooms are vacant. The exchange is advertising for rooms and last year twenty-two filmmakers stayed at the Clarion. We ate in their restaurant and drank in their lounge and everyone was happy. There were no guarantees but everyone left happy.

The move to Ocoee, Florida was based primarily for business purposes. There is a grant in Orange County where matching advertising dollars are given based on the amount of people you bring to Florida and stay in local hotels. It takes a year to qualify. In the world of "we're going to get your business anyway, approach," the three hotels closest to our festival venue are owned by the same people. The Red Roof Inn, The Best Western (turnpike) and the Courtyard Marriott are all within walking distance of the West Orange 5 Theater. The representatives of these hotels do not understand the value of advertising. They said they would adjust our bill accordingly based on the amount of people staying during our four day event. However, their count was about as accurate as their pricing. I signed a contract for what I thought would be their cheapest rate only to find festival attendees complaining they were able to get it cheaper either using, Internet Discounts, AAA, AARP or any way other than saying they were with the festival. I believe we were only getting credit if the filmmaker paid the higher Festival Rate. I don't believe this is fair. I saw few if any non festival tourists staying at these hotels. We supplied the bulk of their business and were still hit with not only the three rooms I purchased to get a cheaper rate myself than the negotiated price but at least two other rooms. Granted I believe I did receive two complimentary rooms but that remains to be seen when the Discover Card invoice arrives. According to Discover Card (online) I may have been billed twice for one room at the Best Western. We spent close to $1200-$1500 in room rentals for our volunteers and guests. Compared to zero last year.

On a positive note, Michael Palmierri (Catering Manager) handled his share of the workload in a professional and caring manner. In addition to all the room rentals, we also held two parties and a breakfast at a cost of close to four thousand dollars. The cost was much higher but Michael dropped a few charges when I went into convulsions reading the bill. I'm not in the hotel or catering business and that's exactly what I told everyone at the hotels when I approached them to sponsor our film festival. In exchange for advertising and promoting the hotel to our filmmakers we wanted four or five rooms. THAT'S IT!!!!! They came back with a sliding scale for rooms which I agreed to but the scale never slid. They know I'm PO'd but the negotiator went on vacation and hasn't been heard from.

What's in advertising? Placing their logo on our website means revenue to the hotel. Not the festival but the hotel. We are placing our nod for filmmakers from all over the world to stay at their hotel. We also placed their logo on all paid advertising including posters, postcards, and press releases. Again, worth thousands of dollars in good faith. Did I forget to mention we are a charitable, non-profit, organization? We gave Ocoee High School a complete stock footage and sound effects library for their television and film program for cryin' out loud! What did the hotels provide the community?

I know Mayor Scott understands the economic impact of our festival to Ocoee, and I know the businesses surrounding our festival understand as well. Something has to be worked out or we will have to place the hotel logo of a competitor on our website for next year. Yes, I know they own the Holiday Inn Express down the block too. Monopolies never bothered me before. There has to be another hotel in Winter Garden, Windermere or Clermont, who can find value in what we offer. After all the filmmakers are all from out of town or even out of country, they'll stay where I ask them to stay. It remains to be seen where they'll be staying next year.

.......and cut!

And the winner is!!!

2009-09-07T23:35:00.005-04:00

The 4th Annual Central Florida Film Festival has come to a close at the West Orange 5 Theaters in Ocoee. The evening audience was buzzing Sunday as Jason Kushner's AMERICAN COLONIES: THE COLLAPSE OF THE BEE won Best Documentary. The award was presented by veteran filmmaker Gary Toll, who won the category in 2008 with a tribute to his talented sister, Judy, entitled, JUDY TOLL: THE FUNNIEST WOMAN YOU'VE NEVER HEARD OF.

The other 2009 winners were;

BEST GAY THEMED project - "Choosing Absalon"
BEST MINI FEATURE - "The Mandala Maker"
BEST SHORT FEATURE - "Ana's Playground"
BEST FEATURE FILM - "Deadland"
BEST FLORIDA PROJECT - "Scare Zone"

"Deadland" also took home a plaque for "The Media Choice Award."

Final Festival Notes -

2009-09-02T20:49:00.005-04:00

Advance Tickets for the Central Florida Film Festival will end at Midnight (September 2-3). Starting September 3rd, tickets can be purchased at the West orange 5 movie theater(http://www.westorange5.com/).

$20.00 (Daily pass) -
Watch films from 9:45 am until 11:30 pm. You may come and go as you please. We will have two screens available (Theater #1 & #2). If there's something you don't like in theater #1, hop over to theater #2. You can either eat at the movie theater or visit Toojays, Perkins or Tamboras and receive a festival discount.

$50.00 (Three Day pass/Movies Only) -
Come and go as you please and watch movies all weekend long.

Screenings begin Friday morning at 10:00 am.

For those of you that can not afford $20. We have a "$7.00 special" starting on Sunday night.

7:00 pm. PRINCE OF BROADWAY (Drama/Rated R 105m)
9:00 pm PRETTY UGLY PEOPLE (Comedy/Rated PG-13 90m)
10:15 pm SCARE ZONE (Horror/Rated R 90m)

Tickets can only be purchase at the West Orange 5 (http://www.westorange5.com/). either online or at the door.

Don't forget the SCREEN WRITER'S BREAKFAST, or the ACTING IN FILM SEMINAR. If you're really serious about your craft these are a must attend. There's still much to do. I'll talk to everyone after the festival until then I'll see you at the movies....

....and cut!

Time does fly!

2009-08-28T06:53:00.004-04:00

The 4th Annual Central Florida Film Festival is almost here (September 4-6, 2009) with 64 "Official Selections," seminars, special guests, and parties galore. For as little as $20.00 a person can arrive at the theater at 10:00 am and enjoy films (in two screens) until 11:30 pm.

You can also leave the theater to grab a bite to eat. Use your ticket stub to receive discounts at several local restaurants and return to the theater or you can order food at the theater and eat while watching. The West Orange 5 Theater (in Ocoee) is the festival venue for films. Some festivals charge as much as $13.00 for one film. For seven dollars more you can stay all day and watch a dozen (or more). There are 15 features, 11 documentaries and over 40 shorts representing filmmakers from eleven countries and fifteen states.

Don't get locked out! Purchase tickets in advance! http://www.centralfloridafilmfestival.com/

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Hug your local Stuntman....

2009-08-18T12:20:00.004-04:00

Today is a sad day for me and my second family at the Indiana Jones Stunt Show here in Orlando. One of our stuntmen was killed last night in a freak accident performing a simple (at least they make it seem so simple) stunt. It's a stunt that has been performed literally hundreds of thousands of times over the twenty years of the show. And contrary to the stupid remarks I have read on the Internet, I want those that follow my blog to know that the show hires the best possible people to, not only perform the stunts, but to rehearse these stunts over and over again. Remember, this show has been open for twenty years with high falls, explosions, fire, and any other possible stunt you can think of to excite an audience. After all these years, we are still listed as the most popular stunt show according to a theme park trade magazine.

Don't undermine what a stunt person does or how they are trained. You can say, 'it's in their blood', or 'it's a gift', but the talent, training and sacrifice can't be compared. Unless you've witnessed it first hand, you just don't understand. They are trained professionals that put their body (and their life) on the line during every performance. I wouldn't trade a moment I have spent with the cast of this show. We've worked together on stage for twelve years and more than a handful have worked performing stunts on my films as well as SAG and equity productions. My thoughts and prayers go out to each and every member of our cast and to the family of our fallen soldier.

If you know a stunt performer, coordinator, or stand-in, give him or her a hug today. Let them know they're appreciated for making us "oooo and ahhhh" on television, on stage and in the movies.

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I'm FIRED!!!!

2009-08-18T12:09:00.002-04:00

According to IMDB today, I was replaced as COO of 20th Television by Greg Meidel. Not kidding, go to my IMDB (Bob Cook #1) and the news article has been added to my page. I've been confused before with who I'll call the other Bob Cook and even tried to get it straight. Falling on deaf ears. I can only hope I find work soon.

But I'm on IMDB!!!

2009-08-18T07:53:00.003-04:00

Internet Movie Data Base or IMDB.com, as it's called is a resource for movie fans and industry professionals. IMDB is free and the site is paid for with banner ads galore. There is also an IMDB-pro, which most industry professionals subscribe to in order to research actors, producers, directors, and scam artists.

