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 festival news. Show all posts
Showing posts with label festival news. Show all posts
Wednesday, January 12, 2011
Monday, April 19, 2010
Comment on Previous Post
The person who wrote the IMDB posting yesterday seems pretty upset at my response. Like I said before, I don't want to get into a debate. Both of us have our opinions. I believe "after further review," you should come up with your own. There are exceptions to every rule. Research and gut feelings are important.
I was accused of not posting his response. In my defense the Blogging Company hasn't notified me as of this morning. I saw his response posted on IMDB and have copied all but some self serving advertisements.
COPY
"I posted a response on Bob Cook's blog and just in case he doesn't post it, I will post it here for everyone to read and it is as follows: I'm the one that is being referenced in this blog, I posted the post on IMDB entitled Stop Working for Free. And I stand by that, all of you that say you want the credit on the resume well that in my opinion is just foolish. I don't care who you are, if you provide sweat equity then you need to be paid for your work period, and I do have to agree with Bob Cook on one point, Scam artist are Scam artist, I don't think that the word artist should be in the confines of the same sentence as scam or con, as ripping people off shouldn't be considered an art form. Bob made mention of SAG's contract well I for one do not care about SAG's contract allowing actors to work for free on a project under 40 minutes and under $50,000.00, point being I will never ask anyone to work for free period. My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period."
My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period. On my productions I will even pay the non-union extras $100.00 per day for a base of 8. When I say that there is no such thing as a no budget film that means somebody is getting paid, producer, director etc somebody is getting paid trust me, I guarantee it. The only one's not getting paid are those cast and crew members that agree to work for free, and that is something that no one should ever agree to period, if you want to provide your services for a cut rate that is fine but get paid something I'll say it again stop working for free.
MY RETORT
Again, I'm not disagreeing, I'm just stating if you do have an offer to work for free or feel the need --- make sure you think about it and/or research it first. If you can get a good paying gig without experience --- by all means, go for it. There's about ten years between MR. IMDB and myself and times are a changin' every year. We're both obviously passionate about the industry and both have our own practices and opinions. We're both published authors and producers. Experts? Probably not. But experienced players and teachers, agreed, we're both saying the same thing just a generation apart.
......and cut!
I was accused of not posting his response. In my defense the Blogging Company hasn't notified me as of this morning. I saw his response posted on IMDB and have copied all but some self serving advertisements.
COPY
"I posted a response on Bob Cook's blog and just in case he doesn't post it, I will post it here for everyone to read and it is as follows: I'm the one that is being referenced in this blog, I posted the post on IMDB entitled Stop Working for Free. And I stand by that, all of you that say you want the credit on the resume well that in my opinion is just foolish. I don't care who you are, if you provide sweat equity then you need to be paid for your work period, and I do have to agree with Bob Cook on one point, Scam artist are Scam artist, I don't think that the word artist should be in the confines of the same sentence as scam or con, as ripping people off shouldn't be considered an art form. Bob made mention of SAG's contract well I for one do not care about SAG's contract allowing actors to work for free on a project under 40 minutes and under $50,000.00, point being I will never ask anyone to work for free period. My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period."
My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period. On my productions I will even pay the non-union extras $100.00 per day for a base of 8. When I say that there is no such thing as a no budget film that means somebody is getting paid, producer, director etc somebody is getting paid trust me, I guarantee it. The only one's not getting paid are those cast and crew members that agree to work for free, and that is something that no one should ever agree to period, if you want to provide your services for a cut rate that is fine but get paid something I'll say it again stop working for free.
MY RETORT
Again, I'm not disagreeing, I'm just stating if you do have an offer to work for free or feel the need --- make sure you think about it and/or research it first. If you can get a good paying gig without experience --- by all means, go for it. There's about ten years between MR. IMDB and myself and times are a changin' every year. We're both obviously passionate about the industry and both have our own practices and opinions. We're both published authors and producers. Experts? Probably not. But experienced players and teachers, agreed, we're both saying the same thing just a generation apart.
......and cut!
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!
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!
