AJ Schnack's Advice on Film Festivals

AJ Schnack wrote a wonderful article on the state of Film Festivals and how an independent filmmaker can navigate that journey. He is the documentary filmmaker behind such great films as Gigantic, about the music band They Might Be Giants, and Kurt Cobain: About A Son. If you are a filmmaker preparing to head down the festival road, it's a worthwhile read.

However, I am beginning to think more and more about the necessity of doing the whole film festival and traditional distribution model. If you are trying to appeal to a younger audience, or a more tech savvy audience, it may be more worthwhile to just put it out there for free on the internet and build an audience virally like the Loose Change filmmakers are doing. It's certainly something to think about. With new technology and new media, are the old established models necessary?

Unfortunately, the dirty secret that no one seems to be mentioning is that very few people are making any money on the internet with filmed entertainment, with the exception of porn. So the question is whether an internet/new media film can make enough money to justify the cost of making a film. I guess if you are making low-budget, digitally shot, personal films that have a built in and dedicated audience, you may be able to sustain yourself by using new media. But ultimately, the numbers still haven't yet caught up with the amount of money you would get from a single television sale or DVD release.

10 Tips For Independent Filmmakers Seeking Distribution

Let me preface this with a couple of disclaimers. The following is my personal opinion based upon my experience of working in the independent film world for the past eleven years. I have worked in film production, film festivals, acquisitions, distribution, sales, and operations. A lot of this is advice that can be taken with a grain of salt. What works for one person may not work for another. There are things with which you may agree or disagree. Please feel free to comment if you have any questions, additional advice, etc. The following is a work in progress.

1. Genre, selling points – It’s important to think about this in pre-production or even earlier. It’s important to think about what sort of niche your film fits into. It’s rare that an independent film can cross over into many different demographics. You can increase the likelihood of getting distribution if you pay attention to this sort of thing. If you are making a horror, what are the sorts of things that horror film lovers want to see in a film? If it’s a family drama, be careful about including too many swear words, drug abuse or violence. Think about your audience and what is or is not acceptable to that audience. I’ve seen too many films linger without distribution due to overlooking some key elements. This also helps in marketing strategy after your film is complete and you are looking to release it into the market. Is it a festival film that will need some attention from film festivals? Is it a genre film that might be better off simply focusing on genre distributors. Also take a look at films that are similar to yours. Which distributors have had success with your type of film? Chances are that if they have had success in the past, they will want more films of that genre.

2. Press kits – This has been the subject of debate on a good deal of different film websites and forums and among filmmakers and distributors. Some people say that it is important to design a great looking press kit, including a screener, a poster, stills from the film, a short and simple synopsis, etc. Is it necessary? Yes and no. Most distributors pay attention to the film first and foremost. The best looking screener package isn’t going to convince them to acquire your film if it isn’t right for them. On the other hand, it can be a great deal of help for film festivals. If you get accepted to a film festival, having a poster, stills and postcards are practically required. But as a filmmaker, put the vast majority of your effort on your film. If you only have $1000 left in your budget and you have to decide between fixing the audio in your film and creating a poster, fix the film first. Make sure the film comes first. I’ve seen plenty of films where if they had spent as much time on their film as they did on their press kit, they would have made an excellent film. Also, most of the bigger distributors are going to create their own artwork and posters. They have designers on staff just looking for stuff to do. Smaller distributors may not have the budget and being able to use your artwork can be an advantage.

3. Film Festivals and Markets – Festivals and markets are very different creatures and one or the other may be right for your film. Film Markets like AFM, Cannes and Berlin tend to be more genre driven. Film festivals can be more open to more difficult films, films that are either a difficult subject matter or need that extra push to get attention. Film festivals can also be handy for certain niche films like Urbanworld for African American films or Frameline for gay films. There are festivals for many different niches, African American, gay, female films, documentaries, issue driven films, family films, etc. Distributors who attend those festivals usually have a more focused interested in those genres. This is not to say that you have to play in a niche festival, just that it can be another option to get your film out there and seen.

