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 Florida Film makers. Show all posts
Showing posts with label Florida Film makers. Show all posts
Wednesday, January 12, 2011
Sunday, April 18, 2010
IMDB Postings!
They've just raised the pricing on my IMDB-pro. An increase of twenty-five percent (25%) and they sent a notice that it's going to start being paid out of the credit card I have on file at Amazon. That's not the reason for this blog, I actually endorse IMDB-pro if you are in the business and need to reference actors and agents. It's also a good place to post pictures of your accomplishments and/or resume. One of the new perks is they allow up to one hundred pictures posted on your IMDB site. I've got to admit, I took advantage and it makes my site more impressive.
I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.
I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.
If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.
The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.
.....and cut!
I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.
I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.
If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.
The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.
.....and cut!
Saturday, March 27, 2010
Comments - (2)
I've had a statement and a few questions asked about my most recent "You got to read this..." blog. The statement was "Why do you want to even be bothered...." which is obvious, I don't. The second asked, "during my conversation could my tone be considered or perceived as rude?" Which was a good question.
I never had a conversation with these filmmakers. The correspondence was via email. I received the critiques and scoring from my selection and judging committee and I organized it into a more tender critique. My hope was because these filmmakers were locals they would still attend the festival. I was actually rooting for them to get in until I saw the scores. I was honestly disappointed. Florida Film means local appeal and ticket sales. After the rejection letter and critique I was sent a follow up email from the producer (who I believe is either married or in a relationship with the director) trashing the rejection letter and the opinions of our committee. I responded with the "Film is art and art is subjective," but she wasn't buying in. I stopped after a couple of emails when she started to trash films that I have made and had distributed. In our final email she (Kathy) stated, "she rented one of my films and who am I to talk about good or bad?" My answer could have been perceived as rude but I thought it was defensive when I said, "The point is you had to rent it to watch it!" Until this week I hadn't heard a peep for over a year.
What I am not understanding is why? Why do they care what we think about their film? Apparently they got the film into the Ft. Lauderdale Film Festival. Lauderdale has been around twenty-five years and program for two full weeks. CENFLO is held over a weekend. That should mean Ft. Lauderdale needs four times the amount of programing. Perhaps the bar is lowered? I don't know. Usually, Ft. Lauderdale looks for Florida Premiers or World Premiers. How they program is their business and not mine. I believe I've let this wannabe get under my skin but why stop sending filmmakers critiques when most of the time we receive responses like;
Hello Bob
I wanted to thank you for your kind words of encouragement as well as the explanation as to why "LL" (title omitted) wasn't chosen. It's so vital that I know where I've gone wrong so that I don't end up repeating the same mistakes. I hope when I submit my next short the results will be different. I hope the festival is successful and that we get the chance to meet
face to face in the future. Thanks again for your time.
Regards-
NN (name omitted)
or
Bob-
Thank you so much for taking the time and sending me an email of the critiques. I've found it more helpful as a learning experience to find out what people or judges don't like rather then what they do like. I will apply the comments to the next film I am currently working on.
Thank you again for all your time in writing the email and viewing the film.
-Ian
As I've said before we've gotten a handful of "you just don't get our film," (which is fine) and several thank yous. But are THE NOVELIST film makers out of line? Have they taken this too personal? I understand when festivals get questions as to whether or not they actually watched a film. Especially when there is no explanation of rejection (I've thought it myself). But when you receive proof of "watch" that should be self explanatory. Am I taking this personal attack too personal?
....and cut!
I never had a conversation with these filmmakers. The correspondence was via email. I received the critiques and scoring from my selection and judging committee and I organized it into a more tender critique. My hope was because these filmmakers were locals they would still attend the festival. I was actually rooting for them to get in until I saw the scores. I was honestly disappointed. Florida Film means local appeal and ticket sales. After the rejection letter and critique I was sent a follow up email from the producer (who I believe is either married or in a relationship with the director) trashing the rejection letter and the opinions of our committee. I responded with the "Film is art and art is subjective," but she wasn't buying in. I stopped after a couple of emails when she started to trash films that I have made and had distributed. In our final email she (Kathy) stated, "she rented one of my films and who am I to talk about good or bad?" My answer could have been perceived as rude but I thought it was defensive when I said, "The point is you had to rent it to watch it!" Until this week I hadn't heard a peep for over a year.
