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!
Showing posts with label CENFLO. Show all posts
Showing posts with label CENFLO. Show all posts
Wednesday, January 12, 2011
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!
Tuesday, February 2, 2010
Academy Awards Rant & Predictions
March 7th is the date the film industry is marking down in it's calendar. The night of the Academy Awards, where Oscar parties will be everywhere with fun, games and of course predictions.
I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!
I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.
Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!
Let's move onto the guessing game -
Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.
Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.
Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).
Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?
Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!
Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?
Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short
Who cares?
Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.
.....and cut!
I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!
I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.
Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!
Let's move onto the guessing game -
Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.
Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.
Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).
Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?
Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!
Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?
Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short
Who cares?
Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.
.....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!
Monday, December 28, 2009
"In your face-book!"
I received a "special offer" from CLASSMATES.COM to renew my membership that I had let run out a few years ago. They offered one year at $9.95. I thought it was worth it because I have a High School reunion coming up. I missed out on all the other reunions and wanted to make sure this time I at least heard about it. As I started the process of signing up once again my wife informed me that spending $9.95 to keep in touch was old fashioned. Since it was my wife's idea to start my blog almost a year ago I deferred to her computer savvy. She told me FACE BOOK is free and where everyone goes to keep in touch.
For free? How could I go wrong......"Let me count the ways." I signed up and completed my profile. If you complete all the details it is time consuming, however, by the time I finished my profile page, I was contacted by three people who wanted to "Friend" me. I had little to no idea who these persons were and even read their profiles hoping for a clue. Two more "Friendings." One was a person I've been avoiding all my career, so why would I want to "Friend" him? Not understanding this concept but I'm sure it will clear up as I work out the kinks. I did a search for my High School to no avail. Apparently, in Levittown, New York, Memorial High School, no longer exists. I found Division, Island Trees and MacArthur but no Memorial. We were the oldest of the four Levittown High Schools and it would make sense that the building was either torn down or made into something else but someone else from my high school has to be listed somewhere on this FACE BOOK? No? I've now been friended by five more strangers and two more people that if I wanted to stay in touch with, I would....via telephone. My account is less than two hours old. I now tried to cross reference people that went to my High School and a community college in the neighborhood which was listed. Couldn't find a soul. My wife couldn't make heads or tails of it either. She repeatedly asked "you sure you have the school name right? I only went to the school for four years, I'm pretty sure that Levittown Memorial High School was the place I was president of the drama club, DJ on the radio station, and lettered in three sports at! I started to put names into the "Friend me" list. After all, why not, I was now asked to be friends with seventeen people I couldn't remember, perhaps I can find one classmate who could tell me if we're planning a reunion anytime soon.
I then tried to link my FACE BOOK account to my BLOG. I clicked on the button that said, "click here to link." I did and nothing. I did it again and nothing. I did it a third time and gave up. I then went to my blog site to post my Face Book account and found three places for a logo to be transferred. Completely screwed the cover page of my blog account. It appears "Baby Boomers" of the 50s aren't as likely to be on FACE BOOK as they are to be on CLASSMATES. I remember having no problems finding almost my entire LMHS graduating class a couple of years ago when the site first came out. However, since high school, I've lost touch with all but one of my classmates and he was my best friend when I lived in New York. I didn't need FACE BOOK or CLASSMATES to keep in touch with him. I still talk to Johnny four times a year and I don't even have to "Friend" him. You see, we were already friends.
I cancelled my FACE BOOK account a little more than three hours after I signed up. People of this generation have way too much time on their hands to maintain such a detailed account. And who has time for that many friends? Now that I think of it, if someone from Levittown Memorial High School in New York wants me to attend a class of '70 Reunion, GOOGLE me!!!
......and cut!!!
For free? How could I go wrong......"Let me count the ways." I signed up and completed my profile. If you complete all the details it is time consuming, however, by the time I finished my profile page, I was contacted by three people who wanted to "Friend" me. I had little to no idea who these persons were and even read their profiles hoping for a clue. Two more "Friendings." One was a person I've been avoiding all my career, so why would I want to "Friend" him? Not understanding this concept but I'm sure it will clear up as I work out the kinks. I did a search for my High School to no avail. Apparently, in Levittown, New York, Memorial High School, no longer exists. I found Division, Island Trees and MacArthur but no Memorial. We were the oldest of the four Levittown High Schools and it would make sense that the building was either torn down or made into something else but someone else from my high school has to be listed somewhere on this FACE BOOK? No? I've now been friended by five more strangers and two more people that if I wanted to stay in touch with, I would....via telephone. My account is less than two hours old. I now tried to cross reference people that went to my High School and a community college in the neighborhood which was listed. Couldn't find a soul. My wife couldn't make heads or tails of it either. She repeatedly asked "you sure you have the school name right? I only went to the school for four years, I'm pretty sure that Levittown Memorial High School was the place I was president of the drama club, DJ on the radio station, and lettered in three sports at! I started to put names into the "Friend me" list. After all, why not, I was now asked to be friends with seventeen people I couldn't remember, perhaps I can find one classmate who could tell me if we're planning a reunion anytime soon.
I then tried to link my FACE BOOK account to my BLOG. I clicked on the button that said, "click here to link." I did and nothing. I did it again and nothing. I did it a third time and gave up. I then went to my blog site to post my Face Book account and found three places for a logo to be transferred. Completely screwed the cover page of my blog account. It appears "Baby Boomers" of the 50s aren't as likely to be on FACE BOOK as they are to be on CLASSMATES. I remember having no problems finding almost my entire LMHS graduating class a couple of years ago when the site first came out. However, since high school, I've lost touch with all but one of my classmates and he was my best friend when I lived in New York. I didn't need FACE BOOK or CLASSMATES to keep in touch with him. I still talk to Johnny four times a year and I don't even have to "Friend" him. You see, we were already friends.
