Film
festival research
Definition of a film festival:
Britannica encyclopaedia (2013) [Online] outlines that Film festivals are
an annual occasion, for the purpose of evaluating new or outstanding motion
pictures. Sponsored by national or local governments, industry, service
organizations, experimental film groups, or individual promoters, the festivals
provide an opportunity for filmmakers, distributors, critics, and other
interested persons to attend film showings and meet to discuss current artistic
developments in film. At the festivals distributors can purchase films that
they think can be marketed successfully in their own countries.
Case study of a director who started in the film festival circuit
(Online, 2013): Steven Soderbergh –
Steven Soderbergh began his passion for film making when he enrolled in
the university's film animation class and began making short 16-millimeter
films with second-hand equipment, one of which was the short film
"Janitor". After graduating high school, he went to Hollywood, where
he worked as a freelance editor. His time there was brief and, shortly after,
he returned home and continued making short films and writing scripts.
Soderbergh’s major break was during a period whereby he subscribed to
entering his directorial debut into Cannes film festival, Sex, Lies and videotape
made in 1989 was a film that earned Soderbergh the Cannes film festival Palme D’or
and the independent spirit for best director, Sex, lies and videotape revolutionized
the independent film movement, the film was a breakout for Miramax which was a decade
old at the time. Sex, lies and videotape also won the audience award at the Sundance
film festival and helped to raise awareness to the importance of the film
festival network.
Sex, lies, and videotape not only kick-started Soderbergh’s career but
provided a gust of wind in the sails of the then budding American independent
film movement, this is outlined by Pajiba (Online, 2011) Indie film had been a
driving force in the 1960s and 70s with companies like BBS (Five Easy Pieces)
and Roger Corman’s company, which had given a start to so many now famous
filmmakers (including Peter Bogdanovich, Francis Ford Coppola, Jonathan Demme,
Martin Scorsese, and James Cameron). Yet, through the efforts of some of those
same filmmakers brought up with the indie spirit, most notably George Lucas and
Steven Spielberg, the blockbuster became a rival form to the auteurist art
cinema. When auteur art films like Michael Cimino’s Heaven’s Gate (1980) and
Coppola’s one from the Heart (1982) tanked at the box office, studios became no
longer willing to put their faith in the director. The blockbuster had become a
much more cost effective proposition, thanks to its ability to both capture a
wide demographic and spawn sequels. Soderbergh changed all that, for better and
for worse, sex and lies and videotape highlighted the power of marketing a film
and the success that can be achieved from film festivals.
The importance of film festivals within the industry:
Film festivals are
integral to the circulation of a film as outlined by the research department of
the University of Toronto (Online, 2013) “film festivals are very important
within the industry as they are central to increasing the marketing of a film,
film festivals help connect the film maker to the target market, especially in
the current film festival era whereby the industry is shifting from a mass
market audience to hyper targeted audiences. The system is not dominated by one
country and film makers have the ability to aim their film at any country.” This
explains that film festivals are changing platform and it is important for
filmmakers to be aware of that change.
Another important question to ask is does critical success in film
festivals guarantee a career in the industry: An online article by script mag
outlines what film festivals can do for your career, (online, 2012)
“WHAT A FILM FESTIVAL
CAN DO FOR YOUR CAREER:
With the
digital age, filmmakers no longer need festivals to get their work seen, but
incorporating festivals into your distribution
strategy is wise. Film festival success allows a buzz to be created
about your film, get people in the industry’s attention to your work, and allow
you to network with other filmmakers and screenwriters in person.
However,
don’t get hung up on larger festivals like Sundance as the be all and end all.
There are countless film festivals
around the globe that will help raise awareness of not only your film, but also
your talent.
As in any
area of this industry, rejection is part of the process. Just because you
didn’t get into a top festival, doesn’t mean your film isn’t good. It could be
as simple as scheduling conflicts, or too many films submitted in that genre.
Some
questions to consider:
- Are
you submitting it to the right festivals for your film?
- Are
you waiting until the end of the submission process when the programmers
are exhausted from watching thousands of films, or are you taking
advantage of catching a programmer’s eye by submitting early?
- If
you created a short film,
is it the proper length for convenient programming, or is it too long to
easily be placed in between features?
