The Film Festival Folly

A letter sits upon a table, its words black and bleak. There are creases folded deep within the pages, a nervous origami — proof of your displeasure. It’s a rejection of your film, a refusal to consider the frames. You’ve been denied entry (again) and the consequence is a sigh, a scowl. You can’t understand this. A movie should be accepted by all, recognized for the brilliance that it is. Each scene has been carefully crafted, rendered with the utmost diligence and affection. And yet none have been willing to screen it, have deemed it instead unsuitable.

There is no reason for this, you believe. There is no… sense in it. Your movie should be receiving standing ovations, not dismissals. You can’t comprehend the lack of logic.

The truth, however, may be all too simple.

When selecting potential film festivals, you chose only the ones that were famed. All hope was placed upon being allowed to showcase your movie on the world’s greatest screens. There were no thoughts offered, however, to the issue of relevancy.

No film — no matter how spectacular, how special — is an ideal candidate for every festival. Each of these events is unique, meant to display specific kinds of genres and styles. If you fail to meet those standards you will not be chosen. This is an unfortunate fact, and it’s one too many directors forget in their quests to succeed.

All movies must reflect the tone and topics of the festivals they’re shown in. All elements (from the length of a piece to the category it falls within) must be tailored correctly. If your project does not abide by the standards, it will not be allowed to participate. And this must be understood by all.

Your love of your film is admirable. Your refusal to respect the rules of festivals, however, is not. Recognize the parameters and then work within them. Find the venue that is best for you.

The Rotterdam Advantage: Festivals

slotavond International Film Festival Rotterda...
Image by Sytske_R via Flickr

It’s the celluloid completion, the commitment of words and expressions — a film is finally finished, has suffered through the delays and worries, the constant revisions. But the project is ready now and you are… proud of it. The world will share that feeling, you’re certain. You merely need to offer frames and all will be impressed.

But there’s a concern of funds. You gave all pennies to your movie, drained your accounts and depleted your credit. There is no cash left to spare — and festivals, you know, demand entry fees just to offer their consideration. The money you give won’t even be enough to guarantee success. It will only offer a meager chance.

You don’t know what to do. You don’t know where to search.

The answer, however, is easy: you need the Rotterdam advantage.

The International Film Festival Rotterdam (often called IFFR) is a celebrated event held each year in the Netherlands. Began in 1972 it is one of Europe’s most prestigious (and enduring) offerings. All bold filmmakers seek it, hoping to find the vital exposure they need to succeed. It provides the necessary venue for those with a distinctive style, as well as a distinctive lack of money.

Because Rotterdam — unlike its countless counterparts — demands no fees. Participants are instead selected due to their merit, not because they can afford to enter. All are allowed to offer themselves for consideration, ensuring that no movie is left ignored simply because of its creators lacked the ability to pay.

And this is vital for struggling filmmakers. All focus can be given to sharpening scenes and editing frames. There is no longer a demand of dollars, pleading with others to provide new funding. Time (and pride) can instead be saved.

Never assume your movie must be dismissed, forgotten by festivals and their calls for fees. Let Rotterdam instead help you showcase your talent — without forcing you to pay for the privilege.

The Audience Consideration: Festivals

It’s the slow fade of a screen, the flickering scroll of credits — your film is finished and you’re now awaiting the response of the crowd. It will surely be spectacular, you believe. Your efforts were valiant, producing celluloid that could never be denied. The script was perfect; the acting was superb; and the metaphors were carefully presented. It was an exploration of the human condition, bounding between genres and styles. All will be impressed and you grin, expecting applause.

It… doesn’t come.

The festival-goers are instead quiet, staring down at the floor, their tickets. Their expressions are baffled; their approval has disappeared. And you slink down in your seat, humiliated by the utter apathy of it all.

This is every director’s greatest fear. It is also one, however, that can be avoided.

Choosing the appropriate festival is essential for all filmmakers. While your project may be accepted by many venues (offered that exclusive entry), this does not mean that you should simply offer it to any screen you can. There must instead be an understanding of the audience and their expectations.

Festivals are unique — their purposes are to showcase differing styles and topics, the specialized formats. Movies therefore are meant to reflect the tone of the events. They are to be relevant, relatable. And, when they are not, the viewers will react with disappointment (or even hate).

You must therefore recognize the intentions of every festival. Know what they traditionally emphasize. Discover the past winners, the notable entrants. Understand what the audiences gave most responded to in the past and then compare all of these films to yours. The point is not to mimic them; it is instead to stand comfortably beside them, blending within the expectations.