I cancelled my FACE BOOK account a little more than three hours after I signed up. People of this generation have way too much time on their hands to maintain such a detailed account. And who has time for that many friends? Now that I think of it, if someone from Levittown Memorial High School in New York wants me to attend a class of '70 Reunion, GOOGLE me!!!
......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!
Sunday, September 13, 2009
Post Festival Rant
On Monday, September 7th, we wrapped our 4th annual Central Florida Film Festival. My thanks to Ocoee Mayor Scott, the Chamber of Commerce and Donna Wagner and her television and film student volunteers from Ocoee, High School for their support.
Now that the numbers have been tallied we showed an increase in ticket sales (up 200+) but the overall cost of the festival has us losing almost five thousand dollars. How is this possible? Last year in Kissimmee, Florida, the local hotel (the Clarion) saw value in having a film festival in their community. They give us five complimentary rooms for our VIPs and workers and a 20% discount at the restaurant for festival ticket holders. In return we made sure everyone attending knew about the discounts and the Clarion because the "Official" hotel of the festival. The advertising alone for a hotel is worth thousands of dollars. The Labor Day weekend in Florida is a slow weekend and many rooms are vacant. The exchange is advertising for rooms and last year twenty-two filmmakers stayed at the Clarion. We ate in their restaurant and drank in their lounge and everyone was happy. There were no guarantees but everyone left happy.
The move to Ocoee, Florida was based primarily for business purposes. There is a grant in Orange County where matching advertising dollars are given based on the amount of people you bring to Florida and stay in local hotels. It takes a year to qualify. In the world of "we're going to get your business anyway, approach," the three hotels closest to our festival venue are owned by the same people. The Red Roof Inn, The Best Western (turnpike) and the Courtyard Marriott are all within walking distance of the West Orange 5 Theater. The representatives of these hotels do not understand the value of advertising. They said they would adjust our bill accordingly based on the amount of people staying during our four day event. However, their count was about as accurate as their pricing. I signed a contract for what I thought would be their cheapest rate only to find festival attendees complaining they were able to get it cheaper either using, Internet Discounts, AAA, AARP or any way other than saying they were with the festival. I believe we were only getting credit if the filmmaker paid the higher Festival Rate. I don't believe this is fair. I saw few if any non festival tourists staying at these hotels. We supplied the bulk of their business and were still hit with not only the three rooms I purchased to get a cheaper rate myself than the negotiated price but at least two other rooms. Granted I believe I did receive two complimentary rooms but that remains to be seen when the Discover Card invoice arrives. According to Discover Card (online) I may have been billed twice for one room at the Best Western. We spent close to $1200-$1500 in room rentals for our volunteers and guests. Compared to zero last year.
On a positive note, Michael Palmierri (Catering Manager) handled his share of the workload in a professional and caring manner. In addition to all the room rentals, we also held two parties and a breakfast at a cost of close to four thousand dollars. The cost was much higher but Michael dropped a few charges when I went into convulsions reading the bill. I'm not in the hotel or catering business and that's exactly what I told everyone at the hotels when I approached them to sponsor our film festival. In exchange for advertising and promoting the hotel to our filmmakers we wanted four or five rooms. THAT'S IT!!!!! They came back with a sliding scale for rooms which I agreed to but the scale never slid. They know I'm PO'd but the negotiator went on vacation and hasn't been heard from.
What's in advertising? Placing their logo on our website means revenue to the hotel. Not the festival but the hotel. We are placing our nod for filmmakers from all over the world to stay at their hotel. We also placed their logo on all paid advertising including posters, postcards, and press releases. Again, worth thousands of dollars in good faith. Did I forget to mention we are a charitable, non-profit, organization? We gave Ocoee High School a complete stock footage and sound effects library for their television and film program for cryin' out loud! What did the hotels provide the community?
I know Mayor Scott understands the economic impact of our festival to Ocoee, and I know the businesses surrounding our festival understand as well. Something has to be worked out or we will have to place the hotel logo of a competitor on our website for next year. Yes, I know they own the Holiday Inn Express down the block too. Monopolies never bothered me before. There has to be another hotel in Winter Garden, Windermere or Clermont, who can find value in what we offer. After all the filmmakers are all from out of town or even out of country, they'll stay where I ask them to stay. It remains to be seen where they'll be staying next year.
.......and cut!
Now that the numbers have been tallied we showed an increase in ticket sales (up 200+) but the overall cost of the festival has us losing almost five thousand dollars. How is this possible? Last year in Kissimmee, Florida, the local hotel (the Clarion) saw value in having a film festival in their community. They give us five complimentary rooms for our VIPs and workers and a 20% discount at the restaurant for festival ticket holders. In return we made sure everyone attending knew about the discounts and the Clarion because the "Official" hotel of the festival. The advertising alone for a hotel is worth thousands of dollars. The Labor Day weekend in Florida is a slow weekend and many rooms are vacant. The exchange is advertising for rooms and last year twenty-two filmmakers stayed at the Clarion. We ate in their restaurant and drank in their lounge and everyone was happy. There were no guarantees but everyone left happy.