What I am not understanding is why? Why do they care what we think about their film? Apparently they got the film into the Ft. Lauderdale Film Festival. Lauderdale has been around twenty-five years and program for two full weeks. CENFLO is held over a weekend. That should mean Ft. Lauderdale needs four times the amount of programing. Perhaps the bar is lowered? I don't know. Usually, Ft. Lauderdale looks for Florida Premiers or World Premiers. How they program is their business and not mine. I believe I've let this wannabe get under my skin but why stop sending filmmakers critiques when most of the time we receive responses like;
Hello Bob
I wanted to thank you for your kind words of encouragement as well as the explanation as to why "LL" (title omitted) wasn't chosen. It's so vital that I know where I've gone wrong so that I don't end up repeating the same mistakes. I hope when I submit my next short the results will be different. I hope the festival is successful and that we get the chance to meet
face to face in the future. Thanks again for your time.
Regards-
NN (name omitted)
or
Bob-
Thank you so much for taking the time and sending me an email of the critiques. I've found it more helpful as a learning experience to find out what people or judges don't like rather then what they do like. I will apply the comments to the next film I am currently working on.
Thank you again for all your time in writing the email and viewing the film.
-Ian
As I've said before we've gotten a handful of "you just don't get our film," (which is fine) and several thank yous. But are THE NOVELIST film makers out of line? Have they taken this too personal? I understand when festivals get questions as to whether or not they actually watched a film. Especially when there is no explanation of rejection (I've thought it myself). But when you receive proof of "watch" that should be self explanatory. Am I taking this personal attack too personal?
....and cut!
Friday, March 26, 2010
You've got to read this!
Hi Bob,
A while ago Kathy my co-producer submitted to you our film The Novelist. You rudely rejected and trashed it. I was just thinking of you because I'm planning to start an oversight process on how festivals receive, judge and reject films. This has nothing to do with our rejection but the fact that there are thousands of films, way better then what I see you accepting being rejected daily.
Anyway Bob, this is just a friendly hello to you because in my opinion you are the rudest person I have had to deal with in regard to festivals. You profess to be the know it all on film but in my opinion you are indeed void anything at all. When you turn down a great film and accept crap, that's called politics my friend. And in my opinion you are a master at it.
My goal is to unify Florida filmmakers NOT REJECT THEM! And possibly put our state on the map of filmmaking. But corrupt festivals need to go. If I Had my way Bob, all festivals would be required to return the funds to filmmakers who are rejected. (This is not a lottery system) Will see how many you would accept then. Don't you agree with that concept Bob?
Anyway, I can thank you for one thing. Your choice with our film back then sent me on a new, much needed mission.
Ocrtavian O.
Director
Response:
I didn't correct anything in his letter and I believe he spelt his name wrong but to point that out would be rude. He's mad because unlike most festivals we require each judge to supply me with reasons a film is rejected and I put it in critique form. This film "The Novelist" was submitted a year ago. He must have been seething for quite sometime. I remember going back and forth with Kathy (producer I think) about our critique. I constantly say, "Film is art and art is subjective." Everyone is entitled to their opinion. I provide a critique in case the filmmakers want something for their entry fee. Hopefully, the information we provide helps them become a better filmmaker.
I know thirty to forty film festivals are following our tweets and blogs. If you've got a better way please share it. I know you can't make everyone happy but please!!! This film was the fourth lowest scoring film in the five years of submissions and the second lowest last year. In 2006 I let almost every film into the festival. Back then we had only thirty submissions, you had to be really bad not to get in that year. Like camcorder bad. That year we paid for it in the press. They hated nine of the twenty four films we had. Most of those nine were Florida films with a following. Even the public complained about these films and that's when I went to Los Angeles attended a seminar about running a film festival and changed the judging format and added www.withoutabox.com to the mix.
