Speaker 1: Film festivals are an instrumental tool for filmmakers. Whether you are an established filmmaker or one just starting their career, recognition from a festival can be vital. How do they benefit filmmakers? Which ones should you be applying to? And how do you get into them? The history of film festivals stretches all the way back to 1932, when the Venice Film Festival first opened its doors. Over the next few decades, film festivals began to play a large role in drawing attention to previously overlooked or newly emerging film industries. Venice helped re-establish the Italian film industry after World War II, and Rashomon's win in 1951 popularized Japanese cinema abroad. In the 1990s, a new generation of American filmmakers had their careers launched by Sundance. Sundance winner Robert Rodriguez explains.

Speaker 2: Well, to any independent filmmaker, that was the dream, to be able to go to the biggest independent American film festival there was, and that was Sundance, get your work shown, get discovered.

Speaker 1: Today, there are thousands of film festivals around the world, each offering unique opportunities to filmmakers. But what exactly makes them worthwhile? First and foremost, festivals are great for networking. Success in the film industry comes in no small part from who you know, and festivals typically have panels and mixers where filmmakers can get to know each other and other industry professionals. To make sure you maximize your networking opportunities, research ahead of time who will be there. Similarly, a festival can be a great place to receive feedback on your film from other filmmakers. At some festivals, you may partake in a Q&A after your film, where you will field questions about your project from the audience. Some festivals have screenplay competitions, where you can obtain feedback on your script. If your screenplay does well, it could get attention from potential producers. At more well-known festivals, feature films can obtain distribution.

Speaker 3: Twenty. Four. Have fun now.

Speaker 1: This is much rarer at smaller festivals, but it is still a possibility. Ryan Coogler explains the distribution negotiations he went through after the premiere of Fruitvale Station at Sundance.

Speaker 4: I was up all night. WME Global, they handled the sale. So I wasn't intimately involved in it. I was just kind of getting updates by phone. But it was surreal, man. I had slept, so I already had that kind of dreamy quality.

Speaker 1: If a film isn't picked up for distribution, a festival run will double as a theatrical run. The more festivals a film gets into, the larger its audience. But the festival route isn't always the best way for a filmmaker to go. David F. Sandberg found success with his short, Lights Out, by simply posting it on Vimeo. It went viral.

Speaker 5: And all of a sudden, it was kind of funny, because I've heard that people sometimes get representation in Hollywood from shorts they've made on Vimeo, stuff like that. And it was, I think, the day after that I got an email from a management firm here. And it was like, it's happening. And then all of a sudden, that was just like a floodgate after that with managers and agents and producers and studios.

Speaker 1: It's also important to know what you want to get out of a film. What you want to get out of a festival run. Lesser-known festivals are typically only good for meeting other filmmakers, not for distribution or industry attention. If you think a festival run is the right way to go for your project, then it's time to decide on which festivals to apply to. The application process can be expensive, and submission fees aren't refundable. This means your submissions should be strategic. To minimize costs, it's best to submit early, since many festivals have early bird deadlines at lower prices. You also want to ensure that the festivals you are applying to are worth your time and money. Some may be free, but they might not offer the opportunities larger festivals would. The most prestigious festivals are referred to as the Big Five. They are Venice, Cannes, Berlin, Toronto and Sundance. These events are filled with industry members, including distributors, agents and managers. Damien Chazelle describes his experience at Sundance with Whiplash.

Speaker 6: You go to a place like Sundance for the first time, and there's a history to it that you're very, very aware of. And so you're obviously immediately conscious of what your place in that is. And so of course you have these highfalutin dreams, but you're so kind of focused on the here and now, which is good in a way. It keeps you from being daunted by all the things that you probably won't achieve.

Speaker 1: Many large festivals will also host film markets, where filmmakers can find buyers and network with distributors. These markets are worthwhile, even if a filmmaker doesn't have a film to shop. They're an excellent opportunity to see what buyers are looking for and to stir up interest for your next project. Producer Alex Sachs explains the benefits of markets.

Speaker 3: If you're using AFM or Berlin Film Market or Cannes to raise money and do pre-sales on your movie, it's almost like you need to sell something at a market so that three to four months later you can actually make the movie.