Have you ever tried to fix or add a credit on IMDB? The red tape is frustrating. Our festival had it's own IMDB page but some how got confused with another older festival that died in 1994. I've tried to fix the problem hours at a time but there is no direct contact. No problem solvers. I've had people add names to my films for credits never earned and I've tried to correct them but it falls on deaf ears. This had me searching the IMDB files on almost every title, actor, producer, director and just about every category you can think of looking at their credits.

How does "Uncredited" help an actor's resume? Seriously, you were insignificant enough NOT to receive a credit, why should anyone other than your parents care? Some people just want IMDB credit and they will do anything to get it. I saw a writer/actress with two credits. One was an "Uncredited" role in a film that hadn't received distribution and the other was for a screenplay she optioned to be developed into a feature. However, upon further review, she also wrote the screenplay, which makes everything bogus.

Take a look at the Job Postings and openings on IMDB. Ninety-nine point nine percent of them are "no pay!" What happened to the PRO in IMDB-PRO. Everyone is looking for something for nothing. I had a script sent to me for my consideration as a director. I kind of liked the script. It was a thriller with promise. It needed some work but don't they all. There was no funding in place but she wanted my name on a LOI and for me to recruit any crew or name acting friends, and then write a business plan. When I told her I needed an agreement with a retainer and additional promises for when the film received funding, she said that's not the way it's done. She's twenty-five, I'm fifty-seven and done it twenty times. When did the industry change? Needless to say, that's another film that won't get made. Kids are coming out of film school every semester and they are hungry to work for free. The problem is they don't have the experience or contacts it takes to get a movie made. I'm not talking credit card budgeted films but movies that an audience will be able to say they watched, enjoyed and perhaps even purchased for their library. Festival filmmakers should be commended. They go out, raise money, make their film and hope for the best. The good ones move up an increase their budget next time and the bad ones get to complain how unfair the world is and either try it again or go home and take a job at the local video store or movie theater.

Have you ever "Googled" yourself to see what people are finding out about you? Try it, it's fun. And remember, if I wanted to work for free, I would have started a film festival! Oh, crap, did I say that!

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Festival "Mud Slinging"

2009-08-15T07:51:00.005-04:00

I read the "not so Gala" preview of the Orlando Film Festival, in Roger Moore's online column. I also read the many comments after the article. People pretty much trashed the new downtown Orlando theater, it's service and even the parking. They also didn't like the "Mud Slinging," and "trash talking" about how the Orlando Festival is free and the other larger festivals charge for the same films. I personally don't care, and as long as they don't attack the Central Florida Film Festival. I have little to no opinion about other festivals. Upon investigation, I found only three duplicate screenings between their festival and ours and who cares -- ours is first and we have more than enough premiers.

I like to investigate other festivals but the Orlando Film Festival is in direct competition with AFI's Film Festival and AFM (American Film Market). AFM is where most working filmmakers need to attend. It's in Santa Monica, California and a thousand buyers from all over the world come to watch films presented by over seven hundred distributors. I've been seventeen times to observe my distributor showcase my film and take orders, hoping that in one fell swoop I can receive a return to my investors. Seventeen times since 1985, I've been listening to distributors complain about a slow economy hurting sales. It's only natural, now that it's fashionable to complain about the economy, every distributor will be crying even louder. It's funny, I never hear the buyers crying, except to whine there aren't any good films to purchase. Perhaps if the distributors attended more Indy Festivals around the country, they'd find better product for their buyers.

However, that's for feature films. I guess documentaries and shorts need a place to gather during that time as well....It might as well be Orlando. We've selected almost sixty shorts, a dozen documentaries and another fifteen excellent features (that will make their way to AFM), at the Central Florida Film Festival. Daily tickets are $20 (for an entire day of film watching!), $50.00, for three days or $99.00 for unlimited screenings, seminars and parties/mixers. AFM costs filmmakers $750.00 for a week long pass and the parking, seminars and parties are extra. CENFLO is reasonably priced for movie makers and movie watchers. Take advantage as tickets are on sale as www.CentralFloridaFilmFestival.com. I promise---"You'll get what you pay for!"

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Panhandlers are doing fine!

2009-08-11T07:52:00.003-04:00

With a million things on my plate, I took a ride around Orlando to deliver some festival materials and make a few purchases. At one of the off ramps to I-4, I saw a Panhandler begging for money. I thought to myself. "in this economy it's got to be really tough." I pulled over and went to my wallet and asked him "is the economy hurting?" "Are people stiffing you and saying they're broke?" His answer was "It's about the same, man, the cheap ones are always the cheap ones, but I make about the same." I gave him a dollar (hey, didn't want to be considered a 'cheap one') and decided to perform a survey. Four out of five Panhandlers said, 'things were about the same as they've been.' The one that said things were worse, was a little less approachable than the others. I believe bad smelling and ugly looking panhandlers make less than the clean but downtrodden ones.

I did ask two of the panhandlers if they were interested in financing my next movie but they only laughed. Apparently, they've heard about back end deals. Armed with my own survey that the economy isn't as bad as everyone is making it, I continued with my errands. I went to Kinko's (My office away from my office) in Orlando. I went in to purchase two signs. They are called 'Sandwich boards' and are placed outside as an advertising tool. We need two for the film festival. Now remember, I'm not going in to look, or to beg for a handout. I went in to buy two at a quoted price of $40.00. I had stopped in the other day and received the quote from the assistant manager. I said "I would be back" because I had to get the expense approved. I now came back and the manager was off. I was now left with the only person working this side of the Kinko's Sign Shop and he had no idea what the price was and looked for a catalogue. I pointed to the sign in the lobby, which was the same sign the assistant manager showed me last week ($40). He quoted the price from the book as $52.00. I told him what the manager quoted and he left me to go in the back for something (perhaps another book). When he returns, a few minutes later (I figured with the signs), he told me those were bigger. "The more expensive ones?" ....I asked. "No, the smaller ones," was his reply. This made no sense at all. The lack of confidence in his voice gave me the impression he really didn't know the product he was hired to sell. He told me the assistant manager would be back tomorrow at 10:00 am and I should come back. There were no other customers in the store and he let me walk out without purchasing anything!!!! There are two other sign shops on the same street!!!! It's not the economy at all. It's corporate American hiring people for less money that know less, instead of keeping the experienced people that would NEVER let me walk out without buying something I came in to buy.

I went back to the first Panhandlers I spoke with and told him there may be an opening at Kinko's. At least he took the money as he answered my questions! God! If he only could raise money for a film!

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Just find the money!!!!

2009-07-27T17:16:00.004-04:00

I'm pretty much over the whining about everyone being broke, budgets being cut, programs being slashed and how corporate America is taking a hit.

Our film festival (http://www.centralfloridafilmfestival.com/), if anything, is feeling the "trickle down effect." We wouldn't have any problems if everyone else didn't overextend and cry about it. Seriously, if I had to look at the value of my house or stock portfolio every day I'm sure I'd have a heart attack. But I don't have to look every day. I hopefully can ride out the storm and keep the festival and my other production business moving in an upward motion instead of the fashionable downward spiral.

I've been told by the Coca Cola Company that money is too tight to provide our festival with what amounts to $178.00 worth of soda. That's retail!!!! I can take a coupon out of the newspaper and go to the store and buy it off the counter for $178.00. And we're not just taking the soda and running away to drink it. We were promoting Coke as 'the official soft drink of the Central Florida Film Festival' and gave them ads in the program, sponsor loop promos, banners, announcements....a two thousand dollar advertising package! Needless to say, Pepsi had no problem becoming our new sponsor and you can bet I will make sure they receive as much exposure as humanly possible.

The same thing happened with Final Draft. They had been sponsoring our screenwriting seminar for the past three years. Product, that's all they gave us and all we ever asked for. We, in turn, passed it on to our winning short and feature film makers and the third copy we gave to a needy writer via a drawing. Photos, announcements, ads, all promoting Final Draft is what they received in return. They now have their own publication and apparently (they say 'no') if you don't advertise in their publication they won't support your festival. Movie Magic - "here we come!"

Even the Orlando and Florida film commissions are hurting. I guess they've cut programs down to just salaries with limited incentives or assistance to film festivals. Our festival has been cut out and our primary function is to promote film making in the state. One would think the Governor would want to help the rebel sect that's trying to create jobs by bringing film production to the area. I'm in the process of working out an agreement that will hopefully bring an Australian Production company to Florida. I hope to make an announcement at my festival and my fingers are crossed.....

