Film Festivals

[Bernie]

I know I am a crazy long way away from this. However, what is it like submitting to film festivals. Even the big ones? Specifically: Do you have to pay up front/at all? Is it truly the quality of the film that is considered? Or are there politics involved, such as reputation, nepatism, etc.? Are certain subject matters/styles more likely to get attention? Just curious, any one know any of this stuff? Thanks guys.

[Lizardo]

Originally posted by Bernie
what is it like submitting to film festivals. Even the big ones? Specifically: Do you have to pay up front/at all? Is it truly the quality of the film that is considered? Or are there politics involved, such as reputation, nepatism, etc.? Are certain subject matters/styles more likely to get attention?

Hey Bernie.
Most of the answers are yes. For instance, there's usually a $20-$50 entry fee, so it's wise to strategically decide what festivals you want to enter and save some of your budget for that.

And yes, there's definitely a lot of politics to the whole thing. Once you get attention at one good festival, you'll get picked up by the others and meet up with the same people on the circuit. You might even have a few breakfast meetings. But politics schmolotics...in the reputable festivals it all comes down to story telling.

As far as pretty film goes, can't hurt. But I've seen some brilliant shorts shot on video. Content, baby!

Check out:
The Ultimate Film Festival Survival Guide by Chris Gore www.indiewire.com
www.aspenfilm.org/events.html#shortsfest (a kickin short fest)

[Wingsofdesire]

You are closer than you think.

I concur with Lizardo. It is all about the story. Your film could look like crap (though make the best possible effort not to have that happen) but if you have a story or performances that evokes something in your audience then you have a good film and a good shot at getting into a festival. In addition, the best advice I have gotten (more than once) is do not skimp on the sound. It can make the difference between an OK film and a awful film.

Talk to or read up on those who have been to particular festivals. They will let you know which ones are waste of time and which have possibilities. Go to a festival just to check out the scene. It will help you be prepared when your film gets to be in one. (Like knowing what to bring: photos, bios, press kits, etc)

You may want to consider non-US film festivals. Most of them do not have fees to enter. Also search out up and coming festivals they will be easier to get into before they become world reknowned. It was only a few years ago when you still had the opportunity to ACTUALLY TALK to the people running the Taos and the Hamptons film festivals. Now you have to know someone who knows someone.

Check www.filmfestivals.com. It lists practically every film fest in the world by location and date. Also AIVF on Hudson Street (www.aivf.org) publishes a very comprehensive book that list festivals by date, location, fees, deadlines, theme and 35mm, 16mm or video submissions.

One more hint, for what it is worth I have heard that shorts that are short (7 minutes or less) and funny always have a better shot of getting in. Who knows if it true but I thought I would pass it on.

[funnyerik9]

My screenwriting friend, Tracey Adlai, is hosting a film fest this summer in the San Fernando Valley August 1-8. It's called <A HREF="http://www.valleyfilmfest.com/">Valley Film Fest</A>.

It's at filmfestivals.com and will be featured in Premiere Magazine coming up in their FIlm Festival issue.

-Erik!

[youngcat]

Second the reccomendation of Chris gore's book, especially if you've never looked into festivals before. It lists EVERY festival that is worth listing in the world, and gives great information that would take weeks to research anyplace else (average number of submissions versus accepted films, etc...)

When I was researching this myself, I made a list of 25 festivals that I wanted to submit to, and then researched each of those festivals to compare the schematics of the films that had been previously accepted to the film I was working on. A lot has changed in the past two years or so, I think I have a copy of the 2000 edition of the book. Let me know if you want to borrow it.