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!
Saturday, March 27, 2010
Friday, March 26, 2010
You've got to read this!
Hi Bob,
A while ago Kathy my co-producer submitted to you our film The Novelist. You rudely rejected and trashed it. I was just thinking of you because I'm planning to start an oversight process on how festivals receive, judge and reject films. This has nothing to do with our rejection but the fact that there are thousands of films, way better then what I see you accepting being rejected daily.
Anyway Bob, this is just a friendly hello to you because in my opinion you are the rudest person I have had to deal with in regard to festivals. You profess to be the know it all on film but in my opinion you are indeed void anything at all. When you turn down a great film and accept crap, that's called politics my friend. And in my opinion you are a master at it.
My goal is to unify Florida filmmakers NOT REJECT THEM! And possibly put our state on the map of filmmaking. But corrupt festivals need to go. If I Had my way Bob, all festivals would be required to return the funds to filmmakers who are rejected. (This is not a lottery system) Will see how many you would accept then. Don't you agree with that concept Bob?
Anyway, I can thank you for one thing. Your choice with our film back then sent me on a new, much needed mission.
Ocrtavian O.
Director
Response:
I didn't correct anything in his letter and I believe he spelt his name wrong but to point that out would be rude. He's mad because unlike most festivals we require each judge to supply me with reasons a film is rejected and I put it in critique form. This film "The Novelist" was submitted a year ago. He must have been seething for quite sometime. I remember going back and forth with Kathy (producer I think) about our critique. I constantly say, "Film is art and art is subjective." Everyone is entitled to their opinion. I provide a critique in case the filmmakers want something for their entry fee. Hopefully, the information we provide helps them become a better filmmaker.
I know thirty to forty film festivals are following our tweets and blogs. If you've got a better way please share it. I know you can't make everyone happy but please!!! This film was the fourth lowest scoring film in the five years of submissions and the second lowest last year. In 2006 I let almost every film into the festival. Back then we had only thirty submissions, you had to be really bad not to get in that year. Like camcorder bad. That year we paid for it in the press. They hated nine of the twenty four films we had. Most of those nine were Florida films with a following. Even the public complained about these films and that's when I went to Los Angeles attended a seminar about running a film festival and changed the judging format and added www.withoutabox.com to the mix.
Since 2007, films are scored 1-10 in ten categories (total score 100) to qualify for the festival. Over the past few years our bar has raised from 60 to 70 to qualify. We receive 150 film entries in three categories and take approximately 65-70 films based on screening time. This means if I have fifteen excellent features at two hours each there may be less documentaries and shorts. Our festival until this year was only three days. This year we've added a fourth day.
Refunds? Why? It cost a festival like ours $1250-$1500 to be listed on withoutabox. They (withoutabox) then takes a 28% commission on every entry. This means when a short sends in a twenty dollar ($20) entry fee, $5.60 immediately goes to withoutabox in the form of their commission. The remaining $14.40 goes against the $1500 debt. Once the debt is washed the festival receives 72% of remaining fees. Last year we received a check from withoutabox for $350. We gave out fifteen hundred ($1500) in cash prizes and spent another $400 in plaques. It's impossible to screen them all. Last year, the festival paid for seventy-two hours of screening time (two theaters times twelve hours). It's mathematically impossible to take them all. It's impossible to take half which is why we implemented a scoring system.
Politics? What politics? The only filmmakers I know are the ones that attend the festival. The filmmakers I work with are commercial filmmakers and do not take the festival route. We meet each year at AFM (American Film Market). I've read books like, SECRETS FROM A SUNDANCE PROGRAMER, and she tells me not to even contact filmmakers other than a form letter of rejection. I only agree when I come across people like the above and that's been three times in five years (oh, right, this guy twice). The criteria she (Roberta Munroe) provides in her book for submitting a film and selecting a film I agree with and practice to the letter. I believe filmmakers deserve to know why they didn't get into a festival. Granted some festivals are too big to care. They receive thousands of entries and it would be impossible to write them all. I don't believe a filmmaker has to agree but if I can't fight with critics in the commercial arena, why should festival filmmakers?
Seriously, I am open to any suggestions. I believe in what I do. I believe my experience allows me to classify myself an an authority in the film industry. I don't profess to know everything but I have experienced much in sixteen films and I'm willing to share and network. I look forward to your comments.
.....and cut!