.....As I'm writing this I was just asked if we could add three additional speakers for our festival's pool party on opening night at a cost of $380.00. "Do we need it?" I asked. "It would definitely help," was the reply. "Then go ahead and order them," I said..."I'll find the money." Now there's an expression that's died out over the years. "I'll find the money," sounds refreshing, doesn't it?. Imagine going to your producer with a problem and him saying "Don't worry about it, I'll find the money." Those were the days. I'll find the money.....perhaps someone could use it as a campaign slogan. Harry Truman's "The buck stops here" and "a chicken in every pot," went a long way in my parents day.

Support a local business in your community. They are still the backbone of your community. Sure it's the large corporately owned store that anchors the mall but it's the independent businesses that pay the bills to keep that mall afloat. It's the same practice in film producing. Find the independent workers and make a better deal. The overhead is less and they'd rather rent equipment for what you have in your budget than have it sitting on the shelf this weekend. I've fed my entire crew for five dollars a head at a privately owned restaurant but bring in a studio Honey Wagon and caterer and the price is more than double. When you're an Independent Filmmaker think Independent business deals. Printers, restaurants, equipment, even port-a-potties, find the money and make the deal!

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And then there was one!

2009-07-23T07:52:00.005-04:00

The selection process continues and believe it or not we have just one film waiting for either selection or critique. I hope the selection committee likes it. After one hundred or so critiques I'm pretty worn out. Now there's another way to get into a festival.....because the film was sooooo bad, the director didn't feel like writing a critique (lol).

Sorry, I digressed. We've also selected our opening night (September 4th) features. DEADLAND (8:00 pm) and SCARE ZONE (9:00 pm) have received the honors. Both are Florida premiers and pending approval from another festival SCARE ZONE could be a World Premier. DEADLAND is an 'end of the world,' piece about a man in search of his wife, in the ruins of America, after World War III. Los Angeles film maker, Gary Weeks does an excellent job as the husband but most of us will recognize William Katt from "Greatest American Hero."

SCARE ZONE is a fun film made by Orlando filmmakers (Jon Binkowsky/Writer-Director and Ben Kupfer/Producer). It was shot over on the Universal Studios, Florida lot, utilizing the Halloween Horror Nights set and employed a cast and crew of local talent. SCARE ZONE is about a Halloween Haunted Mansion gone array. As a maker of horror product, I thought the production value on SCARE ZONE was above average and even the moderate of horror fans will be impressed with the film.

In honor of the two films the Central Florida Film Festival (September 4-6, 2009) is throwing a "Monster Bash" party, with food, drink and music from 5:30 pm until 8:30 pm, before the screening. Festival tickets are on sale NOW at http://www.centralfloridafilmfestival.com/. A daily film pass is twenty dollars ($20) and is good for all festival films all day. There is a limited supply and tickets are offered on a first come first served basis.

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Festival Update (July 20, 2009)

2009-07-20T18:51:00.003-04:00

Another day, another filmmaker sends in exactly the opposite of what we requested. It's not like we sent out an "Official Selection" notice and said, "you know, I'm not exactly sure what we need to move things along." Quite the contrary. We give detailed instructions and it's like no one reads past "Congratulations!"

I believe if you're thinking about the film industry as a career, perhaps you should learn to adhere to industry standards. Hell, if you would like to do it as a hobby and get a favorable response for your film, you should adhere to industry standards. That's why they're called standards. Everyone's supposed to do it! Perhaps marketing your film isn't covered in film school but you must have seen other Independent features or looked at a poster while waiting in the lobby. We're not the only festival who requests trailers, posters, one sheets and even some stills to help promote your film. Hard copies! No festival wants to download a video file and go through the process to place a trailer in a movie theater. The movie theater demands quality. It's a reflection of their product. Plus, Festivals are too busy creating their own posters, advertising campaigns and itineraries to take time creating what you're supposed to do. The festival promotes the festival and the filmmakers promote the film.

POVERTY? RECESSION? BAD TIMES? Come on, please, in twenty-five years, I've never met a filmmaker with enough money. When you budget you should set aside funds for your entry fees and your delivery items. Think about where and what film festival you'd like to enter and then do some research to see if the festival is a good fit for your film. What films have won in the past? How much is the prize money (if any) and will "Official Entry" to this festival look good on my poster? These are just a few questions you need to ask yourself when selecting a festival. Begging for a waiver doesn't help either but I've covered that in a previous blog. Find out how many days the festival runs? The Central Florida Film Festival runs over the Labor Day weekend (September 4-6, 2009), a total of three days. However, there are other festivals that run ten days to two weeks. If your film has excellent production value, a good script, some creative camera moves, good sound quality, an editor who knows when to delete or shorten a scene, some music, and you used SAG actors and not Grandma or your sweetie as you main star, and you don't run credits using your name over, and, over and, over, and over again, you probably have a good shot any any second tier festival. A two week festival will need more films for programing than a three day.

Sundance and the other 'top notch' festivals receive thousand of entries and it's a numbers game. I read Sundance receives almost five thousand entries for eighty-five slots. Remember, Sundance isn't the only game in town. Smaller festivals want good product and energetic and talented filmmakers who take their craft seriously. Help them to help you! Promoting your film is your responsibility and promoting the festival is theirs. Festivals that have been around for a few years are hungry for good films. It's our fourth annual event and we've increased in size every year. This year we've selected fifteen features, twelve documentaries, and almost seventy shorts and we're still looking at LATE ENTRIES. We're already thinking about plans to increase for next year's 5th annual event.

When you become a 'real live' filmmaker and your film is hopefully sought for distribution, the distribution company is going to ask you for delivery items. These items can include; Transparencies of your credits, posters (artwork), one sheets (a smaller poster), production stills and perhaps a press or media kit with reviews or coverage worth mentioning. If you don't have them, the distributor will gladly get them for you and charge you 'Top Dollar." It's called a "Charge Back." If you can deliver your own there will be less "Charge Backs" to your account and you film can get to profit sooner (creative accounting is for another blog). Be an educated filmmaker. Everyone and his brother has written a book about film making, distribution and business plans, buy one and read it. I've recently read a book, written by a person who was on the selection committee at Sundance. I wanted to make sure I wasn't out of line when I requested certain tools from the filmmakers. She mentioned they don't even want to see credits unless there's a name star they should know about. Why make them sit through your credits to only see you produced, executive produced, directed, wrote, edited, worked the camera, and served coffee on the set. They are only interested in the film. Is it good? or is it bad? Is it in? or is it out?

Film Festivals are a marketing tool in themselves. Those Laurels you can place on your poster, mean something when it comes time for distribution. Learn to be a better filmmaker. We're NEVER done learning. There are many things NOT covered in film school. Attend seminars, workshops and panel discussions. Pick every one's brain. Watch other films and discuss with the other filmmakers how and why certain choices were made. There may come a time when it will work for you too.

If you haven't checked out our website (www.CentralFloridaFilmFestival.com) tickets are on sale NOW! Save on an "All Access" pass and there's also a movie watchers pass too. Our itinerary and screening schedule will be posted by August 2, 2009. Email us with questions and we'll be glad to respond. We want to make you better filmmakers!

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Filmmakers should be seen and not heard!

2009-07-15T07:20:00.005-04:00

After almost two hundred entries it's time to select the chosen few. When programing a three day event with two theater screens, time is of the essence. Five judges, ten categories, and a program director who looks for entertaining films and informative documentaries in order to make up the program for the Central Florida Film Festival (September 4-6, 2009). Shorts are broken up into two hour blocks, which is why shorts that really aren't short are hard to place.

To accommodate the filmmakers, who scored high in film school in their creative skills but low in their editing prowess, we came up with the Mini Feature category. this is my fourth Central Florida Film Festival. We moved from Kissimmee, Florida to Ocoee, because we wanted to be closer to the movie crowd and further away from the rodeo crowd. We also moved from a beautiful auditorium (that few know about) to a "real live" movie theater (West Orange 5). One has to figure that the smell of popcorn alone will provide a flavor of film festiveness.

