You've got to read this!

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.

.....and cut!