4. Deliverables – If you wind up getting distribution, there are certain things a distributor or sales agent is going to need to sell your film internationally.

Textless material – any shots that have text, make sure you keep the same shots without text. This is used for dubbing your film into foreign languages.

M & E or Music and Effects. Please keep your dialogue tracks separate from your music and effects tracks. This makes it easier to dub the film into foreign languages. Also be careful of using music within the scenes. Once you start having dialogue and music on the same track, it becomes almost impossible to separate.

Stills – If you are shooting a feature film, make sure you hire a professional photographer to come to the set to take publicity stills. These are vital selling elements for a distributor. Without stills, it becomes very difficult to create artwork and promotional materials. If you are short on cash, find a local photography student to do it for you for a small amount of money. Don’t try and do it yourself. You’re going to be too crazed on set to worry about taking pictures. Let someone else worry about that while you are setting up shots.

Trailer – Most likely, the distributor is going to create their own trailer. And the guy/gal you hired to edit your feature probably doesn’t specialize in editing trailers. Editing promos and trailers is a totally different skill set from editing a feature film. That being said, a trailer is a key selling element in seeking distribution. Focus on telling the story. If you have any effects shots, explosions, or CG, you want to include a bit of that in the trailer. But don’t go overboard. There’s nothing more frustrating than seeing a trailer full of car chases and explosions only to find out that 90% of the film is a period piece drama. Make sure the trailer is an accurate reflection of the film. Don’t try to get flashy and do special effects. Just keep it simple. Remember that you are creating a sales tool, not a piece of art.

5. Website – One of the most cost effective sales tools for the independent filmmaker is the website. It’s important to have a couple of things a potential distributor is looking for: Synopsis, Running Time, Cast, and a Trailer. It’s relatively inexpensive to set up a website nowadays. All you need to do is register the domain name and find a web hosting company to host your website. If you aren’t web savvy and don’t feel like shelling out the money for your own website, you can set up a free film blog on any of the blog services for free. Also, you can create a page for your film on youtube.com, withoutabox.com, myspace.com, or facebook.com. Edit: Also make sure you sign up for a twitter account for yourself as a filmmaker and follow other like minded filmmakers. It's an important selling tool. But be yourself. Don't simply try and promote the film. Join the discussion and become a part of the filmmaking community.

6. Finding similar films and filmmakers – Other films that are similar to yours aren’t your competition. They are your support group. Share information and work with other filmmakers. You may be able to help them, and they may be able to help you. The independent film community is a lot smaller than most people realize and word spreads fast. Give out copies of your film to other filmmakers. They may know a distributor that is looking for a film like yours. And if your film is similar to theirs, you may be able to work together and package your films together. Distributors have release schedules to fill. If they can buy two films at once, it makes it easier for them.

7. You, the filmmaker! Another important sales tool is the filmmaker him/herself. If you are involved in the promotion and release of the film, that helps to alleviate the promotion costs of the film upon release. Make sure potential distributors are aware of your level of commitment. Let them know you are available for any press screenings or promotional screenings. Offer to do DVD signings in local video shops around the country. Also be sure to tap into your own network. If you are a member of a community organization, non-profit, religious groups, etc., offer to help the distributor tap into that market. Start your own mailing list of people interested in the film. A film with a hard-working, dedicated filmmaker with a mailing list of 10,000 interested community members is a lot more interesting than a film without that support network. If you don’t have that network, go on Myspace.com and start networking with other filmmakers and film aficionados.

8. Persistence – Let’s face it. Getting distribution for your independently produced vision can be a difficult task. Don’t lose focus. You will hear a lot of no’s before you hear a yes. You may also want to pass on the first offer you get. Hang in there for the long haul. Make sure the distributor you are dealing with is right for your film.