Selection has it's highs and lows. Twenty-five percent of the films entered are 'no brainers' they belong and we're lucky to have them. There's also another twenty-five percent that are still learning how to become film makers. We offer them a critique in hopes of making them better in the future. It has been written that a short film made for under a grand really doesn't have a place in a film festival. They usually have a punchline and not a plot and are better suited for You Tube or My Space than a movie screen. Then there's the other fifty percent. Based on their scores, they sit on the bubble of selection until the selection committee agrees their film has scored high enough to receive an "Official Selection." Production value is very important in the process and filmmakers that have shot on film may have an advantage for the "big look" a film needs. However, HD looks damn good too and has started to make the Mini DV and Digital format look cheap and amateurish. It seems like every kid out of film school is given an HD camera and editing system these days and call themselves filmmakers. I remember when you got a car and a "kick out the door" when you graduated. Film schools weren't as plentiful as they are now and if you shot a film, it was on film.

Emails and phone calls from bubble filmmakers never help their cause. I hate to say "We really don't care..." but we really don't! If your friends and family have made other plans and can't attend your film if it's not prime time, this would be your problem. Your film has been placed into a time slot we feel best for the festival. We don't want to place all the high scoring films in the same time slots any more than we want to place all the "Fence Films" in the same block either. We don't want a "Mass Suicide" in the theater, which is why we look for comedy to off set the many depressing topics filmmakers choose. Incest, child abuse, rape, murder, molestation, war issues, and psychological issues, seem to be the topics high on the list of new filmmakers. Many of the filmmakers tell these stories with a creative flair but after watching these themes over and over, even a Hyena would get depressed. This is why a short comedy film with less quality will slip into the festival. It's not that their film scored high in production value but it did score high in entertainment value and these film are just as important to the selection process.

The rule of thumb is to keep your short under fifteen minutes. The shorter it is the better chance the selection committee will try to slip the film into a slot. Of course the production value has to be there and it would help to get to the point of your film quickly and not at the end of a seven minute piece.

Did you know that most festivals only give the film's director a free pass to the festival? It's true. There are a small few that will offer travel accommodations but they're the festivals with large corporate sponsorships. The average festival survives on public admissions. The average multiplex screen holds two hundred patrons. If the festival gives away too many free passes to sponsors, media, and filmmakers there would be no room for the general public. Our festival caters not only to film makers but film watchers. A filmmaker should value an audience response. We've all gotten audience responses from a cast and crew screening but they are tainted. Many rejected selections after receiving our critique argued the point that their film was well received at their last screening. Of course "after further review" it was a cast and crew screening and well, if you can't be well received from the people that we involved you might as well cut up the print now and recoup your money by selling guitar picks (assuming you've shot on film, of course).

So, now you have it. The selection process that takes months and a programing process that takes weeks can't be fixed to accommodate you. Film festivals are an excellent marketing tool. A distributor is more likely to view your film if it's "an official selection," "Best Short," "Best Feature," or "Best Documentary" of a film festival. The festival laurels should be placed on your poster or one sheet for all to see. Unless you're in that top twenty-five percent it could be the only festival you are selected to...make it count. Also attend the festival. Share techniques, horror stories and attend other screenings (not just yours), seminars and of course the Award Show (if you're lucky enough to have one) and get the full experience of attending a film festival either as a film maker or a film watcher.

The 4th Annual Central Florida Film Festival (http://www.centralfloridafilmfestival.com/) is held over the Labor Day weekend (September 4-6, 2009) with screenings at the West Orange 5, and parties, seminars and vendor room are at the Best Western Turnpike. Both are in Ocoee, Florida and walking distance from each other. TICKETS ARE ON SALE NOW!!!

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The Selection Process Begins

2009-07-08T07:54:00.006-04:00

Even though the judging process is still in progress, the Central Florida Film Festival (September 4-6, 2009) has begun sending out "Official Selection" notices to films that fared well in the first round of judging. Seventy films are anticipated to be competing for two thousand dollars in prize money over the Labor Day weekend.

In our short category, "Words Unspoken," has become a high profile "Official Selection" from California Writer, Director, and actress, Renee O'Connor. For those who remember, Renee portrayed Gabrielle on the hit series "Xena: Warrior Princess. On "Xena" she was able to direct a few episodes and "Words Unspoken" is her first attempt at producing, directing and writing a short and has ambitions of moving into features. According to the preliminary scores, "Words Unspoken" should contend for the top prize in the featured short category.

CENFLO received more than eighty shorts and the top third are excellent and any of them have a chance to win at our Award's Show on Sunday, September 6th (8:45 pm). "Words Unspoken" as well all our contending shorts will screen twice during the festival. For more information or to purchase tickets go to our website at http://www.centralfloridafilmfestival.com/.

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"To err' is human but the director's problem!"

2009-07-01T07:33:00.004-04:00

We've received a record number of submissions for this year's Central Florida Film Festival (http://www.centralfloridafilmfestival.com/) and with that will come a record number of "Official Selections," for our Labor Day weekend event (September 4-6, 2009).

It's getting to be a common explanation that independent filmmakers would have made a better film "if they had more money." I've been working in film since 1984 and never met a film maker that had enough money...no matter how much they had!!! Successful filmmakers go about their business with the money they have and create according to their vision. Of course the good ones are able to adjust their vision according to budget restraints.

An audience doesn't care whether you spent two hundred dollars or two hundred million to make your piece. Once you roll the camera you are obligated to entertain, enlighten or inform the people that fill the seats. It's tough to raise money for a film project. You can blame the economy if you want, but it's always been tough to raise money. A film investment is "high risk." Yeah, yeah, yeah, I'm aware it's high return too, but the SEC doesn't force us to put a disclaimer into a film business plan saying an investor will make too much money (see: Blue Sky Law). They only ask us to make sure we remind the investor "there's a good chance YOU WILL LOSE YOUR ENTIRE INVESTMENT!!!"

When I bought my house and started investing in a stock portfolio I looked for disclaimers and warnings such as "This stock may lose value or the owners of this company may take the money and run" or the value of this house may crash and be worth less than you purchased it for, "to no avail". Why is that? Does someone out there have an explanation? At least when investing in film you can watch your investment daily. You've already seen the business plan where the producer, director, cast, crew, and even distribution projections have been exhibited and verified. In some cases, a filmmaker has a track record with films that have already made money or won awards. It doesn't mean this film will make money or win awards but it does mean the filmmaker at least knows how to do it and that's an important factor.

As an Independent filmmaker you've got to decide how much is enough money. I've seen many and I mean loads of "low budget" films. I've even made a dozen or so myself and understand the process. I also understand the bottom line is making money or winning awards. Of course you can pay the bills better if the films you make are earning a profit. The choices we make as directors are the most important in the production process. When a director says "action!" there's already been a number of decisions that have decided the fate of the film. How much have we raised? Who can we afford? And most important, how can we overcome our budget restraints and create a production value to cost ratio that will impress even the most conservative of distributors? Can't afford a dolly? It wouldn't be the first time someone used a wheelchair or shopping cart to move the camera. However, I've seen filmmakers place the camera on a tripod shoot a master two shot with over the shoulder close up coverage that would put an insomniac to sleep and then bitch they didn't have enough money for a dolly. Be creative. Can't afford a crane? Climb a damn tree!

In this day and age where films are being edited on a laptop during a plane ride the competition is too great to become lazy. Even the Screen Actors Guild has created contracts to stop indies from casting their film's with girlfriends, neighbors, and grandma. Remember, in the end someone is going to watch your film. Keep it creative and let those you surround yourself with as a director have some artistic say as well. If you're the producer, director, writer, editor, grip, gaffer, bestboy, and PA, you're probably going to make a film that only you like. You can't do it all even if the software says you can. As a director we are only as good as those we surround ourselves with and they are looking to our leadership and vision to move to the next level as well. When a film is good "The team did a great job." When a film is bad they are all quick to point to the guy in the director's chair. To understand this will make you a better film maker. Now go out, find some money, and do the best you can!

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David vs Goliath

2009-06-19T07:56:00.010-04:00

David versus Goliath, now that's a pay-per-view worth watching. David could represent the independent business owner, while Goliath could represent (who else) corporate America!!!!

I promised not to rant about the 'good ol' days' but every time I get out I'm constantly reminded. Okay, I get it, there's no more service at gas stations, unless you consider a finance window service. What about restaurants? I mean basically aren't all these fast food restaurants, diners, after hour wing spots all competing for the same dollar? And after the first beer don't all wings pretty much taste the same? So, how do we choose with so many out there?