The move to Ocoee, Florida was based primarily for business purposes. There is a grant in Orange County where matching advertising dollars are given based on the amount of people you bring to Florida and stay in local hotels. It takes a year to qualify. In the world of "we're going to get your business anyway, approach," the three hotels closest to our festival venue are owned by the same people. The Red Roof Inn, The Best Western (turnpike) and the Courtyard Marriott are all within walking distance of the West Orange 5 Theater. The representatives of these hotels do not understand the value of advertising. They said they would adjust our bill accordingly based on the amount of people staying during our four day event. However, their count was about as accurate as their pricing. I signed a contract for what I thought would be their cheapest rate only to find festival attendees complaining they were able to get it cheaper either using, Internet Discounts, AAA, AARP or any way other than saying they were with the festival. I believe we were only getting credit if the filmmaker paid the higher Festival Rate. I don't believe this is fair. I saw few if any non festival tourists staying at these hotels. We supplied the bulk of their business and were still hit with not only the three rooms I purchased to get a cheaper rate myself than the negotiated price but at least two other rooms. Granted I believe I did receive two complimentary rooms but that remains to be seen when the Discover Card invoice arrives. According to Discover Card (online) I may have been billed twice for one room at the Best Western. We spent close to $1200-$1500 in room rentals for our volunteers and guests. Compared to zero last year.
On a positive note, Michael Palmierri (Catering Manager) handled his share of the workload in a professional and caring manner. In addition to all the room rentals, we also held two parties and a breakfast at a cost of close to four thousand dollars. The cost was much higher but Michael dropped a few charges when I went into convulsions reading the bill. I'm not in the hotel or catering business and that's exactly what I told everyone at the hotels when I approached them to sponsor our film festival. In exchange for advertising and promoting the hotel to our filmmakers we wanted four or five rooms. THAT'S IT!!!!! They came back with a sliding scale for rooms which I agreed to but the scale never slid. They know I'm PO'd but the negotiator went on vacation and hasn't been heard from.
What's in advertising? Placing their logo on our website means revenue to the hotel. Not the festival but the hotel. We are placing our nod for filmmakers from all over the world to stay at their hotel. We also placed their logo on all paid advertising including posters, postcards, and press releases. Again, worth thousands of dollars in good faith. Did I forget to mention we are a charitable, non-profit, organization? We gave Ocoee High School a complete stock footage and sound effects library for their television and film program for cryin' out loud! What did the hotels provide the community?
I know Mayor Scott understands the economic impact of our festival to Ocoee, and I know the businesses surrounding our festival understand as well. Something has to be worked out or we will have to place the hotel logo of a competitor on our website for next year. Yes, I know they own the Holiday Inn Express down the block too. Monopolies never bothered me before. There has to be another hotel in Winter Garden, Windermere or Clermont, who can find value in what we offer. After all the filmmakers are all from out of town or even out of country, they'll stay where I ask them to stay. It remains to be seen where they'll be staying next year.
.......and cut!
Monday, September 7, 2009
And the winner is!!!
The 4th Annual Central Florida Film Festival has come to a close at the West Orange 5 Theaters in Ocoee. The evening audience was buzzing Sunday as Jason Kushner's AMERICAN COLONIES: THE COLLAPSE OF THE BEE won Best Documentary. The award was presented by veteran filmmaker Gary Toll, who won the category in 2008 with a tribute to his talented sister, Judy, entitled, JUDY TOLL: THE FUNNIEST WOMAN YOU'VE NEVER HEARD OF.
The other 2009 winners were;
BEST GAY THEMED project - "Choosing Absalon"
BEST MINI FEATURE - "The Mandala Maker"
BEST SHORT FEATURE - "Ana's Playground"
BEST FEATURE FILM - "Deadland"
BEST FLORIDA PROJECT - "Scare Zone"
"Deadland" also took home a plaque for "The Media Choice Award."
The other 2009 winners were;
BEST GAY THEMED project - "Choosing Absalon"
BEST MINI FEATURE - "The Mandala Maker"
BEST SHORT FEATURE - "Ana's Playground"
BEST FEATURE FILM - "Deadland"
BEST FLORIDA PROJECT - "Scare Zone"
"Deadland" also took home a plaque for "The Media Choice Award."
Wednesday, September 2, 2009
Final Festival Notes -
Advance Tickets for the Central Florida Film Festival will end at Midnight (September 2-3). Starting September 3rd, tickets can be purchased at the West orange 5 movie theater(http://www.westorange5.com/).
$20.00 (Daily pass) -
Watch films from 9:45 am until 11:30 pm. You may come and go as you please. We will have two screens available (Theater #1 & #2). If there's something you don't like in theater #1, hop over to theater #2. You can either eat at the movie theater or visit Toojays, Perkins or Tamboras and receive a festival discount.
$50.00 (Three Day pass/Movies Only) -
Come and go as you please and watch movies all weekend long.
Screenings begin Friday morning at 10:00 am.
For those of you that can not afford $20. We have a "$7.00 special" starting on Sunday night.
7:00 pm. PRINCE OF BROADWAY (Drama/Rated R 105m)
9:00 pm PRETTY UGLY PEOPLE (Comedy/Rated PG-13 90m)
10:15 pm SCARE ZONE (Horror/Rated R 90m)
Tickets can only be purchase at the West Orange 5 (http://www.westorange5.com/). either online or at the door.
Don't forget the SCREEN WRITER'S BREAKFAST, or the ACTING IN FILM SEMINAR. If you're really serious about your craft these are a must attend. There's still much to do. I'll talk to everyone after the festival until then I'll see you at the movies....
....and cut!
$20.00 (Daily pass) -
Watch films from 9:45 am until 11:30 pm. You may come and go as you please. We will have two screens available (Theater #1 & #2). If there's something you don't like in theater #1, hop over to theater #2. You can either eat at the movie theater or visit Toojays, Perkins or Tamboras and receive a festival discount.