Most
importantly, if a film gets great reviews at a festival, even a short film, it
will add credibility to your voice and possibly find you an agent or a manager.
WHAT
MAKES A GOOD FILM FESTIVAL?
Size
and focus: Some
small town festivals shouldn’t be overlooked, especially ones near large
cities. While many executives flock to Sundance, Toronto, and Austin, some like
the thrill of finding a diamond in the rough in unexpected, more tranquil
places. Also consider the quantity of films being shown. No one can watch 100
films. Less is more.
Potential
of exposure of your film: Quality exposure is as important as quantity. Make sure press will be
at the event to review your film or to interview you. PR is critical.
Special
events: Be sure
the festival offers more than just films. Often times, the parties, panels,
discussions, Q&A’s, and networking events are where your best connections
are made.
Networking
potential:
Research to see if quality executives and filmmakers attend or if people just
send their films in and don’t bother going to the event personally.
Face-to-face meetings are the best way to make lasting connections.
Organization
of the moviegoer’s experience: Films should be organized by genre, venue, and/or country
of origin. Maps should be provided for different venues, as well as places to
easily find food and restrooms. If the moviegoer is happy and well-cared for,
their viewing experience will be that much better.
FILM
FESTIVAL STRATEGY:
How to
find the right one?
Consider
the location: Can
you afford to get there? Expenses add up quickly the more festivals you submit
to and attend. Weigh out what is the best bang for your buck in terms of how
each festival can benefit your career and connections.
Politics: Many film festivals have politics
surrounding them. Some have policies about being the chosen “premiere” of your
film. You can unknowingly put yourself out of the running by entering and
showing at a smaller, unknown festival. Be aware of what the submission
guidelines are for all you apply to.
Industry
connections and distribution: If you’re looking to connect with agents, managers or
distributors, be sure those festivals are well attended by executives.
Prizes
and recognition:
Does the festival have good prizes? Who are the people sitting on the juries?
Factor these in if prizes and networking are important to you.
How
many do I enter?
That depends on your budget and ability to attend. Most festivals have a
submission fee, but there are some valuable festivals that waive the fees. Some
filmmakers are even creative enough to reach out to programmers without paying
a fee at all!
What
do I do once I get accepted?
Hire a
PR firm: They will
get the buzz going about your film, set up interviews with press before, during
and after the festival, and secure invitations to special events.
Creating
marketing materials:
As an independent filmmaker, it’s essential you are comfortable marketing your
film. You’ll need a marketing strategy
and materials to promote your film, such as business cards, movie posters and a
press kit.
Build
a website for your film: Distributors and executives need a place to go to learn more about
you and your film. A Facebook page or Twitter account isn’t enough. Create a dedicated website for your
project. It can be either a site solely for the film chosen for the festival or
a site containing all of your projects, highlighting the festival film.
What
do I do at the festival?
·
Network. Network. Network.
·
Bring screeners for the press to
view in the press office.
·
Distribute your marketing materials
everywhere you can.
·
Have a party and go to parties.
·
Invite everyone to your film’s
screening.
·
Give away extra tickets to your
screening.
·
Invite press, reviewers, and
distributors to your screening.
·
Offer to do a Q&A at the
screening with the crowd.
·
Make sure you have a new project in
the works to talk about!
Although film festivals are a successful way to market your film in the
digital age, it does not guarantee success in landing a job in the industry
immediately, as a filmmaker it is important to remember that rejection and
scheduling conflicts are the main reason why a successful film does not
necessarily garnish critical acclaim, if too many films are submitted within
the same genre this can also decrease the chances of a filmmaker being
selected.