Speaker 1: Other potentially worthwhile submissions are Oscar-qualifying festivals. A win at one of these can make a film eligible for the Oscars. Of course, these higher-profile festivals are the most difficult to get into. Sundance, for example, gets over 10,000 submissions a year. It only screens about 200 of them.

Speaker 2: So you're telling me there's a chance.

Speaker 1: Prestige festivals also typically require premiere status, meaning that your film can't be shown anywhere beforehand. As such, it makes sense to submit to these major long shots first. Quentin Tarantino's selection of festivals has to do with release dates.

Speaker 7: It always works out to a situation where you make it and then you want to release it soon. So it's either, OK, what's the most appropriate one for us to release it? OK, would it be Venice? Is it Cannes? It all works out when it gets done.

Speaker 1: Festivals that cater to specific genres can also be worthwhile submissions if they match your films. There are also some that focus on the demographics or subject matter represented in film, such as festivals celebrating women, people of color, and the LGBTQ plus community. You can also apply to regional festivals where you or your film are from. South by Southwest, for example, has a special category for Texas films. A festival is most useful if you can attend it. It's a best practice to prioritize submitting to those you know you'll be able to go to first. Most festivals can be found on Film Freeway, a service that simplifies the application process. Now that you have your list of worthwhile festivals, it's time to think about how to get in. There is no way to ensure your film will get into all your top festivals, but there are several strategies that can increase your chances. The most important way to get into festivals is to make a film that feels original. Programmers are looking for unique stories from unique points of view. Dances with Films programmer Leslie Scallon explains.

Speaker 8: Everybody wants to find that new person who has a new vision and who has a new statement on whatever it is they're making a statement on.

Speaker 1: Of course, you should also make sure your film meets all of the eligibility requirements. Programmer Susie Nash notes.

Speaker 9: I found that especially when I was programming films for the Gay and Lesbian Film Festival, we would have people send films that would have absolutely nothing to do with the gay community whatsoever. I was like, you just wasted some money. So one of my first tips for filmmakers is do your research before you send out your films and spend your money.

Speaker 1: Having a film of professional quality also helps. A film that is sound mixed and colored professionally will make a festival look better. The same goes for your film's packaging. Having a high-quality poster, trailer, and synopsis will make your film more attractive to a programmer, since these are the elements they may use during the festival's promotion. Some applications will ask for a filmmaker's statement in their submission. A statement should be personal and to the point. You can also increase the likelihood of getting in by submitting early, since fewer slots will be open closer to the submission deadline. Filmmaker Paul Osborne explains. Submit early. Submitting late is always more expensive,

Speaker 10: and your odds of getting in are far lower. They start programming right away, so you want to get in the door, If you submit early and they like your film, they're going to mentally put you on the schedule. If you submit late and they like your film, they have to like your film better than something else they've already mentally put on the schedule. So you go in early, you're not being graded on a curve. A general rule of thumb is that for shorts,

Speaker 1: the shorter the film, the better your chances. This is because shorter films are easier for programmers to schedule. Having a strong beginning to your film is critical. Many programmers have to sift through a huge number of submissions, so you need to hook them early. A submission will also get attention if it has a recognizable actor in it, since they have the potential to draw a bigger audience. Film festival submissions can also be political, so having a producer attached to your film who knows the ins and outs of your film is a good thing. So having a producer attached to your film who knows the ins and outs can be extremely helpful. Many larger films will use producers or consultants who have personal connections at various festivals to bypass the initial vetting process. Research is crucial in the application process. Volunteering is a great way to see what they're accepting, and even to talk to programmers firsthand.

Speaker 4: That's all you had to say.

Speaker 1: The festival circuit can be a grueling process. Even the best films will experience disappointing rejections. In the end, the key is to be strategic and persistent. Of course, before you can get a film into the festival, you need a film. Use StudioBinder to write your script, storyboard your shots, and build a project calendar to mark festival deadlines. For more tips on navigating film festivals, check out the StudioBinder blog linked below. So, until next time, start rehearsing your acceptance speeches. I'm the king of the world.