Monday, March 8, 2010
Selecting a Film
It's been a month since my last post which was how to find a Film Festival for your film. In this post I will explain how our selection committee chooses film for the Central Florida Film Festival (www.CentralFloridaFilmFestival.com).
It's the day after Oscar Night and every filmmaker worth his salt should be inspired and ready to make their next project. Here at CENFLO we've already begun selecting some of our "Early Bird" entries as "Official Selections." It thought I would give a few tips to filmmakers in this post to help them receive a better chance of getting selected, not only to our festival but to most. We are currently accepting submissions through May 10, 2010 for our September festival. Our dates are September 3-6, 2010 (Labor Day weekend). Here are some of the basics;
1) Make sure you follow directions. Fill out the application in full and make sure of your check list. Don't send in one screening copy when they ask for five. Don't send in press kits when they don't ask for it.
2) Credits aren't necessary. This means if your entry is ten minutes, three minutes shouldn't be credits with the filmmaker in almost every category. We get it! You made a film. Let us watch it and judge it on what every good film should have story, production value, entertainment value, creativity, and technical know how. Placing yourself at Producer, director, writer, editor, camera, wardrobe, and coffee getter doesn't make the selection committee feel sorry for your film. If anything it takes the credit and makes it blame. Who ever heard of rolling end blame? However, think about it.....An editor can only put together what the DP shoots and the director hands him. Sometimes we can cut an editor some slack for at least shortening the product we had to sit through. Yet if the director, DP and editor are the same people they each have no one to blame but themselves. Same for starring in your own film with a group of friends and family. I'm not saying it's impossible but I am saying it's industry standard and as a new filmmaker you should play the percentages. At Sundance they prefer you have no credits at all when submitting shorts. Just roll right into the film.
3) Saying your film (short or feature) was made for a thousand dollars doesn't give you the sympathy vote either. Be honest if you have to say anything at all. Saying your film budget is a million because your girlfriend (who also starred in the film) said it looked like a million doesn't cut it either. You say your film budget was a million and it looks like a hundred thousand dollars your production value stinks. If your film was made for fifteen hundred and looks like a hundred thousand dollar film then your product has excellent production value. Many film festivals look at the production value to cost ratio. When it all comes down to it....it's programing and people have to sit through it and like it.
4) Stay away from over use of toys. We get it, you got some FX tools for your birthday. If your film needs visuals make sure they aren't over used or repetitive. It's amateurish and stand out like a sore thumb.
5) Tell the story. If you tell a good story - your chances are much better on getting selected.
6) Don't fall in love with every shot. Documentaries, shorts and features alike drag on and should have been tightened. Documentarians make sure the repetition sends a message and not just repeats the same information over and over. You will lost the audience and selection committee as well. Short filmmakers, there's a reason they call it a short! If a short is less than ten minutes and has production value and/or entertainment value there has to be a place for it.
7) Maintain interest. Keep the viewer's eye moving. Either move the actors or move the camera.
8) Use better actors. Did you know that the Screen Actors Guild has several contracts including one for shorts where you don't have to pay the performers? The film has to be under thirty minutes and the budget less than fifty thousand dollars. Professional actors like to showcase their work. If you have a good script don't be afraid to ask. Contact your local SAG office for details.
It also helps to be honest with yourself. As a filmmaker you've got to learn to find a thick skin. We get better with trial and error. Listen to critiques. If several critics say the same thing chances are pretty good they're right and you're wrong. Be proud you're a filmmaker but be humble. No matter how old you are it's a learning process. We learn as filmmakers every day and receive inspiration from normal day to day life. Embrace it and go out and make a film. Hopefully, it will wind up on one of the screens at the West Orange 5 during the Labor Day weekend. The Central Florida Film Festival wants to make you better filmmakers.
.....and cut!