As a filmmaker it is important to outline and focus on the following
aspects:
Targeting the right festivals; - Film festivals range widely in format,
these different forms of film festivals include –
Competitive feature film: Competitive film festivals will display films
which are accredited and often likely to be nominated for awards, Christopher
Holland (2008) outlines the different film festivals which are competitive,
“Competitive film festivals are attributed to successful directors and
acclaimed producers, these festivals include Berlin, Cairo, Cannes, Goa,
Karlovy Vary, Locarno, Mar del Plata, Montreal, Moscow, San Sebastian,
Shanghai, Tokyo, Venice, and Warsaw are accredited by the International
Federation of Film Producers Associations (FIAPF) in the category of
competitive feature films.” The list of films which are showed at competitive
film festivals would be publicised and prestigious for example with Cannes film
festival the films are critically acclaimed and commercially widely available,
similarly with film festivals such as Venice and Berlin, Cannes reputation is
built on the history of French Film and the image of French cinema. Cannes is
popular and attended by film stars and critics alike and is a popular
destination for producers to launch their newest works, for example Cannes film
festival (2013) [Online] outlines the films which will be competing at this
year’s event:
Opening Film
Baz LUHRMANN THE GREAT GATSBY
(H.C.) 2h22
Valeria BRUNI-TEDESCHI UN
CHÂTEAU EN ITALIE 1h44
Ethan COEN, Joel COEN INSIDE
LLEWYN DAVIS 1h45
Arnaud des PALLIÈRES MICHAEL
KOHLHAAS 2h05
Arnaud DESPLECHIN JIMMY P.
(PSYCHOTHERAPY OF A PLAINS INDIAN) 2h
Amat ESCALANTE HELI 1h45
Asghar FARHADI LE PASSÉ (THE
PAST) 2h10
James GRAY THE
IMMIGRANT 2h
Mahamat-Saleh HAROUN GRIGRIS
1h40
JIA Zhangke TIAN ZHU
DING
(A TOUCH OF SIN) 2h15
KORE-EDA Hirokazu SOSHITE
CHICHI NI NARU
(LIKE FATHER, LIKE SON) 2h
Abdellatif KECHICHE LA VIE
D’ADЀLE
(BLUE IS THE WARMEST COLOR) 3h07
Takashi MIIKE WARA NO
TATE
(SHIELD OF STRAW) 2h05
François OZON JEUNE &
JOLIE
(YOUNG & BEAUTIFUL) 1h30
Alexander PAYNE NEBRASKA 1h50
Roman POLANSKI LA
VÉNUS À LA FOURRURE 1h30
Steven SODERBERGH BEHIND THE
CANDELABRA 1h58
Paolo SORRENTINO LA
GRANDE BELLEZZA
(THE GREAT BEAUTY) 2h30
Alex VAN WARMERDAM BORGMAN 1h58
Nicolas WINDING REFN ONLY GOD
FORGIVES 1h30
Closing Film -
Jerome SALLE ZULU (H.C.) 1h50
UN Certain Regard:
Opening Film -
Sofia COPPOLA THE BLING RING 1h30
Hany ABU-ASSAD
OMAR 1h37
Adolfo ALIX JR. DEATH MARCH
1h45
Ryan COOGLER
FRUITVALE STATION 1st film 1h30
Claire DENIS LES
SALAUDS 2h
Lav DIAZ
NORTE, HANGGANAN NG KASAYSAYAN
(NORTE, THE END OF HISTORY) 4h
James FRANCO AS I LAY DYING 2h
Valeria GOLINO MIELE 1st
film 1h36
Alain GUIRAUDIE L'INCONNU DU LAC
1h32
Flora LAU BENDS 1st film 1h32
Rithy PANH L'IMAGE MANQUANTE 1h30
Diego QUEMADA-DIEZ LA JAULA DE
ORO 1st film 1h42
ANONYMOUS 2h14
Chloe ROBICHAUD
SARAH PRÉFÈRE LA COURSE
(SARAH WOULD RATHER RUN)
1st film 1h34
Rebecca ZLOTOWSKI GRAND
CENTRAL 1h35
Out of Competition -
J.C CHANDOR ALL IS LOST 1h45
Guillaume CANET BLOOD TIES 2h24
Midnight Screenings
Amit KUMAR MONSOON
SHOOTOUT 1st film 1h22
Johnnie TO BLIND DETECTIVE 2h07
Jerry Lewis Tribute
Daniel NOAH MAX ROSE 1h26
Special Screenings
Stephen FREARS MUHAMMAD ALI'S
GREATEST FIGHT 1h3
Roberto MINERVINI STOP
THE POUNDING HEART 1h38
Roman POLANSKI WEEK
END OF A CHAMPION 1h33
James TOBACK SEDUCED AND
ABANDONED 1h35
Cinéfondation:
Taisia IGUMENTSEVA OTDAT
KONCI 1st film
(BITE THE DUST) 1h41
This is a comprehensive list of films from the Cannes festival and
ranges from art house films to critically acclaimed films such as the Great
Gatsby which stars Leonardo Di Caprio, the huge prestige of this film will be a
huge attraction for film critics as the film is tipped to win many awards.
