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!
Showing posts with label 5th Annual Central Florida Film Festival. Show all posts
Showing posts with label 5th Annual Central Florida Film Festival. Show all posts
Monday, April 19, 2010
Sunday, April 18, 2010
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!
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!
Monday, March 29, 2010
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!
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!
Friday, March 26, 2010
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!
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!
Florida versus Sarasota - Head to Head
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.
.....And Cut!
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.
.....And Cut!
Thursday, March 11, 2010
Florida Film Festival
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!
....and cut!
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!
....and cut!
Friday, February 5, 2010
Choosing a Festival for your Film...
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.
....and cut!
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.
....and cut!
Saturday, January 23, 2010
Why no waivers?
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.
....and cut!
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.
....and cut!
Friday, January 22, 2010
Early Bird Entries
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.
.....and cut!!!
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.
.....and cut!!!
Monday, December 21, 2009
Festival Porn
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.
.....and cut!
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.
.....and cut!
Monday, December 14, 2009
Thank you! We're Planning for 2010
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!
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!
Wednesday, November 25, 2009
Festival for Sale?
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!
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!
Thursday, September 24, 2009
5th Annual Central Florida Film Festival
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!
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!
Subscribe to:
Posts (Atom)