It's the day after Oscar Night and every filmmaker worth his salt should be inspired and ready to make their next project. Here at CENFLO we've already begun selecting some of our "Early Bird" entries as "Official Selections." It thought I would give a few tips to filmmakers in this post to help them receive a better chance of getting selected, not only to our festival but to most. We are currently accepting submissions through May 10, 2010 for our September festival. Our dates are September 3-6, 2010 (Labor Day weekend). Here are some of the basics;
1) Make sure you follow directions. Fill out the application in full and make sure of your check list. Don't send in one screening copy when they ask for five. Don't send in press kits when they don't ask for it.
2) Credits aren't necessary. This means if your entry is ten minutes, three minutes shouldn't be credits with the filmmaker in almost every category. We get it! You made a film. Let us watch it and judge it on what every good film should have story, production value, entertainment value, creativity, and technical know how. Placing yourself at Producer, director, writer, editor, camera, wardrobe, and coffee getter doesn't make the selection committee feel sorry for your film. If anything it takes the credit and makes it blame. Who ever heard of rolling end blame? However, think about it.....An editor can only put together what the DP shoots and the director hands him. Sometimes we can cut an editor some slack for at least shortening the product we had to sit through. Yet if the director, DP and editor are the same people they each have no one to blame but themselves. Same for starring in your own film with a group of friends and family. I'm not saying it's impossible but I am saying it's industry standard and as a new filmmaker you should play the percentages. At Sundance they prefer you have no credits at all when submitting shorts. Just roll right into the film.
3) Saying your film (short or feature) was made for a thousand dollars doesn't give you the sympathy vote either. Be honest if you have to say anything at all. Saying your film budget is a million because your girlfriend (who also starred in the film) said it looked like a million doesn't cut it either. You say your film budget was a million and it looks like a hundred thousand dollars your production value stinks. If your film was made for fifteen hundred and looks like a hundred thousand dollar film then your product has excellent production value. Many film festivals look at the production value to cost ratio. When it all comes down to it....it's programing and people have to sit through it and like it.
4) Stay away from over use of toys. We get it, you got some FX tools for your birthday. If your film needs visuals make sure they aren't over used or repetitive. It's amateurish and stand out like a sore thumb.
5) Tell the story. If you tell a good story - your chances are much better on getting selected.
6) Don't fall in love with every shot. Documentaries, shorts and features alike drag on and should have been tightened. Documentarians make sure the repetition sends a message and not just repeats the same information over and over. You will lost the audience and selection committee as well. Short filmmakers, there's a reason they call it a short! If a short is less than ten minutes and has production value and/or entertainment value there has to be a place for it.
7) Maintain interest. Keep the viewer's eye moving. Either move the actors or move the camera.
8) Use better actors. Did you know that the Screen Actors Guild has several contracts including one for shorts where you don't have to pay the performers? The film has to be under thirty minutes and the budget less than fifty thousand dollars. Professional actors like to showcase their work. If you have a good script don't be afraid to ask. Contact your local SAG office for details.
It also helps to be honest with yourself. As a filmmaker you've got to learn to find a thick skin. We get better with trial and error. Listen to critiques. If several critics say the same thing chances are pretty good they're right and you're wrong. Be proud you're a filmmaker but be humble. No matter how old you are it's a learning process. We learn as filmmakers every day and receive inspiration from normal day to day life. Embrace it and go out and make a film. Hopefully, it will wind up on one of the screens at the West Orange 5 during the Labor Day weekend. The Central Florida Film Festival wants to make you better filmmakers.
.....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!
Friday, January 22, 2010
Early Bird Entries
The 5th Annual Central Florida Film Festival, to be held over the Labor Day weekend (September 3-6, 2010), at the West Orange 5 Theater in Ocoee, is now accepting "Early Bird" entries in the categories of Feature, documentary and shorts.
There are cash prizes, beautiful plaques and an excellent awards show. The festival also presents an award to the media choice and to the Best Florida Project.
Short Film makers should take advantage of the fact that every film that fails to become an "official selection" receives a critique of their work explaining why. It's a process that is done by very few festivals and worth the price of the entry fee. The reason I single out short filmmakers is the "Early Bird" entry fee is only $20 (thru http://www.withoutabox.com/). Because we are a cash competition we offer no waivers and twenty dollars is about as low as it gets. If you're film was made because you're a student, enthusiast, or for your director's reel, spring for the $20 and become part of Florida's fastest growing Film Festival. For more information visit our website at http://www.centralfloridafilmfestival.com/ and take advantage of the "Early Bird" discount via withoutabox, now through March 1, 2010.