Experimental films:
Experimental American Film began as an art movement in the 1950’s, as
outlined by Chris Gore (2009) , “The movement began in San Francesco heavily
influenced by the German Expressionists F.W. Murnau, Fritz Lang, Robert Wiene,
the Soviet Constructivists Alexander Dovzhenko, Sergei Eisenstein, Vsevolod
Pudovkin and the early French film makers Georges Melies, Emile Cohl, Ferdinand
Zecca, experimental work in the 1950s and 1960s matured out of a yearning to
expand beyond the rules of orthodox narrative and invent a new language for
film. Indifferent to the labels of "avant-garde,"
"underground" or "non-narrative" film, the
"experimental" genre, has two qualities that distinguish itself from
other forms of filmmaking: a desire to deconstruct, or entirely ignore, the
Hollywood aesthetic and a complete exploitation of the range of tools available
to filmmakers.” This denotes that experimental film making defies the
conventional system adhered to in Hollywood.
Greencine [2005 – online] outlines the types of experimental film
festivals; Ann Arbour Film Festival was started in 1963. It is the oldest recurrently
operated experimental film festival in North America and has become one of the
premiere film festivals for independent and, primarily, experimental filmmakers
to showcase their work. The types of films which are experimental include
Mulholland Dr. by David Lynch, Dogville by Lars Von Trier, Wild Grass by Alain
Resnais and the wild blue yonder by Werner Herzog to name a few. These films
will displayed at experiment al film festivals which include Boston underground
film festival, Chicago underground film festival, Melbourne underground film
festival and Sydney underground film festival; these are an example of a few
experimental film festivals.
Independent films:
The definition of an independent film festival is outlined by Rona
Edwards (2012), “An independent film is a specialized film production resulting
in a feature film that is produced totally outside of the major film studio
classification. In addition to being produced and distributed by independent
entertainment corporations, independent films are also produced and distributed
by businesses of major film studios. Independent films are unique in their
content and style and the way in which the filmmakers' personal artistic vision
is grasped. Often independent films are made with considerably lower film
budgets than major studio films as competitive films such as Jaws, Jurassic
Park and Mission impossible require large budgets for effects whereas
independent films such as Before Sunset by Richard Linklater, Mysterious Skin
by Gregg Araki, Requiem for a dream by Darren Aronofsky and Donnie Darko by
Richard Kelly are examples of films produced outside of the major studio
system. The marketing of independent
films is characterized by limited release, but can also have major marketing
campaigns and a wide release; this is the case with Donnie Darko and Requiem
for a dream which were both commercially successful. Independent films are
often screened at local, national, or international film festivals before
distribution, a list of independent film festivals include Telluride Film
Festival, Sundance Film Festival, Austin Film Festival, Austin's South by
Southwest, New York City's Tribeca Film Festival and Slam dance Film Festival
are all considered significant festivals for independent film.
Animation: Animation is a simulation of movement created by displaying a series of
pictures, or frames. For example Cartoons on television is one example of
animation. Animation on computers is one of the chief ingredients of multimedia
presentations, Stacey Parks (2012) outlines animation film festivals and the
impact they have on audiences and the demand for animation films in cinemas, “animated
films such as toy story by John Lasseter, Topcat by Alberto Marr, Aladdin by
John Musker, Monsters INC by David Silverman and Finding Nemo by Andrew Stanton
have been commercially successful, animation film festivals such as Animex
international animation festival in Middlesbrough, Bradford Animation film
festival, Hiroshima International film festival and Melbourne international
film festival to name but several.” Furthermore big screen animation [2010–
online] outlines the emotional impact of animation films, “Animated film is one
medium of instruction that can be used to deliver learning materials to
children, with an interesting picture, attention will be immediately drawn to
the children there so that the learning process by using the animated film will
bear a pleasant atmosphere for the children, animated films have deeply
resonated in children’s memories and also provide pleasure for adults so it is
very commercially viable.”