Consider who shall watch your movie and what you wish them to feel. Find the festival that offers the opportunity to reach these viewers, rather than choosing one that will only provide dull reactions and misunderstandings.

Persisting, Always: Filmmakers

Perfection has been achieved. This is your most certain belief — guiding your every action, your every thought. You have slaved through the hours; you have dedicated all efforts to frames. A film has been created and you’re sure that all will brand it a masterpiece. You merely have to submit it for consideration and the festivals will soon be battling each other to claim it.

But such claims never come.

They are instead replaced to rejections, the easy dismissals. Your project finds no adoration within the festival circuit. It is instead refused, thought to be unworthy.

And you want to weep — but you can’t.

The truth of crafting cinema classics is that the process isn’t an easy one. While you may be certain of your own superiority, others may only hesitate. There will be rejections. There will be chides. You will face a wave of criticisms… and you must accept them all.

Because few films have the ability to earn instant acclaim. Most are instead defined to apathy, the complete lack of praise. You will be forced to endure mockery; and persistence is therefore necessary.

Do not allow yourself to lose faith. Do not succumb to the strain. You must maintain your assurance in your skills and your project. There will be complications — but these must be overcome, countered with determination. Don’t let a singular rejection (or more) destroy you. Simply seek out other festivals, other venues, and find one that will understand your intentions. Filmmakers must be willing to recognize the inevitable failures before they can find the craved success.

Your movie may be brilliant. It may also, however, be misunderstood. It’s vital therefore that you continue with your project — search for the proper audience and the proper event. Don’t allow yourself to become overwhelmed by worry. Believe instead in what you can accomplish and what you wish to achieve.

Be confident in your abilities. Be supportive of your work.

The Entry Dilemma: Festivals

It is a film of exceptional beauty. It is a work of undeniable appeal. You have crafted the rare masterpiece, devoting yourself to cinema for long months. Such time was worth all costs, however — because the finished project is one you wish to share with the world. You merely need the appropriate showcase for it.

But there arrives a sudden dilemma: the festivals that would best receive your work (the ones most internationally known and therefore able to offer far greater appeal) demand entry fees; and you are uncertain of whether you can afford such things or whether you should even try.

The answer is a complicated one.

The world’s most prestigious venues — the Cannes Festival, the Sundance Film Festival, the British Urban Film Festival and more — require fees. No project may given to them without first offering dollars (and these amounts can be considerable). For many fledgling directors the notion of devoting their already weak funds to this seems unworthy. There are, after all, many other reputable events that demand nothing beyond a completed movie. No money is needed.

For those wishing to reach a larger audience, however, the entry fee may be the only solution.

When considerind festivals you must be aware of your intentions: is the purpose to simply seek a screen, to be accepted? Or is it instead to gain total notoriety, wanting to meet the giants of the cinema industry? The distinction between these two philosophies is vast and must be understood.

And, should you desire more than the smaller venues, you must then submit to the need for fees. These will demand your time, effort and pleading (asking others to help you generate the necessary amounts); but they can also reward you with great exposure. The results can be gratifying — and immediate.

You must first simply recognize what you desire and how much you are willing to provide to shape those desires into a reality.

The Submission Strategy: Film Festivals

A deadline looms before you — the ever approaching date, the steady loss of hours. And you begin to panic, hurrying to finish your film, editing the final frames and securing the metaphors. It’s a rush of creativity; but you finally succeed, are able to ship it to a festival. It will arrive just as the contest comes to a close and you are certain it will eventually yield a reward. You merely have to wait for the announcement to be made: your project will be one of the few chosen; and you will be known by all as the future of Hollywood.

But that future isn’t quite the ease you anticipated — because, when the festival finally does confess its choices, you discover that you… aren’t one of them.
You’re stunned, wondering how this was possible. Your film should have been selected, was surely better than the rest.

It could’ve been, but it never had the chance to prove this. All slots had already been filled.

Too often do new filmmakers assume that deadlines are to be tested, that all dates can be pushed. All projects are worked on until the final seconds, sent only when it is deemed essential. But this is a mistake.

There are only a limited amount of spaces each year for any festival. The events are composed of designated slots. Once these are claimed, no other films can be chosen. And, by shipping out your project at the latest possible time, you deny yourself the chance to be considered.

As each movie is viewed, it’s deemed either a candidate or a dismissal. It’s only logical therefore that the films watched first have the best opportunity to be selected. All late entries will be ignored. You must then submit your piece as early as possible — allowing it to arrive as soon as the contest is announced.

Don’t hesitate. Don’t assume your talent will be enough.

Timing is instead everything.

