Ted some really excellent advice here. I would also add that while you NEED great stills, posters, press kit, materials etc when you have your festival premiere, you don't need to bombard programmers with these assets at submission stage. I've seen filmmakers try to submit stills and an 8-page directors letter alongside a link. At the submissions stage you really want the film to be able to speak for itself (a short intro email is fine of course but programmers don't want or need to see a press kit, a trailer, etc when they are viewing during the submissions process.) also, I know first hand that festivals get FLOODS of submissions on the closing submission date, at which point your film has a slimmer chance of being accepted because some slots are inevitably taken by films that submitted earlier. so you get a better shot if you don't submit in the last days before deadline.
Start with a good script and make a really good movie. Have a clean and interesting online presence dedicated to your film. Use pull quotes (including from your celebrity advocate). Choose a great "central image" and title treatment that will be the main forward facing image of your film; get professional graphic illustrator advice/help on this. I don't know when it's best to apply to a given festival (early - mid - late?) but be aware that submission fatigue at festivals is a real thing.
Wendy's comment about artwork and a good press kit are spot on. During a meeting with the marketing team of a top streamer shared with me that their internal review of how their platform is used revealed that their subscribers spent just 1.5 seconds deciding between different pieces of content. Sadly, after years of work, a filmmaker's first and primary gateway into a customer's home will be whether or not they did a good job designing eye-catching artwork.
Usually I also counsel filmmakers to keep their trailers to just 90 seconds or less.
But great summary article Ted -- I'll post it on my LinkedIn page as well.
This is quite a thorough list! It is inspiring particularly in terms of nurturing relationships. After all, as they say, it's a people business (btw, in fact which business isn't?)!
This list of suggested approaches to festivals is definitely accurate, but it’s also disgusting. Really, if anything spells out the underbelly of festivals, this does. So if you can really schmooze up a storm, you’re golden. But if you are an authentic artist who wants to put most of your energy into making the actual film- and maybe aren’t that type of schmoozey person, lotsa luck unless you can hire your schmooze team. There has to be a better way than this. No wonder the art house scene ain’t what it once was and the indie films today are nowhere near the quality of old. Look no further than this blog post for your answer.
I am sorry that I summoned that impression Mary. I think the relationship side of things is really community building, as well a mixture of media literacy & context. As much as I would like work to speak for itself, it is also the question of set & setting. How do you as an artist help ensure that it is viewed with proper context? Through communication and relationships.
Ted some really excellent advice here. I would also add that while you NEED great stills, posters, press kit, materials etc when you have your festival premiere, you don't need to bombard programmers with these assets at submission stage. I've seen filmmakers try to submit stills and an 8-page directors letter alongside a link. At the submissions stage you really want the film to be able to speak for itself (a short intro email is fine of course but programmers don't want or need to see a press kit, a trailer, etc when they are viewing during the submissions process.) also, I know first hand that festivals get FLOODS of submissions on the closing submission date, at which point your film has a slimmer chance of being accepted because some slots are inevitably taken by films that submitted earlier. so you get a better shot if you don't submit in the last days before deadline.
Start with a good script and make a really good movie. Have a clean and interesting online presence dedicated to your film. Use pull quotes (including from your celebrity advocate). Choose a great "central image" and title treatment that will be the main forward facing image of your film; get professional graphic illustrator advice/help on this. I don't know when it's best to apply to a given festival (early - mid - late?) but be aware that submission fatigue at festivals is a real thing.
Thanks for another enlightening post!
Well said, James! Thanks!
Wendy's comment about artwork and a good press kit are spot on. During a meeting with the marketing team of a top streamer shared with me that their internal review of how their platform is used revealed that their subscribers spent just 1.5 seconds deciding between different pieces of content. Sadly, after years of work, a filmmaker's first and primary gateway into a customer's home will be whether or not they did a good job designing eye-catching artwork.
Usually I also counsel filmmakers to keep their trailers to just 90 seconds or less.
But great summary article Ted -- I'll post it on my LinkedIn page as well.
Could 20 be.....?
Develop a thick-ish skin. You will hear a lot of 'no's' before you hear the magic 'yes'.
Learn how to take the 'no's' in a graceful and dignified fashion.
The next film comes around very quickly.
This is quite a thorough list! It is inspiring particularly in terms of nurturing relationships. After all, as they say, it's a people business (btw, in fact which business isn't?)!
Thanks for an inspiring post!
This list of suggested approaches to festivals is definitely accurate, but it’s also disgusting. Really, if anything spells out the underbelly of festivals, this does. So if you can really schmooze up a storm, you’re golden. But if you are an authentic artist who wants to put most of your energy into making the actual film- and maybe aren’t that type of schmoozey person, lotsa luck unless you can hire your schmooze team. There has to be a better way than this. No wonder the art house scene ain’t what it once was and the indie films today are nowhere near the quality of old. Look no further than this blog post for your answer.
I am sorry that I summoned that impression Mary. I think the relationship side of things is really community building, as well a mixture of media literacy & context. As much as I would like work to speak for itself, it is also the question of set & setting. How do you as an artist help ensure that it is viewed with proper context? Through communication and relationships.
I feel your initial response, Mary, but has art ever been only about the art - Is this really a new phenomenon?