The reasoning behind the successes of animated films is the improvement
of the vocabulary of children. Animated film is a medium that presents a
message which is audio-visual and gives the audience real connection. Media
film is generally liked by the children because the characters are interesting
animated images and also provide a happy trigger of childhood memories of
freedom and youth. Excess use of animated film in the process of learning can
complement the basic experiences of children when conversing, frequently asked
questions describe a process that can be watched over and over again if
necessary.
Moreover founded in 1960, the Annecy International Animated Film
Festival is the oldest international film festival dedicated exclusively to
animation, equally the others are: Zagreb, Ottawa, Hiroshima, KROK, and Anima
Mundi.
Asian Film Festival:
Most distinguished between the Asian Film Festivals is the Annual
Mumbai Film Festival in India, with its 200,000 USD cash prize, Osian's-Cinefan
Film Festival, which was newly extended to comprise Arab Cinema as well, and
the Hong Kong International Film Festival (HKIFF) Ma Boli International Punjabi
Film Festival Vancouver. These films festivals are significant in Asian and
help to promote Asian cinema.
African film festivals:
Festivals which are Significant in African territories are festivals
based on the continent , these are outlined in Greencine [2010 – online] which
includes the biannual Pan African Film and Television Festival of Ouagadougou
FESPACO in Burkina Faso, the annual Durban International Film Festival which
has grown in importance for industry with the addition of a co-production forum
and Talent Campus.
European festivals:
The biggest European festival is the Cannes film festival in France
along with Berlin and Venice.
Promotion and marketing of a film:
Creating a press kit; as a film maker there is an importance in
creating a press kit for your productions, this acts as a resume for your
company, this should be relevant to the target reader or audience. This
includes Information on the company: This includes your company's history, a
company profile, and profiles of the chief officers, senior management and
ownership. Entrepreneur by Al Lautenslager [2002 – online] outlines the
functions of a press kit, “ Important things to include in a press kit is
Product and service information, including a product, service or performance
review: This will let editors see what others are saying about you or help the
editor write his own review. This should also be supported with product or
service fact sheets, sell sheets or company brochures that are specific to your
product or service. For a film maker this will include an outline of the film
and production. Recent press publications and articles: Copies of recent press
coverage is very appropriate for a press kit. After all, what other media have
done will be of interest to current media targets. This can include article
reprints and printouts of online press that a company might have received.”
This will help to establish the market of your film and which film festival to
target your film to.
Promoting and branding your film;
Entertainment promotion [2007 – online] outlines the new age phenomena
of promoting your film, “Day by day new age technologies are exploited to give
a movie an added edge over others. Promotion is the buzzword. Movies are
promoted with a target audience, which eventually determines the box office
success rates. Marketing strategies are constantly evolving. Bhagam Bhag was
launched amidst much hoopla with a race conducted before the movie release in Mumbai,
and an added surprise whereby the runners had to unearth gifts hidden at
various points. Vivah went on to greet the audience at the theatres with
mouth-watering laddoos true to the spirit of the wedding depicted in the film. This
signifies that the process of film promotion is evolving and film makers are
increasing marketing strategies, downloads are increasing and other features
targeting modern audiences and this is an important tool for modern film makers.
Promoting and branding yourself;
Wahm [2012 – online] outlines the best strategy for branding yourself
and creating a company portfolio, “If you are a sole proprietor, personal
branding can help you expand your client base and earn financial success.
Having a personal brand should make your name or the name of your business
instantly recognizable and memorable so that potential clients will be able to
easily find you. Some successful personal branding examples include Michael
Jordan or Wrigley's. These are successful because they are sole proprietorships
which eventually became household names. Although your small business might not
attain worldwide fame, you can still become well known locally with successful
branding.” This outlines the importance of gaining a base for your branding
which will increase the chances of your film being produced.
Bibliography:
Online Sources
Book sources:
Edwards, R (2012) – The complete film maker’s guide to film festivals –
Michael Wiese Productions.
Gore, C (2009) - Ultimate film festival survival guide – 4th
editions – the essential companion for film makers – Watson Guptill.
Holland, C (2008) – Film Festival secrets: a handbook for independent
film makers – stomp Tokyo publishing’s.
Parks, S (2012) – The insider’s guide to independent film distribution
– focal press publishing’s.