.....and cut!!!
There are cash prizes, beautiful plaques and an excellent awards show. The festival also presents an award to the media choice and to the Best Florida Project.
Short Film makers should take advantage of the fact that every film that fails to become an "official selection" receives a critique of their work explaining why. It's a process that is done by very few festivals and worth the price of the entry fee. The reason I single out short filmmakers is the "Early Bird" entry fee is only $20 (thru http://www.withoutabox.com/). Because we are a cash competition we offer no waivers and twenty dollars is about as low as it gets. If you're film was made because you're a student, enthusiast, or for your director's reel, spring for the $20 and become part of Florida's fastest growing Film Festival. For more information visit our website at http://www.centralfloridafilmfestival.com/ and take advantage of the "Early Bird" discount via withoutabox, now through March 1, 2010.
.....and cut!!!
Monday, December 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!!!
Avatar Stays #1
I could cry foul and say 7000 screens versus 4000 screens, no wonder they stayed #1. However, during the holiday season anything goes. I did read that 75% of all Avatar's box office came from 3-D and IMAX theaters. Sherlock Holmes ran second at $65 million with a smaller nut to crack. Speaking of NUTS, Alvin and those pesky Chipmunks came in third at $60 million. Disney's "Princess and the Frog," despite good reviews and an excellent family viewing, dropped down to seventh place not even cracking the ten million dollar mark. What gives? Could it possibly be because the princess is black? I sincerely hope not! It's probably the best well rounded Disney animated film since "Beauty and the Beast."
I heard somewhere that people are getting paid to plug certain products on their blogs. I have yet to be approached but if I start ranting how good something is nowadays you've got to figure the check is in the mail. I also heard that people are selling the names of their followers to spam sites. Fear not, I don't need money bad enough to sell out people that want to hear what I have to say but be careful out there.
We begin accepting "Early Bird" entries, January 15, 2010. Prize money stays the same for features ($500), shorts ($250) and Documentaries ($250). The best Florida project receives a plaque and a one hundred dollar check.
Hove a safe New Years!
....and cut!
I heard somewhere that people are getting paid to plug certain products on their blogs. I have yet to be approached but if I start ranting how good something is nowadays you've got to figure the check is in the mail. I also heard that people are selling the names of their followers to spam sites. Fear not, I don't need money bad enough to sell out people that want to hear what I have to say but be careful out there.
We begin accepting "Early Bird" entries, January 15, 2010. Prize money stays the same for features ($500), shorts ($250) and Documentaries ($250). The best Florida project receives a plaque and a one hundred dollar check.
Hove a safe New Years!
....and cut!
Monday, December 21, 2009
Four Hundred Million Dollars? Really?
I got to see AVATAR this weekend and I thought it was well done. I didn't think it was the greatest thing since the talkie but I thought it was worthy of Oscar mention. What I'd like to know is how a studio can "green light" a film at an expense of $400 million dollars? TITANIC, Cameron's first two hundred million dollar feature stayed on top for about twenty weeks and became the industry's standard as well a top box office hit of all time (I would still like to see the numbers compared to GONE WITH THE WIND if we included box office prices in 1939-1940). AVATAR was a formula movie, with brilliant special effects. Once the audience gets over being mesmerized over the transitions into the fantasy world isn't the story something we've seen before? I mean it had little bits and pieces of several cinematic classics all rolled up into one. Fine performances, excellent effects and a director's vision second to none but four hundred million dollars? Do you have any idea what the film has to gross even receiving a 60-65% cut? It's absurd. However, it should walk away with at least eight Oscar nominations and I guarantee at least four Academy Awards (Editing, Sound Effects Editing, Sound, Visual Effects). I'm not sure Screenplay, Cinematography, Costume or a supporting actress award are guaranteed.
