CENFLO 2012

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

CenFlo Followers,

Important BLAST regarding our new sponsor InkTip.com.

Deadline for Summit / Marriott Discount: March 25th

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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)

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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

It's been a year since my last blog but it's that time again to create interest in the Central Florida Film Festival. This year will be our 8th and once again we are being held over the Labor Day weekend (August 30, - September 1, 2013) 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 22, 2013.
Regular Entries will be taken from February 23, thru April 15, 2013, and our late entry deadline is from April 16, 2013 thru May 31, 2013.

All "Official Selections" will be notified as soon as possible but no later than July 1, 2013.

Labor Day weekend we will present our three day event and our gala awards show will be on Sunday, September 1, 2013, 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 most 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.  Last year MovieMaker Magazine named us to their list of "Top 25 Film Festivals worth the entry fee," an honor we greatly appreciate.

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

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!

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

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?

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!