$50.00 (Three Day pass/Movies Only) -
Come and go as you please and watch movies all weekend long.
Screenings begin Friday morning at 10:00 am.
For those of you that can not afford $20. We have a "$7.00 special" starting on Sunday night.
7:00 pm. PRINCE OF BROADWAY (Drama/Rated R 105m)
9:00 pm PRETTY UGLY PEOPLE (Comedy/Rated PG-13 90m)
10:15 pm SCARE ZONE (Horror/Rated R 90m)
Tickets can only be purchase at the West Orange 5 (http://www.westorange5.com/). either online or at the door.
Don't forget the SCREEN WRITER'S BREAKFAST, or the ACTING IN FILM SEMINAR. If you're really serious about your craft these are a must attend. There's still much to do. I'll talk to everyone after the festival until then I'll see you at the movies....
....and cut!
Friday, August 28, 2009
Time does fly!
The 4th Annual Central Florida Film Festival is almost here (September 4-6, 2009) with 64 "Official Selections," seminars, special guests, and parties galore. For as little as $20.00 a person can arrive at the theater at 10:00 am and enjoy films (in two screens) until 11:30 pm.
You can also leave the theater to grab a bite to eat. Use your ticket stub to receive discounts at several local restaurants and return to the theater or you can order food at the theater and eat while watching. The West Orange 5 Theater (in Ocoee) is the festival venue for films. Some festivals charge as much as $13.00 for one film. For seven dollars more you can stay all day and watch a dozen (or more). There are 15 features, 11 documentaries and over 40 shorts representing filmmakers from eleven countries and fifteen states.
Don't get locked out! Purchase tickets in advance! http://www.centralfloridafilmfestival.com/
....and cut!
You can also leave the theater to grab a bite to eat. Use your ticket stub to receive discounts at several local restaurants and return to the theater or you can order food at the theater and eat while watching. The West Orange 5 Theater (in Ocoee) is the festival venue for films. Some festivals charge as much as $13.00 for one film. For seven dollars more you can stay all day and watch a dozen (or more). There are 15 features, 11 documentaries and over 40 shorts representing filmmakers from eleven countries and fifteen states.
Don't get locked out! Purchase tickets in advance! http://www.centralfloridafilmfestival.com/
....and cut!
Monday, July 27, 2009
Just find the money!!!!
I'm pretty much over the whining about everyone being broke, budgets being cut, programs being slashed and how corporate America is taking a hit.
Our film festival (http://www.centralfloridafilmfestival.com/), if anything, is feeling the "trickle down effect." We wouldn't have any problems if everyone else didn't overextend and cry about it. Seriously, if I had to look at the value of my house or stock portfolio every day I'm sure I'd have a heart attack. But I don't have to look every day. I hopefully can ride out the storm and keep the festival and my other production business moving in an upward motion instead of the fashionable downward spiral.
I've been told by the Coca Cola Company that money is too tight to provide our festival with what amounts to $178.00 worth of soda. That's retail!!!! I can take a coupon out of the newspaper and go to the store and buy it off the counter for $178.00. And we're not just taking the soda and running away to drink it. We were promoting Coke as 'the official soft drink of the Central Florida Film Festival' and gave them ads in the program, sponsor loop promos, banners, announcements....a two thousand dollar advertising package! Needless to say, Pepsi had no problem becoming our new sponsor and you can bet I will make sure they receive as much exposure as humanly possible.
The same thing happened with Final Draft. They had been sponsoring our screenwriting seminar for the past three years. Product, that's all they gave us and all we ever asked for. We, in turn, passed it on to our winning short and feature film makers and the third copy we gave to a needy writer via a drawing. Photos, announcements, ads, all promoting Final Draft is what they received in return. They now have their own publication and apparently (they say 'no') if you don't advertise in their publication they won't support your festival. Movie Magic - "here we come!"
Even the Orlando and Florida film commissions are hurting. I guess they've cut programs down to just salaries with limited incentives or assistance to film festivals. Our festival has been cut out and our primary function is to promote film making in the state. One would think the Governor would want to help the rebel sect that's trying to create jobs by bringing film production to the area. I'm in the process of working out an agreement that will hopefully bring an Australian Production company to Florida. I hope to make an announcement at my festival and my fingers are crossed.....
.....As I'm writing this I was just asked if we could add three additional speakers for our festival's pool party on opening night at a cost of $380.00. "Do we need it?" I asked. "It would definitely help," was the reply. "Then go ahead and order them," I said..."I'll find the money." Now there's an expression that's died out over the years. "I'll find the money," sounds refreshing, doesn't it?. Imagine going to your producer with a problem and him saying "Don't worry about it, I'll find the money." Those were the days. I'll find the money.....perhaps someone could use it as a campaign slogan. Harry Truman's "The buck stops here" and "a chicken in every pot," went a long way in my parents day.
Support a local business in your community. They are still the backbone of your community. Sure it's the large corporately owned store that anchors the mall but it's the independent businesses that pay the bills to keep that mall afloat. It's the same practice in film producing. Find the independent workers and make a better deal. The overhead is less and they'd rather rent equipment for what you have in your budget than have it sitting on the shelf this weekend. I've fed my entire crew for five dollars a head at a privately owned restaurant but bring in a studio Honey Wagon and caterer and the price is more than double. When you're an Independent Filmmaker think Independent business deals. Printers, restaurants, equipment, even port-a-potties, find the money and make the deal!
....and cut!