Check out the film this holiday season before SHERLOCK HOLMES knocks it out of the #1 spot!
....and cut!
Check out the film this holiday season before SHERLOCK HOLMES knocks it out of the #1 spot!
....and cut!
Monday, December 14, 2009
Thank you! We're Planning for 2010
I want to thank the filmmakers that sent emails of heartwarming thanks and good wishes. I guess two bad apples does not a festival make. The Central Florida Film Festival will be returning over the Labor Day weekend (September 3-6) in 2010. We will even be adding another day (Monday). It appears most Florida filmmakers like what we are doing for the film community in Central Florida. I am also pleased to announce that our two main sponsors, MARSHALL ENTERTAINMENT INSURANCE and BIGSTAR.TV, will be returning.
I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.
The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!
CENFLO is one of the few festivals to provide any rejected films a critique explaining why.
Category and Prizes:
Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)
We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.
"Upward and Onward!"
......and cut!
I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.
The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!
CENFLO is one of the few festivals to provide any rejected films a critique explaining why.
Category and Prizes:
Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)
We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.
"Upward and Onward!"
......and cut!
Wednesday, November 25, 2009
Festival for Sale?
I actually got accused last night by a filmmaker for NOT sending payment. When I said it was paid on September 9, 2009, (Three days after completion of the festival) there was an argument. The filmmaker went on to say other filmmakers he had spoken to, said we couldn't pay our bills and haven't received checks. I know exactly who he spoke to and the quoted person wasn't due a check. Only winners received checks. I also knew who he spoke to from the confidential information that was quoted back to us (by this time my wife Ginger took the phone).
Let it be understood that I paid most of my festival bills in advance and only the hotel, catering, and prize money were outstanding. They have ALL been paid (in full). The Central Florida Film Festival has no outstanding debts and an excess in the bank account to cover the corporate fees, accounting and start up for next year.
It's obvious to me that the check (#1043)was either misplaced by the filmmaker or lost in the mail. I had a return address on the envelope but we never received it. Upon review of the check book, the check in question is still outstanding. All other winning film checks have been received and cashed. I believe the check in question is either on his desk or in the dead letter office (if there's still such a thing). A replacement check will be sent out today and a "stop payment" (costing the festival $35) will be done on the check in question. The ironic part is that I advanced this person $60 (cash), out of my pocket because they didn't have cab fare to get to the airport (they asked and told me the reason). I even wrote a note, included with the final payment citing the advance of sixty dollars and why the check wasn't for the exact amount (in case they forgot).
This is why I am asking my attorney after the holiday, how to either sell or dissolve my organization. Our film festival is a "not for profit, charitable, organization created to advance Independent film in the Central Florida area." We've given it four years and this is the thanks we get. We're a turn key operation, we can qualify for the Academy of Arts & Science assistance program in our sixth year, and we have a following and excellent track record with our vendors. Any interested buyers out there? I'm serious! I will do more for Independent film by returning behind the camera.
In the meantime have a healthy and Happy Thanksgiving.
.....And Cut!
Let it be understood that I paid most of my festival bills in advance and only the hotel, catering, and prize money were outstanding. They have ALL been paid (in full). The Central Florida Film Festival has no outstanding debts and an excess in the bank account to cover the corporate fees, accounting and start up for next year.
It's obvious to me that the check (#1043)was either misplaced by the filmmaker or lost in the mail. I had a return address on the envelope but we never received it. Upon review of the check book, the check in question is still outstanding. All other winning film checks have been received and cashed. I believe the check in question is either on his desk or in the dead letter office (if there's still such a thing). A replacement check will be sent out today and a "stop payment" (costing the festival $35) will be done on the check in question. The ironic part is that I advanced this person $60 (cash), out of my pocket because they didn't have cab fare to get to the airport (they asked and told me the reason). I even wrote a note, included with the final payment citing the advance of sixty dollars and why the check wasn't for the exact amount (in case they forgot).