A while ago Kathy my co-producer submitted to you our film The Novelist. You rudely rejected and trashed it. I was just thinking of you because I'm planning to start an oversight process on how festivals receive, judge and reject films. This has nothing to do with our rejection but the fact that there are thousands of films, way better then what I see you accepting being rejected daily.
Anyway Bob, this is just a friendly hello to you because in my opinion you are the rudest person I have had to deal with in regard to festivals. You profess to be the know it all on film but in my opinion you are indeed void anything at all. When you turn down a great film and accept crap, that's called politics my friend. And in my opinion you are a master at it.
My goal is to unify Florida filmmakers NOT REJECT THEM! And possibly put our state on the map of filmmaking. But corrupt festivals need to go. If I Had my way Bob, all festivals would be required to return the funds to filmmakers who are rejected. (This is not a lottery system) Will see how many you would accept then. Don't you agree with that concept Bob?
Anyway, I can thank you for one thing. Your choice with our film back then sent me on a new, much needed mission.
Ocrtavian O.
Director
Response:
I didn't correct anything in his letter and I believe he spelt his name wrong but to point that out would be rude. He's mad because unlike most festivals we require each judge to supply me with reasons a film is rejected and I put it in critique form. This film "The Novelist" was submitted a year ago. He must have been seething for quite sometime. I remember going back and forth with Kathy (producer I think) about our critique. I constantly say, "Film is art and art is subjective." Everyone is entitled to their opinion. I provide a critique in case the filmmakers want something for their entry fee. Hopefully, the information we provide helps them become a better filmmaker.
I know thirty to forty film festivals are following our tweets and blogs. If you've got a better way please share it. I know you can't make everyone happy but please!!! This film was the fourth lowest scoring film in the five years of submissions and the second lowest last year. In 2006 I let almost every film into the festival. Back then we had only thirty submissions, you had to be really bad not to get in that year. Like camcorder bad. That year we paid for it in the press. They hated nine of the twenty four films we had. Most of those nine were Florida films with a following. Even the public complained about these films and that's when I went to Los Angeles attended a seminar about running a film festival and changed the judging format and added www.withoutabox.com to the mix.
Since 2007, films are scored 1-10 in ten categories (total score 100) to qualify for the festival. Over the past few years our bar has raised from 60 to 70 to qualify. We receive 150 film entries in three categories and take approximately 65-70 films based on screening time. This means if I have fifteen excellent features at two hours each there may be less documentaries and shorts. Our festival until this year was only three days. This year we've added a fourth day.
Refunds? Why? It cost a festival like ours $1250-$1500 to be listed on withoutabox. They (withoutabox) then takes a 28% commission on every entry. This means when a short sends in a twenty dollar ($20) entry fee, $5.60 immediately goes to withoutabox in the form of their commission. The remaining $14.40 goes against the $1500 debt. Once the debt is washed the festival receives 72% of remaining fees. Last year we received a check from withoutabox for $350. We gave out fifteen hundred ($1500) in cash prizes and spent another $400 in plaques. It's impossible to screen them all. Last year, the festival paid for seventy-two hours of screening time (two theaters times twelve hours). It's mathematically impossible to take them all. It's impossible to take half which is why we implemented a scoring system.
Politics? What politics? The only filmmakers I know are the ones that attend the festival. The filmmakers I work with are commercial filmmakers and do not take the festival route. We meet each year at AFM (American Film Market). I've read books like, SECRETS FROM A SUNDANCE PROGRAMER, and she tells me not to even contact filmmakers other than a form letter of rejection. I only agree when I come across people like the above and that's been three times in five years (oh, right, this guy twice). The criteria she (Roberta Munroe) provides in her book for submitting a film and selecting a film I agree with and practice to the letter. I believe filmmakers deserve to know why they didn't get into a festival. Granted some festivals are too big to care. They receive thousands of entries and it would be impossible to write them all. I don't believe a filmmaker has to agree but if I can't fight with critics in the commercial arena, why should festival filmmakers?
Seriously, I am open to any suggestions. I believe in what I do. I believe my experience allows me to classify myself an an authority in the film industry. I don't profess to know everything but I have experienced much in sixteen films and I'm willing to share and network. I look forward to your comments.
.....and cut!