Our film festival (http://www.centralfloridafilmfestival.com/), if anything, is feeling the "trickle down effect." We wouldn't have any problems if everyone else didn't overextend and cry about it. Seriously, if I had to look at the value of my house or stock portfolio every day I'm sure I'd have a heart attack. But I don't have to look every day. I hopefully can ride out the storm and keep the festival and my other production business moving in an upward motion instead of the fashionable downward spiral.
I've been told by the Coca Cola Company that money is too tight to provide our festival with what amounts to $178.00 worth of soda. That's retail!!!! I can take a coupon out of the newspaper and go to the store and buy it off the counter for $178.00. And we're not just taking the soda and running away to drink it. We were promoting Coke as 'the official soft drink of the Central Florida Film Festival' and gave them ads in the program, sponsor loop promos, banners, announcements....a two thousand dollar advertising package! Needless to say, Pepsi had no problem becoming our new sponsor and you can bet I will make sure they receive as much exposure as humanly possible.
The same thing happened with Final Draft. They had been sponsoring our screenwriting seminar for the past three years. Product, that's all they gave us and all we ever asked for. We, in turn, passed it on to our winning short and feature film makers and the third copy we gave to a needy writer via a drawing. Photos, announcements, ads, all promoting Final Draft is what they received in return. They now have their own publication and apparently (they say 'no') if you don't advertise in their publication they won't support your festival. Movie Magic - "here we come!"
Even the Orlando and Florida film commissions are hurting. I guess they've cut programs down to just salaries with limited incentives or assistance to film festivals. Our festival has been cut out and our primary function is to promote film making in the state. One would think the Governor would want to help the rebel sect that's trying to create jobs by bringing film production to the area. I'm in the process of working out an agreement that will hopefully bring an Australian Production company to Florida. I hope to make an announcement at my festival and my fingers are crossed.....
.....As I'm writing this I was just asked if we could add three additional speakers for our festival's pool party on opening night at a cost of $380.00. "Do we need it?" I asked. "It would definitely help," was the reply. "Then go ahead and order them," I said..."I'll find the money." Now there's an expression that's died out over the years. "I'll find the money," sounds refreshing, doesn't it?. Imagine going to your producer with a problem and him saying "Don't worry about it, I'll find the money." Those were the days. I'll find the money.....perhaps someone could use it as a campaign slogan. Harry Truman's "The buck stops here" and "a chicken in every pot," went a long way in my parents day.
Support a local business in your community. They are still the backbone of your community. Sure it's the large corporately owned store that anchors the mall but it's the independent businesses that pay the bills to keep that mall afloat. It's the same practice in film producing. Find the independent workers and make a better deal. The overhead is less and they'd rather rent equipment for what you have in your budget than have it sitting on the shelf this weekend. I've fed my entire crew for five dollars a head at a privately owned restaurant but bring in a studio Honey Wagon and caterer and the price is more than double. When you're an Independent Filmmaker think Independent business deals. Printers, restaurants, equipment, even port-a-potties, find the money and make the deal!
....and cut!
Wednesday, July 8, 2009
The Selection Process Begins
Even though the judging process is still in progress, the Central Florida Film Festival (September 4-6, 2009) has begun sending out "Official Selection" notices to films that fared well in the first round of judging. Seventy films are anticipated to be competing for two thousand dollars in prize money over the Labor Day weekend.
In our short category, "Words Unspoken," has become a high profile "Official Selection" from California Writer, Director, and actress, Renee O'Connor. For those who remember, Renee portrayed Gabrielle on the hit series "Xena: Warrior Princess. On "Xena" she was able to direct a few episodes and "Words Unspoken" is her first attempt at producing, directing and writing a short and has ambitions of moving into features. According to the preliminary scores, "Words Unspoken" should contend for the top prize in the featured short category.
CENFLO received more than eighty shorts and the top third are excellent and any of them have a chance to win at our Award's Show on Sunday, September 6th (8:45 pm). "Words Unspoken" as well all our contending shorts will screen twice during the festival. For more information or to purchase tickets go to our website at http://www.centralfloridafilmfestival.com/.
....and cut!
In our short category, "Words Unspoken," has become a high profile "Official Selection" from California Writer, Director, and actress, Renee O'Connor. For those who remember, Renee portrayed Gabrielle on the hit series "Xena: Warrior Princess. On "Xena" she was able to direct a few episodes and "Words Unspoken" is her first attempt at producing, directing and writing a short and has ambitions of moving into features. According to the preliminary scores, "Words Unspoken" should contend for the top prize in the featured short category.
CENFLO received more than eighty shorts and the top third are excellent and any of them have a chance to win at our Award's Show on Sunday, September 6th (8:45 pm). "Words Unspoken" as well all our contending shorts will screen twice during the festival. For more information or to purchase tickets go to our website at http://www.centralfloridafilmfestival.com/.
....and cut!
Wednesday, July 1, 2009
"To err' is human but the director's problem!"
We've received a record number of submissions for this year's Central Florida Film Festival (http://www.centralfloridafilmfestival.com/) and with that will come a record number of "Official Selections," for our Labor Day weekend event (September 4-6, 2009).
It's getting to be a common explanation that independent filmmakers would have made a better film "if they had more money." I've been working in film since 1984 and never met a film maker that had enough money...no matter how much they had!!! Successful filmmakers go about their business with the money they have and create according to their vision. Of course the good ones are able to adjust their vision according to budget restraints.