Me, I like service. I like my beer cold, my water glass and coffee cup filled without sending out a search party for my waiter/waitress. Price is important but not so much. If they offer say a discount for industry professionals, I will seek them out....not because the ten or fifteen percent is that important, but I just want to show support for people who show support for us working class party animals. I understand there shouldn't be discounts on drinks (albeit Happy Hour does sound enticing tonight) but a discount on food makes sense. Even at my film festival (http://www.centralfloridafilmfestival.com/) I have certain restaurants offering a twenty percent discount for patrons of the festival who eat at their establishment.

The creative members of my film festival met at THE ORLANDO ALE HOUSE a few nights ago. We've been holding meetings their since my production company moved to Orlando in 1991. It is also located just off Disney property (or on it, I'm not exactly sure) where over sixty thousand industry related people work. Last night we were breaking in yet another waitress. We asked for our bill and mentioned our (industry) discount and she told us, we weren't eligible. When I said, "We were here just a few days ago, had the same order and it was fine. "Is this something that just started?" The waitress became frustrated because let's face it most waitresses are actresses without lines and without written lines they're at a loss. She explains that because we bought fifty wings all at once, we didn't qualify. However, if we had to ordered twenty, twenty and ten, we would have qualified (see what I mean). The others in my party started to point out about the obvious and I'm pretty sure she knew it added up to fifty. That was my problem. If she said sorry we don't give a crap about your business, I would have accepted this as an excuse. My wife decided we should speak with the manager. She does the books and as it turns out we spend almost two thousand dollars at this establishment during the fiscal year and that's just what's deductible!

The manager arrived and tried to explain to me that "THEY (when we asked, we were told 'they' are corporate) set the rules and even though he's the local manager, his hands were tied. Oh, by the way, we're talking about a total of $2.40!!! It appears that the ALE HOUSE has a rule that discounts can only be given on items their employees can get discounts. Which explains why the ten and twenty portions of wings are eligible but the fifty wing order isn't. I would assume that any waitress, bartender or busboy who could eat fifty wings in one sitting should receive something else besides a discount. Perhaps a plaque with his name up with that guy that eats all the hot dogs at Nathans on July 4Th. I tried to explain to the manager, who I can only assume gets rated by the amount of business his restaurant does, that by bringing more people into his establishment to drink non-discounted beverage is generating more revenue than an employee who is eating lunch or dinner and therefore should be valued differently.

Corporate will be proud, he didn't budge! Apparently, THE ORLANDO ALE HOUSE needs the $2.40 more than me. I paid it and didn't take it out on the waitress either, although she should pray she gets cast in something soon, as her waitress days are numbered (however, there is the discount on food). What did I expect? For starters, I would expect the manager to have some kind of power in his own establishment. If it was my place, I would have said; here's the policy set by those bastards at corporate but don't worry about it this time, I'll fix the check to show you ordered the wings in the corporately regimented series, smiled, and said, "We good?" and thanked him for his business and bid him "good night." Of course that was the way I did it as a waiter when I was an actor in New York. A person has to make a living and a person has to service the account or someone else will. That's why it's called the "service industry." My next meeting will be at either THE DOCKSIDE INN or KITTY'S. Both are PRIVATELY owned (no corporate bastards to deal with) and when I mention discounts to industry professionals perhaps they'll want our business a little bit more than THE ORLANDO ALE HOUSE.

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What's a Best Friend?

2009-06-12T07:45:00.001-04:00

I got called on the carpet by my wife yesterday for referring to a person as her "Best Friend." It appears that although the Male Species has one best friend, the Female Species has more than one. I've never been one to toss around the "F-word" and consider friends as people you don't mind sharing time with outside of the work element and the rest as either co-workers, neighbors, or acquaintances. My "Best Friend" is someone I can rely on or talk to without question or embarrassment.

I've been told that my wife has at least two "Best Friends" who serve different purposes in her everyday life. One as a professional advisor and one who communicates daily and guides and advises from the heart. She's lucky in having two people to count on and listen to her frustrations and share her victories. I stand corrected and apologize for any misunderstanding as to who is my wife's best friend. Especially, when she follows my blog. Luv ya, Gus!

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To Scam or Not to Scam! What kind of question is that?

2009-06-11T07:38:00.004-04:00

I got accused of scamming some film maker today. He enter our film festival and his film didn't get accepted. Our entry fees for featured shorts is forty dollars. Thirty dollars if you enter via http://www.withoutabox.com/ and we furnish a detailed critique giving reasons why any film is rejected. I became a scam when he didn't agree with our critique. "You're just like all the rest of them," he wrote, "You take our money and don't care about the film maker." This kid (and I'm assuming because of his demeanor) couldn't be further from the truth.

As a film maker myself, I've entered many a film festival and received generic form letters that say pretty much "Thanks but no thanks." I've often wondered how a film could enter a top twenty five festival and go on to win best picture but be rejected by several other film festivals? I've been lucky enough on a couple of occasions to win something or better yet just be accepted to attend film festivals. I have no understanding what other festivals look for in accepting a film. So I started my own film festival (http://www.centralfloridafilmfestival.com/). Not so that I'd have something to enter for myself but to give other film makers a place to showcase their work. I have a selection committee with different tastes. A writer, a director, an editor, a composer and a producer should give a fairly diversified review of each film. I personally want production value, some commercial value (would be nice), good acting, a strong script and some signs of creativity and not you're just going through the motions as a film maker.

From there the films are ranked on a scale of 1-10 in ten categories or 100 points being perfect and no points being Ed Wood caliber (although some of Ed's work would have scored in the 50's). we're a three day event with approximately eighty hours of screening time. We receive about one hundred and fifty films for consideration. Obviously I can't accept forty, two hour features, it would use up all the screening time. So, we are forced to place limits to how many shorts, features, documentaries, mini features and even 'Gay & Lesbian" films to accept and have a good representation in our program.

If a were scamming, I'd take the money, not give a critique, not show the submitted films to anyone and place a listing of accepted films on a website and never respond to complaints. The best way to avoid scams is to educate yourself. Do some research. Who are these people involved? Why do I care about their opinion? How will it help me or my film if I am accepted. Just because some hick town in Iowa is holding a film festival and loves your film, it doesn't mean that a major market should. All film festivals fight for their share of good films and we all wind up with our share of clunkers too. Did you know Sundance received five THOUSAND entries in their short program for only eighty-five spots? That's 4915 rejects! However, many of those rejects are excellent films in their own right. Those film makers have to find a festival willing to showcase their project. Fight the battles you can win and understand if you can't stand rejection you've selected the wrong industry and profession.

See you at the movies!

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"Straight" to the nut house!

2009-06-06T07:31:00.003-04:00

This year the Central Florida Film Festival has added two categories. One "Mini Feature" was created for filmmakers that haven't quite learned how to edit down a piece to a watchable time frame or add enough footage to be considered a feature. Our other new category is "Gay and Lesbian" films. My Creative Director (yes, gay) mentioned that in the past few years our festival has received it's share of Gay themed films and although they may be excellent in their production value and content they've gotten lost in the shuffle of the other films. I agreed and give these filmmakers their own category.

I've just received my first "hate mail." It was sent from I guy I'll just call 'Mike' (because that's all he called himself). Now that I think about it didn't Liberace have only one name too? Anyway, Mike told me I was causing damage to the film industry by showcasing gay films and I'd be ruining the image of my festival if I proceeded to have 'them' at the festival. He went on to say that I would be 'sorry' for taking valuable time from REAL film makers.

I've got to admit I am pretty upset. I don't judge filmmakers by their race, color, creed, or sexual persuasion. I judge them by their work. I should be so lucky to get the next BROKEBACK MOUNTAIN or MILK to premier at my festival. Mike must have the above mentioned films confused with the 'gay porn' he must have sneaked a peek at every now and then to educate himself enough to express his opinion the way he did. You don't have to be a genius to know if you take the Gay people out of the film industry there won't be many films or television shows to watch.