This is why I am asking my attorney after the holiday, how to either sell or dissolve my organization. Our film festival is a "not for profit, charitable, organization created to advance Independent film in the Central Florida area." We've given it four years and this is the thanks we get. We're a turn key operation, we can qualify for the Academy of Arts & Science assistance program in our sixth year, and we have a following and excellent track record with our vendors. Any interested buyers out there? I'm serious! I will do more for Independent film by returning behind the camera.
In the meantime have a healthy and Happy Thanksgiving.
.....And Cut!
Thursday, September 24, 2009
5th Annual Central Florida Film Festival
The time for rest and relaxation is over. It's time to begin preparation for the 5th Annual Central Florida Film Festival. We will be accepting early bird entries sometime in January. Look for our postings on both http://www.withoutabox.com/ and our official festival site http://www.centralfloridafilmfestival.com/.
We are fortunate to be able to announce that we will return to Ocoee, Florida and the West Orange 5 Theater. It's a good thing for a community when Ocoee, Mayor Scott, the Chamber of Commerce, Ocoee High School and several business all were happy with the announcement. It has been our tradition to hold the festival over the Labor Day weekend. Our 2010 dates are; September 3-6, 2010. We plan on making a few changes including the retention of our two major sponsors, dropping and adding some sponsors, deleting at least two categories and consolidating venues where possible.
Two categories going away are "Best Gay Themed Film" and the "Mini Feature." We had hoped for support from the Gay community with our celebration of Gay Film program which featured lunch, VIP guests, music, and a six hour long block of Gay Themed Films. The program cost almost forty percent of our budget and we received more hate mail than we did patrons. The amount of submissions was equal to what we generally receive but wasn't enough to cover the additional prize money. It's apparent there isn't enough local support to continue the program. In the past, Gay themed films have done well in competition with our mainstream projects and we will continue to evaluate each entry on production value, commercial value, and artistic value, regardless of content. We also received a disappointing amount of mini feature entries. Also, not enough to cover the cost of the new category. I had hoped to provide a haven for film makers who made films too long to be considered a short or too short to be considered a feature but apparently there aren't enough of these films to warrant it's own category. We will accept mini features as shorts and they will be judged on a project to project basis.
There will also be a shake up in our production staff and with our board of directors as well. Watch our website: http://www.centralfloridafilmfestival.com/ for announcements. I am determined to bring additional jobs to the Florida production community. Hopefully, the Film Commission and various state organizations will see the value in what we are planning and help where possible. One program we are proud to come up with is a program that would include Florida High School (age) film makers. Donna Wagner who runs the TV & Film Department at Ocoee, High School will be instrumental in the creation of a program that could win a student a scholarship. I'm working out the incidentals and hope it's completed in time for our 2010 program.
I will continue to keep this blog as a sounding board for film production information as well as updates for our film festival. I hope your summer was a productive one and now it's on to the fall season and our Holiday Blockbusters!
......And Cut!
We are fortunate to be able to announce that we will return to Ocoee, Florida and the West Orange 5 Theater. It's a good thing for a community when Ocoee, Mayor Scott, the Chamber of Commerce, Ocoee High School and several business all were happy with the announcement. It has been our tradition to hold the festival over the Labor Day weekend. Our 2010 dates are; September 3-6, 2010. We plan on making a few changes including the retention of our two major sponsors, dropping and adding some sponsors, deleting at least two categories and consolidating venues where possible.
Two categories going away are "Best Gay Themed Film" and the "Mini Feature." We had hoped for support from the Gay community with our celebration of Gay Film program which featured lunch, VIP guests, music, and a six hour long block of Gay Themed Films. The program cost almost forty percent of our budget and we received more hate mail than we did patrons. The amount of submissions was equal to what we generally receive but wasn't enough to cover the additional prize money. It's apparent there isn't enough local support to continue the program. In the past, Gay themed films have done well in competition with our mainstream projects and we will continue to evaluate each entry on production value, commercial value, and artistic value, regardless of content. We also received a disappointing amount of mini feature entries. Also, not enough to cover the cost of the new category. I had hoped to provide a haven for film makers who made films too long to be considered a short or too short to be considered a feature but apparently there aren't enough of these films to warrant it's own category. We will accept mini features as shorts and they will be judged on a project to project basis.