An audience doesn't care whether you spent two hundred dollars or two hundred million to make your piece. Once you roll the camera you are obligated to entertain, enlighten or inform the people that fill the seats. It's tough to raise money for a film project. You can blame the economy if you want, but it's always been tough to raise money. A film investment is "high risk." Yeah, yeah, yeah, I'm aware it's high return too, but the SEC doesn't force us to put a disclaimer into a film business plan saying an investor will make too much money (see: Blue Sky Law). They only ask us to make sure we remind the investor "there's a good chance YOU WILL LOSE YOUR ENTIRE INVESTMENT!!!"
When I bought my house and started investing in a stock portfolio I looked for disclaimers and warnings such as "This stock may lose value or the owners of this company may take the money and run" or the value of this house may crash and be worth less than you purchased it for, "to no avail". Why is that? Does someone out there have an explanation? At least when investing in film you can watch your investment daily. You've already seen the business plan where the producer, director, cast, crew, and even distribution projections have been exhibited and verified. In some cases, a filmmaker has a track record with films that have already made money or won awards. It doesn't mean this film will make money or win awards but it does mean the filmmaker at least knows how to do it and that's an important factor.
As an Independent filmmaker you've got to decide how much is enough money. I've seen many and I mean loads of "low budget" films. I've even made a dozen or so myself and understand the process. I also understand the bottom line is making money or winning awards. Of course you can pay the bills better if the films you make are earning a profit. The choices we make as directors are the most important in the production process. When a director says "action!" there's already been a number of decisions that have decided the fate of the film. How much have we raised? Who can we afford? And most important, how can we overcome our budget restraints and create a production value to cost ratio that will impress even the most conservative of distributors? Can't afford a dolly? It wouldn't be the first time someone used a wheelchair or shopping cart to move the camera. However, I've seen filmmakers place the camera on a tripod shoot a master two shot with over the shoulder close up coverage that would put an insomniac to sleep and then bitch they didn't have enough money for a dolly. Be creative. Can't afford a crane? Climb a damn tree!
In this day and age where films are being edited on a laptop during a plane ride the competition is too great to become lazy. Even the Screen Actors Guild has created contracts to stop indies from casting their film's with girlfriends, neighbors, and grandma. Remember, in the end someone is going to watch your film. Keep it creative and let those you surround yourself with as a director have some artistic say as well. If you're the producer, director, writer, editor, grip, gaffer, bestboy, and PA, you're probably going to make a film that only you like. You can't do it all even if the software says you can. As a director we are only as good as those we surround ourselves with and they are looking to our leadership and vision to move to the next level as well. When a film is good "The team did a great job." When a film is bad they are all quick to point to the guy in the director's chair. To understand this will make you a better film maker. Now go out, find some money, and do the best you can!
......and cut!
It's getting to be a common explanation that independent filmmakers would have made a better film "if they had more money." I've been working in film since 1984 and never met a film maker that had enough money...no matter how much they had!!! Successful filmmakers go about their business with the money they have and create according to their vision. Of course the good ones are able to adjust their vision according to budget restraints.
An audience doesn't care whether you spent two hundred dollars or two hundred million to make your piece. Once you roll the camera you are obligated to entertain, enlighten or inform the people that fill the seats. It's tough to raise money for a film project. You can blame the economy if you want, but it's always been tough to raise money. A film investment is "high risk." Yeah, yeah, yeah, I'm aware it's high return too, but the SEC doesn't force us to put a disclaimer into a film business plan saying an investor will make too much money (see: Blue Sky Law). They only ask us to make sure we remind the investor "there's a good chance YOU WILL LOSE YOUR ENTIRE INVESTMENT!!!"
When I bought my house and started investing in a stock portfolio I looked for disclaimers and warnings such as "This stock may lose value or the owners of this company may take the money and run" or the value of this house may crash and be worth less than you purchased it for, "to no avail". Why is that? Does someone out there have an explanation? At least when investing in film you can watch your investment daily. You've already seen the business plan where the producer, director, cast, crew, and even distribution projections have been exhibited and verified. In some cases, a filmmaker has a track record with films that have already made money or won awards. It doesn't mean this film will make money or win awards but it does mean the filmmaker at least knows how to do it and that's an important factor.
As an Independent filmmaker you've got to decide how much is enough money. I've seen many and I mean loads of "low budget" films. I've even made a dozen or so myself and understand the process. I also understand the bottom line is making money or winning awards. Of course you can pay the bills better if the films you make are earning a profit. The choices we make as directors are the most important in the production process. When a director says "action!" there's already been a number of decisions that have decided the fate of the film. How much have we raised? Who can we afford? And most important, how can we overcome our budget restraints and create a production value to cost ratio that will impress even the most conservative of distributors? Can't afford a dolly? It wouldn't be the first time someone used a wheelchair or shopping cart to move the camera. However, I've seen filmmakers place the camera on a tripod shoot a master two shot with over the shoulder close up coverage that would put an insomniac to sleep and then bitch they didn't have enough money for a dolly. Be creative. Can't afford a crane? Climb a damn tree!
In this day and age where films are being edited on a laptop during a plane ride the competition is too great to become lazy. Even the Screen Actors Guild has created contracts to stop indies from casting their film's with girlfriends, neighbors, and grandma. Remember, in the end someone is going to watch your film. Keep it creative and let those you surround yourself with as a director have some artistic say as well. If you're the producer, director, writer, editor, grip, gaffer, bestboy, and PA, you're probably going to make a film that only you like. You can't do it all even if the software says you can. As a director we are only as good as those we surround ourselves with and they are looking to our leadership and vision to move to the next level as well. When a film is good "The team did a great job." When a film is bad they are all quick to point to the guy in the director's chair. To understand this will make you a better film maker. Now go out, find some money, and do the best you can!
......and cut!