The Network Value: Festivals

It’s the exchange of ideas, the whirls of conversations: you are surrounded to directors and producers, actors and screen writers. The new Hollywood royalty (all brimming with exciting concepts, new styles) fills a festival. Their films are being shown; their philosophies are being accepted. And you are caught in the middle of it all, listening to all you can, trying to glean industry knowledge. You have even managed to trade quips with the clever cinephiles, offering your own insights into movies.

It seems to be the perfect night — until someone asks for your business card and you have none to give.

Traveling the festival circuit is essential for all up and coming filmmakers. Projects must be promoted; connections must be made. The intention is to gain exposure for your work and yourself. But that can’t be properly accomplished if you are not prepared to network.

Understand that these events offer more than a chance to showcase your film. They instead provide access to the movie industry — with all studios and financial backers watching closely, wanting to discover (and claim) the latest talents. You must therefore be ready to provide more than a smile.

Be certain that you carry copies of your resume, a stack of business cards, packets regarding your work and any other forms of contact information you can provide. Not all of these will be necessary to offer to every single individual; but you must simply be ready for any request. Network as you move throughout the festivals. Forge relationships that could one day earn your film wide exposure. Make sure your name, phone number, web site and email address are always known. This is essential.

Festivals are not merely excuses to receive praise. They instead enable you to seek out help for the future. But such help will be impossible to receive if you can’t provide the appropriate information.

Be aware of others and be prepared to promote yourself.

The Essential Edits: Preparing for Festivals

Images flicker across a screen — each moment perfect, each frame without flaw. You smile, watching the efforts of your days. A film was difficult to complete, demanded all of your patience and energy; but it’s now finally finished. Your work is a tribute to brilliance, offers the rare poignancy. All will be amazed by it, you believe. And any film festival should be honored to accept it. You simply must submit it and wait for the accolades.

What you receive instead is rejection, though. Festival after festival refuses to claim your movie, letting their schedules be filled with other projects. You don’t understand. There is no film that could rival yours. There is no piece that could prove itself to be better.

There are movies that can prove themselves to be edited, however — and that’s something you forgot.

New directors are proud of their works (and rightly so. It is an accomplishment to complete a project, to be brave enough to submit it for consideration). That pride too often becomes a hindrance, however. The belief that a movie is without failing forces many individuals to refuse the notion of editing. No scenes are shortened. No pacing is redefined. The first version of a film is the only version of it.

This is a mistake.

Nothing can shatter your chances for success more efficiently than a poorly structured piece. Without the benefits of editing (which can delete unnecessary segments, tighten dialogue exchanges and shorten lingering sequences) a film can appear indulgent — which will only frustrate viewers, rendering them unwilling to watch it.

Festivals can’t allow that: their purpose is to please audiences, offering films that will appeal. If any movie suffers from too long scenes, then it will earn no favor. That is counter-productive and isn’t worth the struggle.

You must therefore be willing to edit. Understand the difference between what is essential and what is wanted; and apply logic to your creativity.

Spice up Movie Night at a Film Festival

DSCI1359 Regal movie theater in Nashville

Have you encountered this conversation recently: ‘What do you want to do? ‘I don’t know, what do you want to do?’How about dinner and a movie?’ As far as recreation is concerned, dinner and a movie can be an enjoyable enough evening, but it is predictable, pass; it lacks pizazz. Spice up date night, girl’s night out or your retro sci-fi marathon by attending a film festival instead and demonstrate that you’re not subjugated to the ‘same old, same old.’

For the movie buff, a film festival provides a variety of movie options all in one location for maximum viewing opportunities. Here the movie connoisseur can choose from a variety of movie types or dive into one genre of choice. Take a day, or a weekend, to explore original content, new actors, directors, plots and opinions in ways rarely seen at the local movie theater.

Plus, a film festival provides a perfect opportunity to get a diverse group of friends together for a truly unique experience. Can’t agree on one movie? Break out into mini groups, each attending the movie of their choice, come back together for food and drinks afterwards and argue over who saw the best movie or movies!

Mix it up even more with movie videos. Want to see a cardboard constructed Rex the Dog sing ‘Bubblicious’ (you know you do!) or Japanese hand puppets perform to 80′s music meets Funk with an Asian twist (who wouldn’t)? Nowhere else can you be on the cutting edge of such cultural phenomena than at a film festival!

Suggesting a film festival, whether you’re in a group of two or twenty, will set you apart as unique, creative and innovative, and will certainly provide memories not soon forgotten. Film festivals provide an energy and excitement that can’t be found at the movie theater. There is a buzz, a frequency that can’t be paralleled, making it truly an event to remember.Have you encountered this conversation recently:’What do you want to do?’I don’t know, what do you want to do?’How about dinner and a movie?As far as recreation is concerned, dinner and a movie can be an enjoyable enough evening, but it is predictable, pass; it lacks pizazz. Spice up date night, girl’s night out or your retro sci-fi marathon by attending a film festival instead and demonstrate that you’re not subjugated to the ‘same old, same old.