Since 2007, films are scored 1-10 in ten categories (total score 100) to qualify for the festival. Over the past few years our bar has raised from 60 to 70 to qualify. We receive 150 film entries in three categories and take approximately 65-70 films based on screening time. This means if I have fifteen excellent features at two hours each there may be less documentaries and shorts. Our festival until this year was only three days. This year we've added a fourth day.
Refunds? Why? It cost a festival like ours $1250-$1500 to be listed on withoutabox. They (withoutabox) then takes a 28% commission on every entry. This means when a short sends in a twenty dollar ($20) entry fee, $5.60 immediately goes to withoutabox in the form of their commission. The remaining $14.40 goes against the $1500 debt. Once the debt is washed the festival receives 72% of remaining fees. Last year we received a check from withoutabox for $350. We gave out fifteen hundred ($1500) in cash prizes and spent another $400 in plaques. It's impossible to screen them all. Last year, the festival paid for seventy-two hours of screening time (two theaters times twelve hours). It's mathematically impossible to take them all. It's impossible to take half which is why we implemented a scoring system.
Politics? What politics? The only filmmakers I know are the ones that attend the festival. The filmmakers I work with are commercial filmmakers and do not take the festival route. We meet each year at AFM (American Film Market). I've read books like, SECRETS FROM A SUNDANCE PROGRAMER, and she tells me not to even contact filmmakers other than a form letter of rejection. I only agree when I come across people like the above and that's been three times in five years (oh, right, this guy twice). The criteria she (Roberta Munroe) provides in her book for submitting a film and selecting a film I agree with and practice to the letter. I believe filmmakers deserve to know why they didn't get into a festival. Granted some festivals are too big to care. They receive thousands of entries and it would be impossible to write them all. I don't believe a filmmaker has to agree but if I can't fight with critics in the commercial arena, why should festival filmmakers?
Seriously, I am open to any suggestions. I believe in what I do. I believe my experience allows me to classify myself an an authority in the film industry. I don't profess to know everything but I have experienced much in sixteen films and I'm willing to share and network. I look forward to your comments.
.....and cut!
A while ago Kathy my co-producer submitted to you our film The Novelist. You rudely rejected and trashed it. I was just thinking of you because I'm planning to start an oversight process on how festivals receive, judge and reject films. This has nothing to do with our rejection but the fact that there are thousands of films, way better then what I see you accepting being rejected daily.
Anyway Bob, this is just a friendly hello to you because in my opinion you are the rudest person I have had to deal with in regard to festivals. You profess to be the know it all on film but in my opinion you are indeed void anything at all. When you turn down a great film and accept crap, that's called politics my friend. And in my opinion you are a master at it.
My goal is to unify Florida filmmakers NOT REJECT THEM! And possibly put our state on the map of filmmaking. But corrupt festivals need to go. If I Had my way Bob, all festivals would be required to return the funds to filmmakers who are rejected. (This is not a lottery system) Will see how many you would accept then. Don't you agree with that concept Bob?
Anyway, I can thank you for one thing. Your choice with our film back then sent me on a new, much needed mission.
Ocrtavian O.
Director
Response:
I didn't correct anything in his letter and I believe he spelt his name wrong but to point that out would be rude. He's mad because unlike most festivals we require each judge to supply me with reasons a film is rejected and I put it in critique form. This film "The Novelist" was submitted a year ago. He must have been seething for quite sometime. I remember going back and forth with Kathy (producer I think) about our critique. I constantly say, "Film is art and art is subjective." Everyone is entitled to their opinion. I provide a critique in case the filmmakers want something for their entry fee. Hopefully, the information we provide helps them become a better filmmaker.
I know thirty to forty film festivals are following our tweets and blogs. If you've got a better way please share it. I know you can't make everyone happy but please!!! This film was the fourth lowest scoring film in the five years of submissions and the second lowest last year. In 2006 I let almost every film into the festival. Back then we had only thirty submissions, you had to be really bad not to get in that year. Like camcorder bad. That year we paid for it in the press. They hated nine of the twenty four films we had. Most of those nine were Florida films with a following. Even the public complained about these films and that's when I went to Los Angeles attended a seminar about running a film festival and changed the judging format and added www.withoutabox.com to the mix.
