I’m a fan of the united festivals idea, and it doesn’t even sound like it would require much extra effort (on top of the effort organising a festival requires, which must be substantial). Last night at the small, regional Inner West Film Festival in Sydney, we celebrated Canadian National Film Day with some recent Canadian films, an introduction by a member of the Canadian Consulate, and welcoming drinks (though I was late for the drinks, so I can’t speak to how Canadian the drinks were). Apparently there was even a red carpet laid out for the Canadian glitterati. And this was only one event in a global calendar of events in honour of Canadian National Film Day, and only some of the Canadian films showing all week as part of the festival. Now the festival organisers are cautiously discussing the idea of an Australian equivalent to the National Film Day. I know this is different to what you describe, but my point is you can effectively cross-promote within festivals. It doesn’t have to be a hierarchy or ‘best of the best’ selection of 5 films: it can simply be treated as a roving mini-festival that visits a group of united festivals. The Roving Film Festival, for example.
Last night just before going to bed I read the entirety of the article you reference here (saw your post on LinkedIn) "The Life and and Death of Hollywood." Afterwards, I went to bed totally depressed. Then last night I had a dream where I was sad and moping down a dark street of multi-millionaire mansions where super nice cars were double parked on one side of the street.
While I have no idea what this dream portends (other than me being sad and bummed out about the situation) I wholeheartedly recommend the article as a call to action and, as you write, a MUST READ for all filmmakers. Thanks for posting it.
This is amazing Ted. As usual. I know you recommend some of our Substacks so I assume you’re aware but we’ve had some great success with Film Festival Mastery courses and offering strategic advice to filmmakers. Over 400 filmmakers, have come through in the last few years. Totally agree strategy needs to be at the top of the list.
And policing (submission apps and Festival transparency) is also key to the solution. There are too many scams out there and filmmakers are getting ripped off.
The one operational improvement for festivals I don't understand or agree with is requiring filmmakers to have a distribution plan. To me, that is backwards. To me I look to film festivals to help FIND or GET distribution OR to get someone interested in me as a writer/director for my next film project. How can you come up with a distribution plan if no one's seen or read a review of your film? To me, any film festival worth its salt should be flooded with distributors, sales agents, talent agents and film reviewers. More often, they aren't except for the top few which are virtually impossible to get into (less than 1% at Sundance) because they've already flooded there selection slate with celebrity films that already have distribution and reviews. In other words, film fests should be more like film markets or pitch fests with industry presence. Other wise filmmakers are wasting their time and money.
I will have to write more on this subject clearly. The film festival buyer feeding frenzy is a thing of the past and was a vesture of a supply shortage and an inefficient relationship with audience and/or consumer. It also proved to be a false method of evaluating titles for most, beyond being a snapshot comparison with the current market. Festivals can truly elevate a film's awareness, even it's appreciation. But it doesn't truly increase it's value, other than bring that into clearer focus. A festival launch is such a crucial step in a film's lifecycle you don't want to waste it -- which is what everyone who comes in with no plan does. One of the reasons I encourage multiple plans, is the reception a film receives is also not always accurate and you need to have a plan to build upon it, transform it, or strike while the fever is hot -- but all of that is far more than "seeing what happens".
“Require” is also a stronger word then I would use personally :)
However 110% filmmakers should go into the festival phase with at minimum distribution goals and 100% with distribution plans. And the “s” on plans is important because having multiple routes in mind gives you the agency to be fluid base on how your film is received when shown and the opportunities you come across. I know it’s just a word “get”, for me I’d encourage thinking about making and planning distribution. In the indie (non-dependent) space we will fair better if we aren’t waiting for permission to get distribution from someone and rather be making our own distribution happen.
Having distribution plans going into the fest phase will hopefully mean filmmakers have realistic expectations of what’s actually possible and happening.
I am 110% with you -- "require" was perhaps a bit driven to get folks rev'd up. Incentivize is the key. Perhaps they could give early admission notice and consideration if they submitted with 3 different distribution scenarios.
Maybe a mandatory seminar for films accepted re distribution prep? There are onboarding filmmaker sessions at Sundance etc where they talk about what to expect and it focuses more on logistics and press etc. how places like doc society has been doing their pitch prep sessions prior to good pitch and other events they do. It’d be great for festivals to offer support like this to prepare their filmmakers. Many festivals that have year round workshops or programming could further extend their educational and filmmaker support work.
I wish I’d read this back when it was posted but I was busy producing the ESSENCE Film Festival. So much to say, but I’m sure this discussion is already over.
Distribution planning is a whole job and field of study in of itself. I wouldn't know where to start. I really think many filmmakers (including myself) don't have the bandwidth to do that on top of the energy, time, and know-how it takes to write, direct and complete an indy film. I would instead encourage filmmakers to partner up with a producer who has the energy, time, and know-how needed for making a distribution plan.