Thursday, May 21, 2009
A Film by any other title would still be bad cinema!
The time has come to begin reading my judges ratings & comments for "Official Selection" at the Central Florida Film Festival (September 4-6, 2009). We are one of the few (maybe the only) film festival that will send the filmmaker a critique if the entry isn't selected into our program. We're not trying to be mean. We just thought the filmmaker should be told what our panel of judges liked and disliked about his film. Our thought is to make them better not pissed off. It also lets the filmmaker know that his entry was screened and watched. As a filmmaker myself I've always wondered about that.
At first we contact the highest rated films in several categories (Feature, short, mini-feature, gay & lesbian, and documentary) and congratulate them on becoming an "Official Selection" of CENFLO (www.CentralFloridaFilmFestival.com). We then take the lowest rated films and write them a "Sorry but..." letter with a critique on what was liked (if anything) and what was disliked by a panel of five industry professionals. I have a composer, director, editor, producer, and screen writer on the panel. This allows my panel to take a close look at their expertise and at the same time dabble in other areas of the film they may have thought needed work.
I thought this idea to be unique and helpful. I've made more than a dozen films and by the time I receive my critique it's a magazine critic who usually compares my product to films with much higher budgets. I don't mind, that's the path I chose and as long as my distributor liked the film who cares what the media thinks? Critics don't pay my mortgage! I believe we make films for three reasons, to make money, win awards, or fill an ego. Can anyone out there think of another reason?
The filmmakers who get into the festival contact me and praise the decision of the judges, saying "what a wonderful thrill it is to be selected." What else are they going to say? "Thanks but no thanks?" However, in many cases the filmmaker who doesn't get into the festival takes on a Jekyll & Hyde persona. They'll kiss your ass to get screened and in some cases plead a case why they should be included. These pleads are never about the quality or content of the film but that "Friends and family live in the area," or "we used to live somewhere in Florida and want to vacation there again." They pay their fee and their screeners are sent out to the selection committee. When the results come back and their critique is sent, they pounce like wounded animals. Claims of fraud, and insults come a flying. I find thirty percent of our critiques are received in the manner they are sent. We've gotten some excellent response and even some filmmakers have entered the following year with a genuine improvement. Most (about fifty percent) don't respond one way or the other but the other twenty percent become vicious.
Here's a copy of a form letter sent to our filmmakers that do not make the cut. Understand there is also a section in the letter where comments are made directly about the film we are critiquing. We try not to generalize;
COPY
I am sorry to inform you that your (Category) entry (TITLE) did not make the preliminary cut to qualify into the Central Florida Film Festival. A Jury of five industry professionals voted to not advance your project.
(According to comments and ratings) The judges were in agreement your production had a decent idea but the execution was well below average. Sometimes we lose sight of what we are trying to accomplish as filmmakers. What story do we want to tell and how can our cast help tell the story? A weak cast from bottom to top and a weak script were two of the main complaints from our panel. When making a feature you need to grab the audience in the first ten pages of your script. Sometimes preproduction is more important than production itself. What kind of money do I have to make this film and where can I skimp without hurting my production value? This is a question young filmmakers need to ask themselves when making a film either for the commercial market or the festival circuit. Cost to production value ratio is very important. Your weak script could have been helped by a better and more experienced cast. Plan your shot selection better. Be creative and don't just go through the motions to get the film completed.
(again form)
Don't take this critique personal. Film is art and art is subjective. Everyone is entitled to their opinion and as filmmakers we need to grow a thick skin. I edit and write what the judges have passed down to me and where possible hope it will help you become a better filmmaker. I am sorry the news couldn't have been better.
(In some cases - I write)
I've viewed your film as well and I have a distributor that may be interested. (Big Star TV) Contact Erik (Erik@Bigstartv.com) and tell him Bob Cook from the Central Florida Film Festival told you to contact him. He may be able to help and give you better advice. I wish you well and hope to see you at the festival where you can pick our brains and find out more about film making.
Regards,
Bob Cook
Executive Director
I don't see where I am attacking anyone. I give examples from their film and cite why it didn't make the cut. I wish every festival did this! Sorry, no I don't, because we are unique and want to make filmmakers better. I had one filmmaker who's feature didn't make the cut, and actually attacked my own films. "I know why you rejected our feature, I've seen the quality of your films and it explains a lot." Not that I need to defend myself but if you saw my films it means you paid to watch them. I make movies to make money! Twice I made a movie to win awards (1990 "Goin' to Chicago" and 2000 - "MovieVoyeur.com") and lost money in the process both times. But I've got those plaques on my wall. I often think to myself, do I like fun things or plaques? You know I like things better. I've made films for as little as twenty thousand dollars and for as much as a million dollars. The production budget doesn't mean a thing. It's how you spend your money putting it on the screen. Cost to production value is very important.
It's also whether or not the viewing audience is entertained. I've seen excellent festival pieces that I wouldn't pay ten dollars to see in a movie theater. However, they're terrific films and that's why festivals screen them and distributors don't. It comes down to dollars and cents or in the case of some filmmakers Dollars & Sense!
Just as I'm ready to consider taking out the critique portion of our program I receive two wonderful emails from filmmakers in Chicago and New Jersey (of all places) thanking me for taking the time to critique their films. They were able to take a step back and look at what we were trying to do and took it in the manner it was intended. I believe they will become better filmmakers. Because even when a media critic trashes my film, I take a step back and try to understand what he was trying to say. Filmmakers make many choices. The cast, crew and even the film itself lives or dies by those choices. That's why the director gets the biggest credit. Many of those choices are forced by restraints placed upon us by either the elements, locations, or production budget. How we overcome these restraints are what makes us better filmmakers.