Since 2007, films are scored 1-10 in ten categories (total score 100) to qualify for the festival. Over the past few years our bar has raised from 60 to 70 to qualify. We receive 150 film entries in three categories and take approximately 65-70 films based on screening time. This means if I have fifteen excellent features at two hours each there may be less documentaries and shorts. Our festival until this year was only three days. This year we've added a fourth day.
Refunds? Why? It cost a festival like ours $1250-$1500 to be listed on withoutabox. They (withoutabox) then takes a 28% commission on every entry. This means when a short sends in a twenty dollar ($20) entry fee, $5.60 immediately goes to withoutabox in the form of their commission. The remaining $14.40 goes against the $1500 debt. Once the debt is washed the festival receives 72% of remaining fees. Last year we received a check from withoutabox for $350. We gave out fifteen hundred ($1500) in cash prizes and spent another $400 in plaques. It's impossible to screen them all. Last year, the festival paid for seventy-two hours of screening time (two theaters times twelve hours). It's mathematically impossible to take them all. It's impossible to take half which is why we implemented a scoring system.
Politics? What politics? The only filmmakers I know are the ones that attend the festival. The filmmakers I work with are commercial filmmakers and do not take the festival route. We meet each year at AFM (American Film Market). I've read books like, SECRETS FROM A SUNDANCE PROGRAMER, and she tells me not to even contact filmmakers other than a form letter of rejection. I only agree when I come across people like the above and that's been three times in five years (oh, right, this guy twice). The criteria she (Roberta Munroe) provides in her book for submitting a film and selecting a film I agree with and practice to the letter. I believe filmmakers deserve to know why they didn't get into a festival. Granted some festivals are too big to care. They receive thousands of entries and it would be impossible to write them all. I don't believe a filmmaker has to agree but if I can't fight with critics in the commercial arena, why should festival filmmakers?
Seriously, I am open to any suggestions. I believe in what I do. I believe my experience allows me to classify myself an an authority in the film industry. I don't profess to know everything but I have experienced much in sixteen films and I'm willing to share and network. I look forward to your comments.
.....and cut!
Florida versus Sarasota - Head to Head
April 8th thru 18th both the Florida Film Festival and the Sarasota Film Festival will be vying for independent movie lovers. I have enjoyed both festivals in the past. However, when it comes right down to it the Florida Film Festival is in my back yard and receives my vote. I'm guessing the Sarasota Film Festival believes it doesn't pull from the Central Florida area but I've got to believe that most filmmakers won't want to be screened at both. This should bode well for Florida films and films with Florida themes as both festivals will want to draw locals to the area. They also will want premiers and perhaps borderline festival films will make the cut in Sarasota where vacancies will be created by the older FFF.
This was the main reason I placed the Central Florida Film Festival six months away from both. We can screen the best of their festivals and have a window prior to the American Film Market in Los Angeles where we can screen more commercial films as well. The Sun Screen Film Festival in Clearwater begins on April 19th. There's no reason why Floridians can't support a few films and enjoy the change in the weather at the same time.
.....And Cut!
This was the main reason I placed the Central Florida Film Festival six months away from both. We can screen the best of their festivals and have a window prior to the American Film Market in Los Angeles where we can screen more commercial films as well. The Sun Screen Film Festival in Clearwater begins on April 19th. There's no reason why Floridians can't support a few films and enjoy the change in the weather at the same time.
.....And Cut!
Friday, February 5, 2010
Choosing a Festival for your Film...
Now that we've completed a film, what do we do with it? It's a question every producer and director asks themselves right after the wrap party. If it's a documentary, you'll want to know how to get your message out. If it's a short, you'll want people to watch it on a movie screen. If it's a feature you've got to figure out a path to get your investor's money back.
Best Short, Best Documentary and Best Feature are categories found in almost all film festivals. And let's face it, winning an award will definitely help the marketing of your film. Festivals have entry fees and this can become quite costly, especially if you haven't budgeted funds to market your project. I bet you didn't know that many festivals in foreign countries do not require an entry fee. In the US an entry fee is used to offset the costs of selection and in some cases assist in paying for any cash prize. A festival such as Sundance will receive five thousand entries and select under two hundred.
