Film Festival Strategy: A Seminar of Ideas

As any experienced independent filmmaker knows, completing your film is only the beginning. Signing a distribution deal is the ultimate exit strategy for many filmmakers and the quickest route there is through a film festival, where distributors and agents will be scouting for new talent and content. However, with so much riding on this shot at fame and fortune (or simply the continuation of a career), a filmmaker must have a carefully planned and executed strategy if they plan on succeeding.

In recognition of this need for film festival strategy, Film Festivals International, an Los Angeles based organization that sponsors seminars for independent filmmakers, held a seminar devoted to teaching aspiring filmmakers ways to gain entry of their work into the industry's festivals.

In brief, the goal was to teach how to enter your film so you wouldn't have to go to the trouble yourself. How can this symposium be summed up in one word? SUNDANCE! That's right, Sundance still reigns supreme. While a plethora of other festivals are out there, many of which are valuable in their own right, Sundance is where you ultimately want to be.

The symposium's panel consisted of Sam Grogg, dean of the American Film Institute (AFI); Peter Baxter, executive director of Slamdance; Robert Faust, founder and director of the Los Angeles Independent Film Festival; Chris Gore, author and editor of Filmthreat. Steve Montal from the Chapman Producers Program moderated the event. Overall, the presentation was informative and Film Underground would definitely recommend next year's seminar to other filmmakers. Some topics covered included: Is digital video viable? Should you be submitting rough cuts? Which festivals are key? And of course: How to bribe staff and make those all-important connections.

So lets summarize those answers for you, starting with the video question. In a word, "yes," digital video is a viable alternative to film. Many festivals will accept entries on video, and even of those that won't; you can wait until your film is accepted to spend the money to have it blown up to film. And, of course, video's big advantage is that it's cheap. You can shoot take after take which, while certainly no guarantee of a better film, does allow you more takes with your unpaid (and inexperienced) actors.

Should you be submitting rough cuts? Depends on how "rough" it is, and how much better you think the final will be. One of the tips that those present agreed on was the earlier you submit, the better your chances. After all, do you want yours to be the first film they see, or the one hundred and first? That's what we thought. As to which festivals are key: Sundance! However, other big ones include: Cannes, Toronto, Telluride, Slamdance, New York and LA.

>>

Now the big one: how to bribe the festival staff -- or more appropriately -- what you are really doing at the festival. Obviously, you're trying to get your film seen, but that isn't all. No, gentle reader, the consensus among the panel is that your years of devotion, months of hard work, and pre- and post-production are simply the beginning. Getting your film accepted and seen is only the opening move in the proverbial chess match that is your career. I hate to use the C-word like that, but let's face it: Most of us want to make more than one film, and if you play your cards right at the festivals, someone may actually pay you to make that next film. So you need a strategy -- a coldly calculated plan that's as important as the extensive pre-production you did before you started this journey.

So, you ask, "What is that strategy?" Well, we can't plan it for you, but we can pass along some hints and tips. This year's Slamdance winner gave the festival office a computer. Did this influence the judges in any way? No. Did it get the staff on her side and make them want to help her and work for her in any way they could? Absolutely. You don't necessarily have to go to this sort of extreme, but it does pay to get to know the festival workers. They're people who, like you, love film and will do what they can to help you out, provided you aren't some Michael Bay-in-the-making egomaniac. Stop by the office to say "hi", send postcards, bring them cookies -- just let them associate a face with the film. Who do you think knows the real buzz at the festivals? The guy from Movieline, or the guy that's working for free and has probably seen every film? Give that guy (and what the hell, the guy from Movieline, too) a button, and everyone going into every film he works will see your film's name.

You don't have any buttons? Well, what is your giveaway? No giveaways? Then you need a new PR person. That's right, most successful people at these festivals have a PR person. You probably have at least one friend or two that works in PR, so sucker them into helping with a cheap flight to the festival. Or, if you have to, study past tricks and copy them. There are the obligatory flyers and posters, and hats don't hurt. What about key chains or mittens? If you weren't an original thinker, you wouldn't be on this Web site, so think up something cool and press it on people. You'll likely be doing it yourself, so introduce yourself to people and let them know how excited you are as a filmmaker about your film, and remind them of what it was like before they sold out.

Contributing journalist - Glen Berry