I’m a fan of the united festivals idea, and it doesn’t even sound like it would require much extra effort (on top of the effort organising a festival requires, which must be substantial). Last night at the small, regional Inner West Film Festival in Sydney, we celebrated Canadian National Film Day with some recent Canadian films, an introduction by a member of the Canadian Consulate, and welcoming drinks (though I was late for the drinks, so I can’t speak to how Canadian the drinks were). Apparently there was even a red carpet laid out for the Canadian glitterati. And this was only one event in a global calendar of events in honour of Canadian National Film Day, and only some of the Canadian films showing all week as part of the festival. Now the festival organisers are cautiously discussing the idea of an Australian equivalent to the National Film Day. I know this is different to what you describe, but my point is you can effectively cross-promote within festivals. It doesn’t have to be a hierarchy or ‘best of the best’ selection of 5 films: it can simply be treated as a roving mini-festival that visits a group of united festivals. The Roving Film Festival, for example.
Good idea!
Last night just before going to bed I read the entirety of the article you reference here (saw your post on LinkedIn) "The Life and and Death of Hollywood." Afterwards, I went to bed totally depressed. Then last night I had a dream where I was sad and moping down a dark street of multi-millionaire mansions where super nice cars were double parked on one side of the street.
While I have no idea what this dream portends (other than me being sad and bummed out about the situation) I wholeheartedly recommend the article as a call to action and, as you write, a MUST READ for all filmmakers. Thanks for posting it.
No time like the present…
https://utahstories.com/2024/01/is-sundance-film-festival-leaving-utah/
This is amazing Ted. As usual. I know you recommend some of our Substacks so I assume you’re aware but we’ve had some great success with Film Festival Mastery courses and offering strategic advice to filmmakers. Over 400 filmmakers, have come through in the last few years. Totally agree strategy needs to be at the top of the list.
And policing (submission apps and Festival transparency) is also key to the solution. There are too many scams out there and filmmakers are getting ripped off.
The one operational improvement for festivals I don't understand or agree with is requiring filmmakers to have a distribution plan. To me, that is backwards. To me I look to film festivals to help FIND or GET distribution OR to get someone interested in me as a writer/director for my next film project. How can you come up with a distribution plan if no one's seen or read a review of your film? To me, any film festival worth its salt should be flooded with distributors, sales agents, talent agents and film reviewers. More often, they aren't except for the top few which are virtually impossible to get into (less than 1% at Sundance) because they've already flooded there selection slate with celebrity films that already have distribution and reviews. In other words, film fests should be more like film markets or pitch fests with industry presence. Other wise filmmakers are wasting their time and money.
I will have to write more on this subject clearly. The film festival buyer feeding frenzy is a thing of the past and was a vesture of a supply shortage and an inefficient relationship with audience and/or consumer. It also proved to be a false method of evaluating titles for most, beyond being a snapshot comparison with the current market. Festivals can truly elevate a film's awareness, even it's appreciation. But it doesn't truly increase it's value, other than bring that into clearer focus. A festival launch is such a crucial step in a film's lifecycle you don't want to waste it -- which is what everyone who comes in with no plan does. One of the reasons I encourage multiple plans, is the reception a film receives is also not always accurate and you need to have a plan to build upon it, transform it, or strike while the fever is hot -- but all of that is far more than "seeing what happens".
“Require” is also a stronger word then I would use personally :)
However 110% filmmakers should go into the festival phase with at minimum distribution goals and 100% with distribution plans. And the “s” on plans is important because having multiple routes in mind gives you the agency to be fluid base on how your film is received when shown and the opportunities you come across. I know it’s just a word “get”, for me I’d encourage thinking about making and planning distribution. In the indie (non-dependent) space we will fair better if we aren’t waiting for permission to get distribution from someone and rather be making our own distribution happen.
Having distribution plans going into the fest phase will hopefully mean filmmakers have realistic expectations of what’s actually possible and happening.
I am 110% with you -- "require" was perhaps a bit driven to get folks rev'd up. Incentivize is the key. Perhaps they could give early admission notice and consideration if they submitted with 3 different distribution scenarios.
Maybe a mandatory seminar for films accepted re distribution prep? There are onboarding filmmaker sessions at Sundance etc where they talk about what to expect and it focuses more on logistics and press etc. how places like doc society has been doing their pitch prep sessions prior to good pitch and other events they do. It’d be great for festivals to offer support like this to prepare their filmmakers. Many festivals that have year round workshops or programming could further extend their educational and filmmaker support work.
I wish I’d read this back when it was posted but I was busy producing the ESSENCE Film Festival. So much to say, but I’m sure this discussion is already over.
Distribution planning is a whole job and field of study in of itself. I wouldn't know where to start. I really think many filmmakers (including myself) don't have the bandwidth to do that on top of the energy, time, and know-how it takes to write, direct and complete an indy film. I would instead encourage filmmakers to partner up with a producer who has the energy, time, and know-how needed for making a distribution plan.