So, how does a filmmaker select the right festival? Each film festival has their own selection process. An experienced film festival has tweaked this process and understands what the community wants to watch and the types of films they want representing their festival. Every filmmaker wants to get into Sundance. According to Roberta Munroe, a former Sundance programmer, Sundance, considered the "Holy Grail" of film festivals, is the toughest to get into. They select only 2% of the films submitted. Even if you are selected it doesn't guarantee fame and fortune for you and your film....Only prestige. As a filmmaker you need to research as many film festivals as possible. www.Withoutabox.com is a fairly good resource and it's free to sign up. You can also cut out the middle man by registering directly through their site and save money off the festivals' entry fee.
What do you need to look for in a festival? How will the festival help the promotion of my film? Where will the film play? Is there an award show? Richard Kraft, who's documentary FINDING KRAFTLAND won Best Documentary at a couple of festivals (including mine) told me he was accepted to twenty five festivals and sent off to a hundred. He told me of several bad experiences including a festival that screened outdoors in a driving rain storm under a tent. He thought he was going to die! Neil Mandt, who's feature film LAST STOP FOR PAUL won more than thirty festival awards, told me many of the festivals "just sling out certificates during the awards presentation." He also told me he chose our festival because he heard the awards show was inspiring and worth the effort to attend. I produce our awards show to inspire filmmakers. I want them to picture themselves someday at the Kodak Theater in LA, accepting an Oscar.
Think about winning a festival and not just screening. It really doesn't help your feature if you didn't make the finals of the BF IOWA Film Festival. Being an "Official Selection" to a more experienced film festival is better than winning a festival where the films were shown on a big screen TV. Use your head! How do you know if your entry to a film festival is really screened and watched by a selection committee? What do you get for your film by entering this particular film festival? Here at the Central Florida Film Festival I make sure our judges, before rejecting a film, critique the film to let the makers understand why. This serves two purposes - 1) It proves we've watched your film and can document it with a specific (not general) critique and 2) It will hopefully help you next time around. Perhaps even make you a better filmmaker.
You might want to start out near home. When I was living and making films in LA we entered our film GOIN' TO CHICAGO to SAN DIEGO, SANTA BARBARA, and SAN FRANCISCO before even thinking about branching out to other festivals. When we were accepted to the Santa Barbara International Film Festival we stopped applying. Santa Barbara was prestigious enough and close enough to help the marketing of our film. We were lucky enough to win Best Picture that year (1990) and I've got to admit "Best Picture" looked better than "Official Selection," on the new poster. To this day I don't know why the other two festivals rejected our film but I'm glad it was good enough for SANTA BARBARA. Hence, the reason, I tell filmmakers why they didn't get into our festival. It stops them from wondering if we watched at all.
Take a look at the films that have previously won at the festival you're thinking of entering. How does your film stand up to previous winners? Look at the production value, the length, the topic anything that can give you an idea of your chances of selection. I bet you didn't know that a five minute film with good production value has a better chance of getting into a festival than a forty minute film with similar production value. The selection thinking is there's always room for a good five minute film. Sometimes funny is better than serious. Many festival pieces are of a serious topic and a good comedic short is a welcome relief. This is true not only for our judges but as a programmer for our audience as well.
Finally, don't let your pocketbook limit your chances of getting into a festival. Once you've won a few awards, other festivals will seek you out and invite you and in many cases waive the fees. Our festival has a "No Waiver" policy but over the years I have invited six films that I believed the residents of the community needed to see. Name value, production value and a resume make a film valuable to a festival programmer.
I hope these pointers have helped and I look forward to seeing you at the movies.
....and cut!
Best Short, Best Documentary and Best Feature are categories found in almost all film festivals. And let's face it, winning an award will definitely help the marketing of your film. Festivals have entry fees and this can become quite costly, especially if you haven't budgeted funds to market your project. I bet you didn't know that many festivals in foreign countries do not require an entry fee. In the US an entry fee is used to offset the costs of selection and in some cases assist in paying for any cash prize. A festival such as Sundance will receive five thousand entries and select under two hundred.