On Saturday, September 5, 2009, the Central Florida Film Festival (aka CENFLO) from one until five, will offer food, beverage, and music, poolside at the Courtyard Marriott in Ocoee for a celebration of "Gays in Film." I hear Gays like to eat and drink too and watch movies. At five sharp a block of several 'gay and lesbian' themed films will be featured at one of our festival screens, including, such features as COFFEE DATE, and A LOWER POWER and a few shorts. Actor/Comedian, Jason Stuart (Will & Grace") will be on hand to greet guests at the party and to perform a "Q & A" after the film COFFEE DATE. He will also show clips from his new DVD "Making it to the Middle." The world will not end, there probably won't even be a stir, just applause from a night of good film making. Gay or straight I hope to see you there. Tickets go on sale July 1, 2009 (http://www.centralfloridafilmfestival.com/).

Mike, if you'd like I'll show one of your films and let you perform a "Q & A" immediately following our regularly scheduled programing. Let me know!

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Sharing the Wealth

2009-06-05T06:51:00.004-04:00

My wife (Ginger) just returned from a talent convention in Chicago. She's an accomplished camera woman and editor and along with her best friend Amy (who's also an accomplished camera woman and editor) provided video for this convention. My wife was depressed as she was just able to break even over the run of the event. But what does 'break even' mean?

I explained to Ginger, she was able to purchase and rent equipment (cameras, video monitors, sound equipment, etc.), she rented a car, she put gas in the car, she stayed in a hotel and ate in restaurants. She also provided a commission to the talent show and paid salaries to Amy and herself. "You have to look at the greater plan," I said. Her gig, as small as the profit margin may have been, provided a boost to the economy. A cash flow was created and several businesses benefited. I believe this is how small businesses and especially production companies need to look at the overall picture in order to stay around. Kind of "a circle of life" in our own right. One business helps the others.

When a production company has a budget, no matter how big or small, they are in a position to help the economy. If your money goes 'on the screen' or into the project (an not in your pocket) you are still making an impact on our business. Budget carefully because what helps your bottom line also helps others.

I applaud my wife for a job well done. Breaking even is nothing to frown at, especially if you helped others to break even. I'm proud of you.

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Festival Update

2009-06-03T08:02:00.003-04:00

I've reprinted this from a notice sent out from withoutabox.com a festival source.

REPRINT: June 2, 2009 (withoutabox Festival Highlight)

CENTRAL FLORIDA FILM FESTIVAL - Orlando, Florida - USA September 4 to 6, 2009
The 4th Annual CENTRAL FLORIDA FILM FESTIVAL (CENFLO) was established to showcase and support independent films, as well as to foster a national awareness of the plethora of production resources available around Central Florida. To this end, the Orland-based CENFLO is a valuable networking and learning event for both movie lovers and moviemakers.The Festival's programming has been picking up steam recently: Neil Mandt's LAST STOP FOR PAUL, winner of CENFLO's Best Feature Award, was picked up by Showtime after enjoying a limited theatrical release; 2006 CENFLO Best Feature BEAUTIFUL DREAMER went on to win many festival awards, with producer Chase Chenowith's next feature UNDERTAKING BETTY receiving worldwide theatrical distribution.CENFLO is a hands-on festival with an easy and casual accessibility to all of its directors and VIP guests. Organizers also take pride helping filmmakers; all films not accepted to the festival receive a detailed critique stating why, in the hopes of helping filmmakers improve their form and technique. There is no additional cost for this service, and many filmmakers have received useful, constructive feedback.

UPCOMING DEADLINE June 14, 2009 - Late Deadline
MISSION AND OBJECTIVE CENFLO provides exposure as well as an outlet for filmmakers from around the world to showcase their work to the general public. At the same time, CENFLO attempts to put together an entertaining and thought provoking slate of films for the Central Florida community.

MORE ABOUT THE FESTIVAL - CENFLO offers seminars, panel discussions, guest speakers, screenings, and competitions featuring cash prizes for the best Documentary, Short, Mini Features, Feature length films, and a new Gay & Lesbian section. The Festival also presents awards honoring the best Florida film and best promotional trailer. Screenings will be held at the Festival's new venue, the West Orange 5 Theater. Filmmakers are eligible to win a range of awards, including plaques, a variety of goods and services, and cash prizes ranging from $250 - $500 USD. Winning filmmakers are honored at a glitzy Awards night ceremony, concluding the Festival. See for yourself why the Orlando Sentinel calls the Festival the "fastest growing film festival in Florida." Submit to Central Florida Film Festival today!

A Film by any other title would still be bad cinema!

2009-05-21T12:09:00.006-04:00

The time has come to begin reading my judges ratings & comments for "Official Selection" at the Central Florida Film Festival (September 4-6, 2009). We are one of the few (maybe the only) film festival that will send the filmmaker a critique if the entry isn't selected into our program. We're not trying to be mean. We just thought the filmmaker should be told what our panel of judges liked and disliked about his film. Our thought is to make them better not pissed off. It also lets the filmmaker know that his entry was screened and watched. As a filmmaker myself I've always wondered about that.

At first we contact the highest rated films in several categories (Feature, short, mini-feature, gay & lesbian, and documentary) and congratulate them on becoming an "Official Selection" of CENFLO (www.CentralFloridaFilmFestival.com). We then take the lowest rated films and write them a "Sorry but..." letter with a critique on what was liked (if anything) and what was disliked by a panel of five industry professionals. I have a composer, director, editor, producer, and screen writer on the panel. This allows my panel to take a close look at their expertise and at the same time dabble in other areas of the film they may have thought needed work.

I thought this idea to be unique and helpful. I've made more than a dozen films and by the time I receive my critique it's a magazine critic who usually compares my product to films with much higher budgets. I don't mind, that's the path I chose and as long as my distributor liked the film who cares what the media thinks? Critics don't pay my mortgage! I believe we make films for three reasons, to make money, win awards, or fill an ego. Can anyone out there think of another reason?

The filmmakers who get into the festival contact me and praise the decision of the judges, saying "what a wonderful thrill it is to be selected." What else are they going to say? "Thanks but no thanks?" However, in many cases the filmmaker who doesn't get into the festival takes on a Jekyll & Hyde persona. They'll kiss your ass to get screened and in some cases plead a case why they should be included. These pleads are never about the quality or content of the film but that "Friends and family live in the area," or "we used to live somewhere in Florida and want to vacation there again." They pay their fee and their screeners are sent out to the selection committee. When the results come back and their critique is sent, they pounce like wounded animals. Claims of fraud, and insults come a flying. I find thirty percent of our critiques are received in the manner they are sent. We've gotten some excellent response and even some filmmakers have entered the following year with a genuine improvement. Most (about fifty percent) don't respond one way or the other but the other twenty percent become vicious.

Here's a copy of a form letter sent to our filmmakers that do not make the cut. Understand there is also a section in the letter where comments are made directly about the film we are critiquing. We try not to generalize;

COPY

I am sorry to inform you that your (Category) entry (TITLE) did not make the preliminary cut to qualify into the Central Florida Film Festival. A Jury of five industry professionals voted to not advance your project.

(According to comments and ratings) The judges were in agreement your production had a decent idea but the execution was well below average. Sometimes we lose sight of what we are trying to accomplish as filmmakers. What story do we want to tell and how can our cast help tell the story? A weak cast from bottom to top and a weak script were two of the main complaints from our panel. When making a feature you need to grab the audience in the first ten pages of your script. Sometimes preproduction is more important than production itself. What kind of money do I have to make this film and where can I skimp without hurting my production value? This is a question young filmmakers need to ask themselves when making a film either for the commercial market or the festival circuit. Cost to production value ratio is very important. Your weak script could have been helped by a better and more experienced cast. Plan your shot selection better. Be creative and don't just go through the motions to get the film completed.

(again form)
Don't take this critique personal. Film is art and art is subjective. Everyone is entitled to their opinion and as filmmakers we need to grow a thick skin. I edit and write what the judges have passed down to me and where possible hope it will help you become a better filmmaker. I am sorry the news couldn't have been better.

(In some cases - I write)
I've viewed your film as well and I have a distributor that may be interested. (Big Star TV) Contact Erik (Erik@Bigstartv.com) and tell him Bob Cook from the Central Florida Film Festival told you to contact him. He may be able to help and give you better advice. I wish you well and hope to see you at the festival where you can pick our brains and find out more about film making.