There will also be a shake up in our production staff and with our board of directors as well. Watch our website: http://www.centralfloridafilmfestival.com/ for announcements. I am determined to bring additional jobs to the Florida production community. Hopefully, the Film Commission and various state organizations will see the value in what we are planning and help where possible. One program we are proud to come up with is a program that would include Florida High School (age) film makers. Donna Wagner who runs the TV & Film Department at Ocoee, High School will be instrumental in the creation of a program that could win a student a scholarship. I'm working out the incidentals and hope it's completed in time for our 2010 program.
I will continue to keep this blog as a sounding board for film production information as well as updates for our film festival. I hope your summer was a productive one and now it's on to the fall season and our Holiday Blockbusters!
......And Cut!
Sunday, September 13, 2009
CENFLO 2008 - 2009 - 2010
In 2008 at the Osceola Center for the Arts (Kissimmee) we sold 497 tickets. This included all access passes, seminars and daily movie tickets. This year at the West Orange 5 theater and Ocoee Hotel venues we had 889 patrons. Quite a record! However, I was hoping for one thousand but it gives us something to shoot for next year. We saw advertising and sponsorship revenues drop by almost seven thousand dollars. Companies like FINAL DRAFT, MINI MOVIE CHANNEL, MEDIA DISTRIBUTORS, and PUBLIX cited economic problems and pulled their support. Hopefully, they will rebound and support us next year. We also increased spending this year with the hope of creating awareness of the festival and it's economic impact on the community. Speaking with Ocoee, Mayor Scott, who attended all three days, I believe we succeeded in that accomplishment.
However, like most businesses, there will be some economic changes to CENFLO in 2010. We are dropping at least two categories from our lineup. I believe each category should be able to support itself with entry fees and local ticket sales. Both our Mini Feature and Gay & Lesbian categories failed to meet the required amount of entries and local interest and will be dropped. The "Celebration of Gay film," party and block of Gay themed movies placed a heavy economic burden on the other film categories. In short, we're going back to the basics.
Shorts, Documentaries, Features, and even the Best Florida Project will all return. We are currently working on a program for High School student filmmakers and hope to have it in place for 2010. Our "Breakfast with the Screenwriters" panel was a huge success and we will renew the program and add a "Breakfast with the Producers" and a third breakfast to be announced for our lineup in 2010. We will also cut back spending on hotel rooms and parties. Unless there is a sponsor willing to pick up the entire cost there is no sense. Filmmakers are always willing to meet somewhere and pay a cash bar to unwind. Tambora's Restaurant was an excellent example of a local business helping out. They offered a 20% on all food and offered "Happy Hour" drink prices. We will look into expansion where the community benefits and the festival doesn't get stuck with the tab.
We will also be adding a few things including celebrity guests. Right now, I'm heading to Lake Tahoe, Nevada, to meet my hard working wife (she's working the Bonanza 50th Anniversary Convention). The festival and the convention will be over and we can spend a few days unwinding and making plans for next year. Fear not! The economy will work itself out. The world needs film and we're here to makes sure we do our part to protect the industry here in Central Florida.
And cut........
However, like most businesses, there will be some economic changes to CENFLO in 2010. We are dropping at least two categories from our lineup. I believe each category should be able to support itself with entry fees and local ticket sales. Both our Mini Feature and Gay & Lesbian categories failed to meet the required amount of entries and local interest and will be dropped. The "Celebration of Gay film," party and block of Gay themed movies placed a heavy economic burden on the other film categories. In short, we're going back to the basics.
Shorts, Documentaries, Features, and even the Best Florida Project will all return. We are currently working on a program for High School student filmmakers and hope to have it in place for 2010. Our "Breakfast with the Screenwriters" panel was a huge success and we will renew the program and add a "Breakfast with the Producers" and a third breakfast to be announced for our lineup in 2010. We will also cut back spending on hotel rooms and parties. Unless there is a sponsor willing to pick up the entire cost there is no sense. Filmmakers are always willing to meet somewhere and pay a cash bar to unwind. Tambora's Restaurant was an excellent example of a local business helping out. They offered a 20% on all food and offered "Happy Hour" drink prices. We will look into expansion where the community benefits and the festival doesn't get stuck with the tab.