So, how does a filmmaker select the right festival? Each film festival has their own selection process. An experienced film festival has tweaked this process and understands what the community wants to watch and the types of films they want representing their festival. Every filmmaker wants to get into Sundance. According to Roberta Munroe, a former Sundance programmer, Sundance, considered the "Holy Grail" of film festivals, is the toughest to get into. They select only 2% of the films submitted. Even if you are selected it doesn't guarantee fame and fortune for you and your film....Only prestige. As a filmmaker you need to research as many film festivals as possible. www.Withoutabox.com is a fairly good resource and it's free to sign up. You can also cut out the middle man by registering directly through their site and save money off the festivals' entry fee.
What do you need to look for in a festival? How will the festival help the promotion of my film? Where will the film play? Is there an award show? Richard Kraft, who's documentary FINDING KRAFTLAND won Best Documentary at a couple of festivals (including mine) told me he was accepted to twenty five festivals and sent off to a hundred. He told me of several bad experiences including a festival that screened outdoors in a driving rain storm under a tent. He thought he was going to die! Neil Mandt, who's feature film LAST STOP FOR PAUL won more than thirty festival awards, told me many of the festivals "just sling out certificates during the awards presentation." He also told me he chose our festival because he heard the awards show was inspiring and worth the effort to attend. I produce our awards show to inspire filmmakers. I want them to picture themselves someday at the Kodak Theater in LA, accepting an Oscar.
Think about winning a festival and not just screening. It really doesn't help your feature if you didn't make the finals of the BF IOWA Film Festival. Being an "Official Selection" to a more experienced film festival is better than winning a festival where the films were shown on a big screen TV. Use your head! How do you know if your entry to a film festival is really screened and watched by a selection committee? What do you get for your film by entering this particular film festival? Here at the Central Florida Film Festival I make sure our judges, before rejecting a film, critique the film to let the makers understand why. This serves two purposes - 1) It proves we've watched your film and can document it with a specific (not general) critique and 2) It will hopefully help you next time around. Perhaps even make you a better filmmaker.
You might want to start out near home. When I was living and making films in LA we entered our film GOIN' TO CHICAGO to SAN DIEGO, SANTA BARBARA, and SAN FRANCISCO before even thinking about branching out to other festivals. When we were accepted to the Santa Barbara International Film Festival we stopped applying. Santa Barbara was prestigious enough and close enough to help the marketing of our film. We were lucky enough to win Best Picture that year (1990) and I've got to admit "Best Picture" looked better than "Official Selection," on the new poster. To this day I don't know why the other two festivals rejected our film but I'm glad it was good enough for SANTA BARBARA. Hence, the reason, I tell filmmakers why they didn't get into our festival. It stops them from wondering if we watched at all.
Take a look at the films that have previously won at the festival you're thinking of entering. How does your film stand up to previous winners? Look at the production value, the length, the topic anything that can give you an idea of your chances of selection. I bet you didn't know that a five minute film with good production value has a better chance of getting into a festival than a forty minute film with similar production value. The selection thinking is there's always room for a good five minute film. Sometimes funny is better than serious. Many festival pieces are of a serious topic and a good comedic short is a welcome relief. This is true not only for our judges but as a programmer for our audience as well.
Finally, don't let your pocketbook limit your chances of getting into a festival. Once you've won a few awards, other festivals will seek you out and invite you and in many cases waive the fees. Our festival has a "No Waiver" policy but over the years I have invited six films that I believed the residents of the community needed to see. Name value, production value and a resume make a film valuable to a festival programmer.
I hope these pointers have helped and I look forward to seeing you at the movies.
....and cut!
Tuesday, February 2, 2010
Filmmakers, phonies and frauds!
Film makers are a funny breed. They will find an idea they are passionate about and in many cases find a camera, crew, cast and just start shooting. The old expression "we can fix it in post," is more prevalent now than ever before with anyone who owns a PC having the tools to edit.