Florida versus Sarasota - Head to Head
April 8th thru 18th both the Florida Film Festival and the Sarasota Film Festival will be vying for independent movie lovers. I have enjoyed both festivals in the past. However, when it comes right down to it the Florida Film Festival is in my back yard and receives my vote. I'm guessing the Sarasota Film Festival believes it doesn't pull from the Central Florida area but I've got to believe that most filmmakers won't want to be screened at both. This should bode well for Florida films and films with Florida themes as both festivals will want to draw locals to the area. They also will want premiers and perhaps borderline festival films will make the cut in Sarasota where vacancies will be created by the older FFF.
This was the main reason I placed the Central Florida Film Festival six months away from both. We can screen the best of their festivals and have a window prior to the American Film Market in Los Angeles where we can screen more commercial films as well. The Sun Screen Film Festival in Clearwater begins on April 19th. There's no reason why Floridians can't support a few films and enjoy the change in the weather at the same time.
.....And Cut!
This was the main reason I placed the Central Florida Film Festival six months away from both. We can screen the best of their festivals and have a window prior to the American Film Market in Los Angeles where we can screen more commercial films as well. The Sun Screen Film Festival in Clearwater begins on April 19th. There's no reason why Floridians can't support a few films and enjoy the change in the weather at the same time.
.....And Cut!
Thursday, March 11, 2010
Florida Film Festival
I don't get inspired by many things. Perhaps my dad's winning fight over Cancer, the Academy Awards, or a moving story about how someone was able to overcome adversity to succeed. However, I can now add the Florida Film Festival to that list of inspiring moments as a filmmaker.
Chris Blanc, graciously invited my wife Ginger and me, to the "Sneak Preview Party" of the Florida Film Festival (April 9-18). The party included a sneak preview program of coming attractions and films for the ten day event which will be based at the Enzian Theater in Maitland, Florida. I get it now, the difference between the Florida and Central Florida Film Festivals. Florida travels to several premier festivals including Sundance and Toronto to recruit films for Floridians to see. These are film that we would never see mainstream. In the few minutes of preview I noticed several Sundance Films and at least two Academy Award winners. These are films that Ginger and I can't wait to support.
The Florida Film Festival has been around for nineteen years and is the class of the field of Florida's offerings. It's also billed as one of the top festivals in the country. One hundred and sixty two films will be screened over ten days. There has to be something for everyone.
I'm inspired to recruit and search for films that may have fallen through the cracks so we can show them at our Central Florida Film Festival in Ocoee, Florida (September 3-6, 2010). If you're a lover of film, put April 9-18, 2010 on your calendar. There's pricing for all pocketbooks. Go to http://www.floridafilmfestival.com/ for more information and tickets.
My thanks to Chris and his staff at FFF for including us as part of the growing film community here in Orlando. We'll see you there!
....and cut!
Chris Blanc, graciously invited my wife Ginger and me, to the "Sneak Preview Party" of the Florida Film Festival (April 9-18). The party included a sneak preview program of coming attractions and films for the ten day event which will be based at the Enzian Theater in Maitland, Florida. I get it now, the difference between the Florida and Central Florida Film Festivals. Florida travels to several premier festivals including Sundance and Toronto to recruit films for Floridians to see. These are film that we would never see mainstream. In the few minutes of preview I noticed several Sundance Films and at least two Academy Award winners. These are films that Ginger and I can't wait to support.
The Florida Film Festival has been around for nineteen years and is the class of the field of Florida's offerings. It's also billed as one of the top festivals in the country. One hundred and sixty two films will be screened over ten days. There has to be something for everyone.
I'm inspired to recruit and search for films that may have fallen through the cracks so we can show them at our Central Florida Film Festival in Ocoee, Florida (September 3-6, 2010). If you're a lover of film, put April 9-18, 2010 on your calendar. There's pricing for all pocketbooks. Go to http://www.floridafilmfestival.com/ for more information and tickets.
My thanks to Chris and his staff at FFF for including us as part of the growing film community here in Orlando. We'll see you there!
....and cut!
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
Academy Awards Rant & Predictions
March 7th is the date the film industry is marking down in it's calendar. The night of the Academy Awards, where Oscar parties will be everywhere with fun, games and of course predictions.
I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!
I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.
Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!
Let's move onto the guessing game -
Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.
Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.
Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).
Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?
Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!
Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?
Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short
Who cares?
Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.
.....and cut!
I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!
I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.
Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!
Let's move onto the guessing game -
Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.
Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.
Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).
Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?
Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!
Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?
Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short
Who cares?
Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.
.....and cut!
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