Regards,
Bob Cook
Executive Director

I don't see where I am attacking anyone. I give examples from their film and cite why it didn't make the cut. I wish every festival did this! Sorry, no I don't, because we are unique and want to make filmmakers better. I had one filmmaker who's feature didn't make the cut, and actually attacked my own films. "I know why you rejected our feature, I've seen the quality of your films and it explains a lot." Not that I need to defend myself but if you saw my films it means you paid to watch them. I make movies to make money! Twice I made a movie to win awards (1990 "Goin' to Chicago" and 2000 - "MovieVoyeur.com") and lost money in the process both times. But I've got those plaques on my wall. I often think to myself, do I like fun things or plaques? You know I like things better. I've made films for as little as twenty thousand dollars and for as much as a million dollars. The production budget doesn't mean a thing. It's how you spend your money putting it on the screen. Cost to production value is very important.

It's also whether or not the viewing audience is entertained. I've seen excellent festival pieces that I wouldn't pay ten dollars to see in a movie theater. However, they're terrific films and that's why festivals screen them and distributors don't. It comes down to dollars and cents or in the case of some filmmakers Dollars & Sense!

Just as I'm ready to consider taking out the critique portion of our program I receive two wonderful emails from filmmakers in Chicago and New Jersey (of all places) thanking me for taking the time to critique their films. They were able to take a step back and look at what we were trying to do and took it in the manner it was intended. I believe they will become better filmmakers. Because even when a media critic trashes my film, I take a step back and try to understand what he was trying to say. Filmmakers make many choices. The cast, crew and even the film itself lives or dies by those choices. That's why the director gets the biggest credit. Many of those choices are forced by restraints placed upon us by either the elements, locations, or production budget. How we overcome these restraints are what makes us better filmmakers.

I will continue to critique films that don't get into our festival. I believe even if we help only one or two filmmakers each year become better, then we're doing a good thing for our industry.

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Blah, Blah, Blog.....

2009-05-17T18:31:00.003-04:00

It's been a tough couple of weeks and I have neglected keeping my blog current. Between my dad's cat (Felice) of sixteen years passing on, the air conditioner breaking down on the hottest day of the year here in Florida and Mother's Day, my time has been sparse.

However, I did find time to see the new STAR TREK movie and enjoyed every minute of it. We are hitting stride at the Central Florida Film Festival too. We've received confirmations from actor/comedian Jason Stuart, Producer/writer Chase Chenowith and (producer/director/writer Reuben Leder as special guests. Jason, who has appeared on such shows as "Will and Grace," "George Lopez." and "Fat Actess," is bringing a copy of his new comedy COFFEE DATE, which also stars academy award nominee Sally Kirkland. The movie is hillarious and Jason will perform a Q & A immediately following the screening. Reuben (Leder) and Chase (Chenowith) will join local writer/director Art Delasandro on a panel discussion about writing for film. Reuben is best known for his work on MAGNUM PI and Chase is an award winning producer of such films as "Undertaking Betty," "Beautiful Dreamer" and "One of Our Own."

I am currently working with industry vendors. My plan is to have as many vendors represented at the festival for filmmakers to strike film deals creating more work for Floridians. I should have a partial list at the end of the month. Currently, the festival has selected twenty films from five countries. Last year we selected fifty films representing nine countries and seventeen states. This year with the West Orange 5 Theaters on board we expect more than seventy films.

Remember to support independent films and exhibitors. They need our help!

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Lights, Camera, Stimulus (Part 2)

2009-05-11T07:40:00.003-04:00

I reprinted this from an editorial that I wrote for In Focus Magazine. I know it's cheating but I want to make sure my point gets across. It's been a busy two weeks and I will write something a bit more industry related within the next few hours. I'm just over it and welcome any other comments or questions.

"Lights, Camera Stimulus"

Banks are being bailed out, the automotive industry is being bailed out, even delinquent home owners are being assisted by the Federal financial assistance. But how about the film industry? The other day I was depressed at everything I watched or read about in the news. So, what does one do to get out of a funk? Of course, I went to a movie. You know what? The movie was crowded too. Apparently, I'm not the only one that looks to the entertainment industry for relief and escape from reality. This is why I am concerned. While other industries are being bailed out or coddled, the film industry, especially here in Florida, is being overlooked. To start with, the state has cut film incentives by a whopping eighty percent. That's not a misprint. Eighty percent! How is that supposed to help the job situation? Yeah, yeah, yeah, I know, schools and other programs are being cut too. However, the film industry brings in millions to the economy and at the same time creates an escape from our problems. A much needed trip into the world of horror, action and comedy where you don't have to worry about a damn thing for about two hours.

Is there really an out of control economic problem or am I seeing the makings of a conspiracy movie on the horizon? Are corporate and Governmental bodies just using some middle class hard times as an excuse to make more cuts to create more profits? Less jobs but higher profits...hmmmm...it sure does feel like it.

I run a small film festival in Ocoee, Florida (http://www.centralfloridafilmfestival.com/). We're a nonprofit, charitable organization whose mission statement is to help the film industry in Central Florida. We survive on donations, sponsorships, advertisers and entry fees. This past year alone we lost three large corporate sponsors. They all cited the economy and cutbacks as the reason for eliminating their support. The only problem was what they were giving in the first place. The Coca-Cola Company was providing us with twenty assorted cases of Coke Zero, Diet Coke, and Coke Classic. If I used a coupon in Sunday's paper this amounts to a total retail cost of $128. In turn, I had the festival provide the Coca-Cola Company with an advertising and sponsorship package worth $1500. Final Draft scriptwriting software was the exclusive sponsor of our screenwriting seminar. They provided four copies of their product in exchange for another $1500 advertising package. Finally, the Mini Movie Channel pulled out their sponsorship. However, of the three, they probably are in financial trouble but they were the only ones that had paid cash for their sponsorship!

Even filmmakers are using the economy in an attempt to get out of paying entry fees. "Because of the economy we have no more money and request a waiver," is a statement I receive once a day. However, I've been receiving them for more than four years now - when the economy was good! I never met an independent filmmaker that had any money. They usually beg for money for post and beg again for marketing and promotional funds. It certainly makes me question if they are even teaching these students how to budget their films.

So, how can the Florida filmmaking industry survive without an enticing incentive program or without the help of corporate America? There is no financial crunch. Cash flow problems, maybe. I believe some people have overextended and made bad investments on the bad advice of bad financial institutions. As sure as you're reading this, for every foreclosure there are twenty people lining up to buy the foreclosed property at a discounted price to turn a profit. This is old news. People have overextended ever since that ‘Jones guy’ moved in next door.

Michigan created a 40% incentive program that has producers from all over the United States flocking to their state at such a successful rate they don't have enough production personnel to keep up. Developers have built sound stages and schools are teaching laid-off autoworkers how to become gaffers, best boys, grips, and even production assistants. They are taking action and strengthening their economy. It's time for Florida’s Governments to wake up and take a long look at the positive economic impact the film industry makes on this state.

But for now, the only way the film industry is going to survive in Florida is by helping each other. Network, get out there and campaign. Create something, edit something, screen something and watch and learn. If you're a vendor, create packages that make sense and produce projects which generate jobs. If you're an investor, learn about funding films. Is film finance really a higher risk than the stock market? Actors need to work together by making themselves better. A better talent pool is an enticement to producers and makes for a better project. Learn the SAG contracts and how they can hurt or help your financial situation here in a 'right to work' state. Learn the difference between an Independent film and a studio film, as well as, an independent exhibitor versus a corporate exhibitor.

It all starts with us the filmmaker and film watcher. Show your support by checking out the latest movies, supporting local film festivals and producing the best film projects you can. You'll find the effort and results well worth it.

Damn Yankees! (Part Deux)

2009-05-02T07:55:00.003-04:00

Just following up on my latest rant about the Yankees and their ticket prices. The Steinbrenners have actually notified season ticket holders "....there will be sizeable refunds given back." Apparently, they are lowering the prices of some seats and refunds are due fans that have already paid. Perhaps now they'll start selling out. Of course, it always helps to start winning too!

At dinner last night, my wife mentioned that Baskin-Robbins was having a thirty-one cent scoop night. Thirty-one cents for a scoop of ice cream...how could I resist? A pistachio/almond butter pecan, and rocky road scoop later, I was noticing that the place was packed tighter than a large sugar cone. People were everywhere. I thought to myself, 'I guess they made us an offer we couldn't refuse'. I've got to think Baskin-Robbins didn't lose money on the deal and it had to remind people there's an ice cream store in the neighborhood.