We will also be adding a few things including celebrity guests. Right now, I'm heading to Lake Tahoe, Nevada, to meet my hard working wife (she's working the Bonanza 50th Anniversary Convention). The festival and the convention will be over and we can spend a few days unwinding and making plans for next year. Fear not! The economy will work itself out. The world needs film and we're here to makes sure we do our part to protect the industry here in Central Florida.
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!
Saturday, August 15, 2009
Festival "Mud Slinging"
I read the "not so Gala" preview of the Orlando Film Festival, in Roger Moore's online column. I also read the many comments after the article. People pretty much trashed the new downtown Orlando theater, it's service and even the parking. They also didn't like the "Mud Slinging," and "trash talking" about how the Orlando Festival is free and the other larger festivals charge for the same films. I personally don't care, and as long as they don't attack the Central Florida Film Festival. I have little to no opinion about other festivals. Upon investigation, I found only three duplicate screenings between their festival and ours and who cares -- ours is first and we have more than enough premiers.
I like to investigate other festivals but the Orlando Film Festival is in direct competition with AFI's Film Festival and AFM (American Film Market). AFM is where most working filmmakers need to attend. It's in Santa Monica, California and a thousand buyers from all over the world come to watch films presented by over seven hundred distributors. I've been seventeen times to observe my distributor showcase my film and take orders, hoping that in one fell swoop I can receive a return to my investors. Seventeen times since 1985, I've been listening to distributors complain about a slow economy hurting sales. It's only natural, now that it's fashionable to complain about the economy, every distributor will be crying even louder. It's funny, I never hear the buyers crying, except to whine there aren't any good films to purchase. Perhaps if the distributors attended more Indy Festivals around the country, they'd find better product for their buyers.
However, that's for feature films. I guess documentaries and shorts need a place to gather during that time as well....It might as well be Orlando. We've selected almost sixty shorts, a dozen documentaries and another fifteen excellent features (that will make their way to AFM), at the Central Florida Film Festival. Daily tickets are $20 (for an entire day of film watching!), $50.00, for three days or $99.00 for unlimited screenings, seminars and parties/mixers. AFM costs filmmakers $750.00 for a week long pass and the parking, seminars and parties are extra. CENFLO is reasonably priced for movie makers and movie watchers. Take advantage as tickets are on sale as www.CentralFloridaFilmFestival.com. I promise---"You'll get what you pay for!"
....and cut!
I like to investigate other festivals but the Orlando Film Festival is in direct competition with AFI's Film Festival and AFM (American Film Market). AFM is where most working filmmakers need to attend. It's in Santa Monica, California and a thousand buyers from all over the world come to watch films presented by over seven hundred distributors. I've been seventeen times to observe my distributor showcase my film and take orders, hoping that in one fell swoop I can receive a return to my investors. Seventeen times since 1985, I've been listening to distributors complain about a slow economy hurting sales. It's only natural, now that it's fashionable to complain about the economy, every distributor will be crying even louder. It's funny, I never hear the buyers crying, except to whine there aren't any good films to purchase. Perhaps if the distributors attended more Indy Festivals around the country, they'd find better product for their buyers.
However, that's for feature films. I guess documentaries and shorts need a place to gather during that time as well....It might as well be Orlando. We've selected almost sixty shorts, a dozen documentaries and another fifteen excellent features (that will make their way to AFM), at the Central Florida Film Festival. Daily tickets are $20 (for an entire day of film watching!), $50.00, for three days or $99.00 for unlimited screenings, seminars and parties/mixers. AFM costs filmmakers $750.00 for a week long pass and the parking, seminars and parties are extra. CENFLO is reasonably priced for movie makers and movie watchers. Take advantage as tickets are on sale as www.CentralFloridaFilmFestival.com. I promise---"You'll get what you pay for!"
....and cut!
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