Year's ago when festival films were still made on film there was more thought behind the process. Just making and finishing a film was an accomplishment in itself. Finding distribution was another feat that was hard to come by. It wasn't until the eighties when distribution opened up to include video and additional cable outlets that a person could make a good living making films and not have one in theaters.
Many films are being made today to get the film maker listed on IMDB. If you're not on IMDB you're not in the business (is the thought process) and films with little merit or production value proudly display their title, cast, crew and other important (not really) IMDB information on the Internet site. Those that haven't created a credit on IMDB can actually purchase them. I've heard an executive producer's credit on a short can go for as little as two or three thousand dollars. These people still think they're film makers and not frauds. "I need the credit to show my investors I have experience," wow, did he just say that? To me it's better to be honest with your investors and create a business plan with elements of the project outlining where the investor's money will travel and hopefully end with it traveling back into his pocket. I had an actress one time refer me to her IMDB site where she had numerous credits. However, next to each credit it said "uncredited." You earn a credit. Having an "uncredited credit" is like have a salary with no money. There's a reason you didn't get a credit and it was probably because you were an extra!
The ironic thing is I have a few credits listed on IMDB and some of the information is incorrect. It's like trying to break a code to get our film festival IMDB credit fixed so it makes any sense. We've got winners listed all the way back to 1994 but our festival started in 2005. It's important for a film maker to create pride in his work and even to embellish his accomplishments. Remember, there is nothing wrong with starting out with a good short or documentary before he tackles a 90 minute plus feature.
Next time I will donate time to find the perfect festival for your film!
Until then....GO COLTS!
.....and cut
Year's ago when festival films were still made on film there was more thought behind the process. Just making and finishing a film was an accomplishment in itself. Finding distribution was another feat that was hard to come by. It wasn't until the eighties when distribution opened up to include video and additional cable outlets that a person could make a good living making films and not have one in theaters.
Many films are being made today to get the film maker listed on IMDB. If you're not on IMDB you're not in the business (is the thought process) and films with little merit or production value proudly display their title, cast, crew and other important (not really) IMDB information on the Internet site. Those that haven't created a credit on IMDB can actually purchase them. I've heard an executive producer's credit on a short can go for as little as two or three thousand dollars. These people still think they're film makers and not frauds. "I need the credit to show my investors I have experience," wow, did he just say that? To me it's better to be honest with your investors and create a business plan with elements of the project outlining where the investor's money will travel and hopefully end with it traveling back into his pocket. I had an actress one time refer me to her IMDB site where she had numerous credits. However, next to each credit it said "uncredited." You earn a credit. Having an "uncredited credit" is like have a salary with no money. There's a reason you didn't get a credit and it was probably because you were an extra!
The ironic thing is I have a few credits listed on IMDB and some of the information is incorrect. It's like trying to break a code to get our film festival IMDB credit fixed so it makes any sense. We've got winners listed all the way back to 1994 but our festival started in 2005. It's important for a film maker to create pride in his work and even to embellish his accomplishments. Remember, there is nothing wrong with starting out with a good short or documentary before he tackles a 90 minute plus feature.
Next time I will donate time to find the perfect festival for your film!
Until then....GO COLTS!
.....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 14, 2009
Thank you! We're Planning for 2010
I want to thank the filmmakers that sent emails of heartwarming thanks and good wishes. I guess two bad apples does not a festival make. The Central Florida Film Festival will be returning over the Labor Day weekend (September 3-6) in 2010. We will even be adding another day (Monday). It appears most Florida filmmakers like what we are doing for the film community in Central Florida. I am also pleased to announce that our two main sponsors, MARSHALL ENTERTAINMENT INSURANCE and BIGSTAR.TV, will be returning.
I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.
The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!
CENFLO is one of the few festivals to provide any rejected films a critique explaining why.
Category and Prizes:
Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)
We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.
"Upward and Onward!"
......and cut!
I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.
The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!
CENFLO is one of the few festivals to provide any rejected films a critique explaining why.
Category and Prizes:
Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)
We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.
"Upward and Onward!"
......and cut!
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