For the movie buff, a film festival provides a variety of movie options all in one location for maximum viewing opportunities. Here the movie connoisseur can choose from a variety of movie types or dive into one genre of choice. Take a day, or a weekend, to explore original content, new actors, directors, plots and opinions in ways rarely seen at the local movie theater.

Plus, a film festival provides a perfect opportunity to get a diverse group of friends together for a truly unique experience. Can’t agree on one movie? Break out into mini groups, each attending the movie of their choice, come back together for food and drinks afterwards and argue over who saw the best movie or movies!

Mix it up even more with movie videos. Want to see a cardboard constructed Rex the Dog sing ‘Bubblicious’ (you know you do!) or Japanese hand puppets perform to 80′s music meets Funk with an Asian twist (who wouldn’t)? Nowhere else can you be on the cutting edge of such cultural phenomena than at a film festival!

Suggesting a film festival, whether you’re in a group of two or twenty, will set you apart as unique, creative and innovative, and will certainly provide memories not soon forgotten. Film festivals provide an energy and excitement that can’t be found at the movie theater. There is a buzz, a frequency that can’t be paralleled, making it truly an event to remember.Have you encountered this conversation recently: ‘What do you want to do?’I don’t know, what do you want to do?’How about dinner and a movie?’ As far as recreation is concerned, dinner and a movie can be an enjoyable enough evening, but it is predictable, passé; it lacks pizazz. Spice up date night, girl’s night out or your retro sci-fi marathon by attending a film festival instead and demonstrate that you’re not subjugated to the ‘same old, same old.’

For the movie buff, a film festival provides a variety of movie options all in one location for maximum viewing opportunities. Here the movie connoisseur can choose from a variety of movie types or dive into one genre of choice. Take a day, or a weekend, to explore original content, new actors, directors, plots and opinions in ways rarely seen at the local movie theater.

Plus, a film festival provides a perfect opportunity to get a diverse group of friends together for a truly unique experience. Can’t agree on one movie? Break out into mini groups, each attending the movie of their choice, come back together for food and drinks afterwards and argue over who saw the best movie or movies!

Mix it up even more with movie videos. Want to see a cardboard constructed Rex the Dog sing ‘Bubblicious’ (you know you do!) or Japanese hand puppets perform to 80′s music meets Funk with an Asian twist (who couldn’t')? Nowhere else can you be on the cutting edge of such cultural phenomena than at a film festival!

Suggesting a film festival, whether you’re in a group of two or twenty, will set you apart as unique, creative and innovative, and will certainly provide memories not soon forgotten. Film festivals provide an energy and excitement that can’t be found at the movie theater. There is a buzz, a frequency that can’t be paralleled, making it truly an event to remember.

Aspiring Directors Find Multiple Options for Showcasing Talent at Film Festivals

Warsaw Film Festival

Many people dream of making it big by breaking into the Hollywood movie scene. For aspiring directors it may seem like an impossible dream to have their abilities noticed, much less produced. However, Hollywood dreams become more accessible, as a result of film festivals where those dreams can not only become possible, but even plausible.

Aspiring and growing directors need look no further than their local film festival to provide them with a variety of options allowing them to showcase their talent. Local film festivals in particular tend to either emphasize, or are geared towards, local talent. They provide a wide array of movie options and particularly enjoy helping locals present their abilities to the general public. Plus, smaller, local festivals tend to be less expensive (if not free) than larger, more well known ones, thereby making them more accessible to an aspiring artist.

Another option available to new directors is to locate and participate in specialized film festivals. These may or may not be local, but may provide a better forum from which to display their talents. For example, a young director still in their teens may find more opportunity and better visibility at a youth or children’s film festival than at a more generalized local festival. Likewise, a female director may want to choose a women’s film festival or a Latin American director may find better fitting options at a cultural, or Latin American, film festival. There are so many unique film festivals available, finding one that matches the background, foundation or theme of the movie may increase the director’s chances for being noticed.

For the new director who is determined to reach major producers and production companies, it may be in their best interests to save up for the larger or ‘A’ list festivals. While these fees are much larger than the smaller and lesser known festivals, there is a higher probability that the film will be noticed by someone in, or with access to, the Hollywood crowd.

Whether looking for local notoriety, or truly trying to ‘œmake it big,’ film festivals hold the key for aspiring directors.