I will continue to critique films that don't get into our festival. I believe even if we help only one or two filmmakers each year become better, then we're doing a good thing for our industry.
....And cut!
At first we contact the highest rated films in several categories (Feature, short, mini-feature, gay & lesbian, and documentary) and congratulate them on becoming an "Official Selection" of CENFLO (www.CentralFloridaFilmFestival.com). We then take the lowest rated films and write them a "Sorry but..." letter with a critique on what was liked (if anything) and what was disliked by a panel of five industry professionals. I have a composer, director, editor, producer, and screen writer on the panel. This allows my panel to take a close look at their expertise and at the same time dabble in other areas of the film they may have thought needed work.
I thought this idea to be unique and helpful. I've made more than a dozen films and by the time I receive my critique it's a magazine critic who usually compares my product to films with much higher budgets. I don't mind, that's the path I chose and as long as my distributor liked the film who cares what the media thinks? Critics don't pay my mortgage! I believe we make films for three reasons, to make money, win awards, or fill an ego. Can anyone out there think of another reason?
The filmmakers who get into the festival contact me and praise the decision of the judges, saying "what a wonderful thrill it is to be selected." What else are they going to say? "Thanks but no thanks?" However, in many cases the filmmaker who doesn't get into the festival takes on a Jekyll & Hyde persona. They'll kiss your ass to get screened and in some cases plead a case why they should be included. These pleads are never about the quality or content of the film but that "Friends and family live in the area," or "we used to live somewhere in Florida and want to vacation there again." They pay their fee and their screeners are sent out to the selection committee. When the results come back and their critique is sent, they pounce like wounded animals. Claims of fraud, and insults come a flying. I find thirty percent of our critiques are received in the manner they are sent. We've gotten some excellent response and even some filmmakers have entered the following year with a genuine improvement. Most (about fifty percent) don't respond one way or the other but the other twenty percent become vicious.
Here's a copy of a form letter sent to our filmmakers that do not make the cut. Understand there is also a section in the letter where comments are made directly about the film we are critiquing. We try not to generalize;
COPY
I am sorry to inform you that your (Category) entry (TITLE) did not make the preliminary cut to qualify into the Central Florida Film Festival. A Jury of five industry professionals voted to not advance your project.
(According to comments and ratings) The judges were in agreement your production had a decent idea but the execution was well below average. Sometimes we lose sight of what we are trying to accomplish as filmmakers. What story do we want to tell and how can our cast help tell the story? A weak cast from bottom to top and a weak script were two of the main complaints from our panel. When making a feature you need to grab the audience in the first ten pages of your script. Sometimes preproduction is more important than production itself. What kind of money do I have to make this film and where can I skimp without hurting my production value? This is a question young filmmakers need to ask themselves when making a film either for the commercial market or the festival circuit. Cost to production value ratio is very important. Your weak script could have been helped by a better and more experienced cast. Plan your shot selection better. Be creative and don't just go through the motions to get the film completed.
(again form)
Don't take this critique personal. Film is art and art is subjective. Everyone is entitled to their opinion and as filmmakers we need to grow a thick skin. I edit and write what the judges have passed down to me and where possible hope it will help you become a better filmmaker. I am sorry the news couldn't have been better.
(In some cases - I write)
I've viewed your film as well and I have a distributor that may be interested. (Big Star TV) Contact Erik (Erik@Bigstartv.com) and tell him Bob Cook from the Central Florida Film Festival told you to contact him. He may be able to help and give you better advice. I wish you well and hope to see you at the festival where you can pick our brains and find out more about film making.
Regards,
Bob Cook
Executive Director
I don't see where I am attacking anyone. I give examples from their film and cite why it didn't make the cut. I wish every festival did this! Sorry, no I don't, because we are unique and want to make filmmakers better. I had one filmmaker who's feature didn't make the cut, and actually attacked my own films. "I know why you rejected our feature, I've seen the quality of your films and it explains a lot." Not that I need to defend myself but if you saw my films it means you paid to watch them. I make movies to make money! Twice I made a movie to win awards (1990 "Goin' to Chicago" and 2000 - "MovieVoyeur.com") and lost money in the process both times. But I've got those plaques on my wall. I often think to myself, do I like fun things or plaques? You know I like things better. I've made films for as little as twenty thousand dollars and for as much as a million dollars. The production budget doesn't mean a thing. It's how you spend your money putting it on the screen. Cost to production value is very important.
It's also whether or not the viewing audience is entertained. I've seen excellent festival pieces that I wouldn't pay ten dollars to see in a movie theater. However, they're terrific films and that's why festivals screen them and distributors don't. It comes down to dollars and cents or in the case of some filmmakers Dollars & Sense!
Just as I'm ready to consider taking out the critique portion of our program I receive two wonderful emails from filmmakers in Chicago and New Jersey (of all places) thanking me for taking the time to critique their films. They were able to take a step back and look at what we were trying to do and took it in the manner it was intended. I believe they will become better filmmakers. Because even when a media critic trashes my film, I take a step back and try to understand what he was trying to say. Filmmakers make many choices. The cast, crew and even the film itself lives or dies by those choices. That's why the director gets the biggest credit. Many of those choices are forced by restraints placed upon us by either the elements, locations, or production budget. How we overcome these restraints are what makes us better filmmakers.
I will continue to critique films that don't get into our festival. I believe even if we help only one or two filmmakers each year become better, then we're doing a good thing for our industry.
....And cut!
Subscribe to:
Posts (Atom)