9. Organization – Do your homework. Pick up a copy of the Hollywood Creative Directory’s Distributors Guide. Look on the website of potential distributors to find if they have films similar to yours. Ask for references. Where have they sold their films before? I’ve known some filmmakers who have made the mistake of taking a big fat check without doing their homework, only to find that the distributor wasn’t equipped to release their film. Make sure a potential distributor is really a film distributor or sales agent. If you have to choose between a lower offer from an established distributor and a higher offer from a filmmaker or ad agency turned distributor, go with the experience. This industry is about contacts. Also, never pay anyone to represent your film!!!! Never! If a sales agent needs to be paid to represent your film, they don’t believe they can sell it. It’s not worth it. Spend the money on an extra 1000 postcards and screeners. Although, they have a right to recoup their expenses. Some people may disagree with me, but I feel the same way about certain film festivals that charge the filmmaker a fee to get into the festival. Acquisitions people are aware of these scam festivals where acceptance means that the check cleared. If you simply want to have your film screened in a movie theater, then go right ahead. However, it’s not going to help you sell your film in the least bit.

10. Be Friendly and Outgoing – As I said before, the independent film community is pretty small and word spreads fast. Keeping a friendly attitude can help overcome a great deal of hesitation on the part of distributors. And you never know who is answering the phone. I’ve known heads of major distributors that answer their own phone. So you always want to be friendly to whomever you are speaking to on the phone. Copping an attitude and pretending you are important usually doesn’t work. In this day and age, it takes less than five seconds to check imdb.com. Also, be prepared to listen to the distributors when they pass on your film. Find out why they passed on your film. Is there something you can learn that you can use on another potential distributor? Is there a way you can overcome their objection? I’ve spoken to filmmakers that refused to listen when I told them what they needed to fix in their film. Obviously, you must take everything with a grain of salt since what doesn’t work for one distributor might work for another. Also remember that Acquisitions people have good memories and talk to each other. If you are pleasant and friendly, they may actually refer you to another distributor that is more suited to your film. Although, you must also remember that some of the larger companies forbid their employees from making recommendations because of legal reasons. So don’t press too hard if they hesitate to refer you to a different distributor.

11. Be Realistic – Okay. So it’s not just ten. Here’s a bonus tip. Be realistic. Acquisitions people aren’t stupid, no matter what you might think. Most of them love film and love filmmakers. So if you go around saying that your little independent film that you shot for $10,000 in your parents basement is just like The Matrix, or some other big blockbuster tent pole picture, don’t be surprised if they laugh in your face. In addition, I know that the film is your baby and you poured your soul into making the film. But sometimes the market demand for your film doesn’t match your expectations. Sure, you read about these big seven figure deals coming out of Sundance. However, those deals are the exceptions and not the rule. In addition, a lot of those films have multi-million dollar budgets and film stars that have agreed to work for very little money. If you get an offer that recoups your budget and then some, take it. And you may not even get any money up front at all with a straight distribution deal. Don’t wait too long. Films aren’t like wine. They don’t get better with age. If you don’t sell it in the first two years after completion, your odds of selling it decline dramatically.

That’s it. Let me know what you think. Also, please let me know your success stories or challenges. The independent film world is a tough one. Keep going! Remember that, despite everything, we do this because we love it.

Coffee

Well, I have finally managed to post my other short film, 'Coffee,' up on youtube. Please check it out when you get a chance.

http://www.youtube.com/watch?v=n7CN6L6v5Ps

Sorry for not posting more often. I have just been busy. I am currently working on some more in depth posts for the future.

See you soon!

Moving

If I haven't posted in awhile, it's because I have been in the process of moving to my new apartment. I got the keys to the place on the 14th. I moved all the small boxes by myself with some help from a friend of mine. Then the following week, I had the movers come and move the big stuff. Finally, I am all settled in to my new place. I just need to keep at all those boxes in my living room taking up so much space. It's been stressful, but I have been trying to be as laid back and relaxed about it as possible. Hopefully, I won't have to move again for quite some time. It's nice to finally have my own place after eight years of roommates. I finally figured that I could afford my own place and it was time to grow up and be an adult.