Now, what can I do besides support all the stores that put their goodies on sale. Pricing IS everything. Americans want a bargain. They're tired of paying the rising costs and would like to pay less somewhere. Recently, I have been researching the pricing of film festivals. These 'All Access' passes are pretty expensive. Some go for as high as twelve hundred dollars for two weeks of movie going pleasure. Most were in the range of six to seven hundred for a week to ten days. I thought, "how can the average movie goer afford that?" They probably can't. Sooooooo, as Executive Director of CenFlo (www.CentralFloridaFilmFestival.com) I've come up with the "$99 Stimulus Ticket". Three days of screenings, seminars, poolside chats, a vendor lounge, and of course parties, food, and even some free beer. Everyone likes free beer, right?

Ninty-nine dollars will let the general public rub elbows with more than fifty filmmakers and other assorted industry professionals. I also came up with a movies only screening pass for $65. Good from 10am to 11pm for all Documentaries, shorts, features, mini features, and even some "Gay & Lesbian" special programming. Think of it, "The film festival movie watchers can afford! What a slogan! What an idea! Thanks Baskin-Robbins, I think I understand!

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Down with the Prices!

2009-05-01T07:50:00.003-04:00

Have you heard? The New York Yankees, who used to sell out the old Yankee Stadium, are having trouble filling the ridiculously priced seats in their new six hundred million dollar New Yankee Stadium. Of course we all know who they blame....the economy!

Did anyone ever think that perhaps the people of New York have a ceiling on the price they're willing to pay? There's quite a few other things they can do with the money they save and still root for their team on television. If businesses keep raising prices, buyers are going to find a better deal somewhere else. Even if they have to cut out certain luxuries such as dining out, movies and yes, baseball games.

So now let's talk about the movie industry. Ticket prices have been going up until a family of four has to make plans to see certain films during vacation times. It's cheaper for middle class Americans to stay at home and watch a "Pay per view" movie. I've done it and I consider myself an avid movie goer. Sure, the movie theater has a better sound system and the smell of over priced popcorn gets you in the mood. However, you can get an excellent sound system in your own home for a few hundred dollars and let's face it, popcorn is popcorn whether the theater makes it or the microwave.

Why can't we make prices affordable? Gas shouldn't be a high as it is, we all know the oil companies are making more than their share of profit. How much is too much profit? Is corporate America that greedy they don't see the need to price things in a manner that most Americans can at least THINK about purchasing? Stimulus this and stimulus that, where are the true savings? Coupons? Warehouse prices? Flea Markets? Businesses take notice! Come up with a plan to create your own stimulus. "Make them an offer they cannot refuse," and maybe middle class Americans will once again join in on the spending. Everyone likes a bargain. Remember, if you're a business, price reasonably. If you're a shopper, buy responsibly. And if you're the New York Yankees, lower your "Damn" Yankee prices and maybe you WILL sell out!

...And cut!

Waive the Economy?

2009-04-28T07:08:00.003-04:00

I read in the newspaper that Borders is closing it's doors. The article cited the "poor economy" as the reason for it's demise. I thought to myself, 'why is everyone blaming the ecomony?' Does the media truly believe the economy is the problem? Or the fact that everyone and his brother is blaming any financial trouble on pure economics? Oh sure, my property values have crashed along with the stock market and when gas went up to four dollars a gallon I was hurting. However, I still have a job and I still have a cash flow. I don't know about you, but when I want to purchase a book I go to Barnes & Noble first and if it's not there, I go to Waldenbooks. I rarely shopped or even visited Borders, even though my own book is available at www.borders.com. Maybe this nation currently doesn't have room for a third book store. Plus, you already know my ranting about purchasing online which doesn't help store locations.

Here at CENFLO (www.CentralFloridaFilmFestival.com), every day I receive requests from filmmakers asking for a waiver (free entry into my festival). They say they can't afford to pay the entry fee because of the "poor economy" but what they really mean is, "I'm a filmmaker that didn't budget the twenty-five dollar entry fee for your festival in my marketing budget. Could you front me?" The only reason I say this, is every year I receive more and more requests for waivers. Filmmakers love to spend money on their project but don't believe in the importance of spending the money to market it.

Well, this year they can all blame the economy! Two, three, even four years ago filmmakers were coming up with creative excuses for having the film festival foot the bill to market their product. I never met an Independent filmmaker that had any money. Apparently, they don't learn how to budget in film school. When you budget a film, you need to put aside some money for post production. Yes, most distributors and even festivals would like the film complete with good sound, color correction and even credits that make sense. They also should put aside money for marketing. As a filmmaker ask yourself, "Is my film a commercial piece or festival piece?" If you're a commercial project, set aside money for posters, one sheets, and other deliverables required by distributors. If you're a festival piece you'll still need to plan out where your film is the best fit. Where can you get accepted? What competitions can I win? Most importantly, what entry fees can I afford? You'll also need to set aside money for a press kit. Understand that having the Laurels of a film festival, whether it's Sundance, Cannes, AFI, or even CENFLO, will contribute value to your film.

Filmmakers, know this - Festivals have costs too! There's judging time, guest speakers, advertising, and don't forget screening time. This all costs money. I've learned over the years that festivals compete with each other and always have to make their program bigger, better and more attractive than the year before. Sure, sponsors and advertisers cite the economy for being cheap too, but think about it, take out the paper losses and are we so bad off? Are the stadiums, theme parks and movie theaters so empty that middle class America is hurting that bad? I DON'T THINK SO!

Filmmakers, it's time to do your share to help the economy and not be part of the problem. Tear up those waiver requests and go out and earn a couple of bucks waiting tables or even finding a small sponsor for your film (Grandma might front you twenty!). We all need to do our part so scratch the waiver request and support your local film festivals!

....And Cut!

Bring Back the Good ol' Days!

2009-04-26T12:27:00.000-04:00

Is the computer age really that good? Whatever happened to the expressions, "I'm going out and play?", "Sorry, I couldn't get to a phone," and "Hi, I'm so-and-so and I'm happy to serve you?"? They're pretty much gone the way of the dodo bird. We ask ourselves why the economy stinks but we refuse to blame ourselves. We've become a lazy nation with less and less ambitions. Our children and grandchildren would rather sit in front of a monitor all day than go outside, hit a ball around and get some exercise and fresh air. Have you seen the size of kids today?

Does everyone really have to have a telephone to their ear? I grew up without cell phones, blackberries and even answering machines and it made me a bit more creative when allocating time for work and play. MADD is after drunk drivers and rightfully so, but what are the numbers related to accidents where the drivers were sober but talking on their cell phone or even texting. Just when I thought putting on your makeup or eating a donut was permissable while driving, along comes the computer age. I mean, where the hell is Superman going to change?!!! "Sorry, I couldn't get a signal or you're breaking up," has replaced "sorry, I couldn't get to a phone." Am I THAT old fashioned? Is the world leaving me behind?

We're killing jobs by having computers take over. Do you shop online? Why? Convenience? Are we getting that lazy we can't even go to a store? What ever happened to service with a smile? Perhaps it's time to put some I.T. people out of work and go back to thinking and hustling for a living. My wife and I went to the same bank to make a deposit the other day. She is a bit younger than me and made her deposit using the computer (aka ATM). I went inside and made a similar deposit in person with a teller. A smile, a thank you, and 'have a nice day' all came into play. The very next day, my wife and I went to make a cash withdrawal from the ATM to head out of town. Her money was credited and mine wasn't. When I went inside to complain, the teller and manager, who knew I was in just the day before, said my deposit wasn't credited but my wife's (which took a different route) was. How was that possible? After all, I had two witnesses that saw me put the cash into the account. I had my deposit slip in hand. They (the bank manager) blamed it on the computers. I blame it on businesses that allow computers to run their companies.

Next time you buy groceries ask the cashier what the price of anything is. They don't know! To top it off, if the computer goes down while you're in the middle of the transaction, the cashier wouldn't know how much change to give you. People can't add or spell without the help of a computer. What has happened to us?

In closing, is this something that can be fixed in post? Please, someone invent a time machine and put me on the waiting list. However, for now, please help by doing your part. Buy and actually smell the flowers at a florist, read a book at a library, buy a newspaper at the stand (and say hello to the man who sells you the paper), but most of all, at LEAST go to a movie and purchase your tickets at the window - ask the person who sells you the ticket if he/she has seen the movie and what they thought of it!

Thank you for letting me rant. My wife made me start blogging as a sort of therapy - I think it might actually work!

...and CUT!