Gone are the days when filmmakers could offhandedly submit a project to as many different festivals as possible and hope for the best. With over 12,000 film festivals happening around the world every single year, many of which receive thousands of entries, directors need to devise a precise and strategic plan for their submissions. Here’s what to consider as you’re making your decisions.
Ask yourself: Are you (and your film) really ready?
Before a director even starts submitting their work to festivals, they need to make sure their film is ready—and to do that, they need raw feedback. For many, that means showing it to trusted friends and family members. But Rudi Womack, the executive director of the Wyoming International Film Festival, suggests uploading a rough cut to the internet on sites like YouTube or Dailymotion for unbiased thoughts.
Dr. Rebekah Louisa Smith, a consultant who works under the moniker the Film Festival Doctor, says filmmakers need to let go of their emotional attachment to their work—not only does that allow them to judge the film as honestly as possible, but it helps them embrace whatever direction the festival journey takes them on. “So many filmmakers want a certain outcome, or desperately need the film to level them up. They’re very rigid,” Smith says. “But that’s not going to help them on their personal journey. The festival circuit brings lots of surprises, so it’s really important to be flexible and open-minded.”
Also, be real about the project being submitted. “Many filmmakers tell me they want to enter their film into huge festivals, get discovered, and progress their career,” Smith says. The problem is, the movie they’ve created might not match the projects that are typically accepted and win awards at these festivals. “You need to be as self-aware as possible about the work,” adds director-producer Adam Salky. “You might want to go to Sundance, but is it really a Sundance film?”
What to do before submitting
In order to find the right festival, filmmakers need to do a lot of research, including reading through websites and watching previous winners before deciding where to submit. “Know your film and know your festivals,” says Smith. “People don’t always do the research. When you do, the festival tells you what they want. You need to take a closer look at every kind of program they have and look at what wins.”
That’s especially true if filmmakers only have a small budget for entries. “If you have a genre film, there are festivals specifically for those films,” Smith continues. “It makes sense to start there, rather than going from the top down.” If money is a concern, Smith recommends submitting as early as possible, as the fees become much more expensive the closer you get to a festival’s deadline.
Filmmakers should make a list of their goals and what they want to get out of the festival circuit. Some people might want to screen a short or feature, while others might be determined to network and meet industry professionals and representatives. “Whatever your goal, look into if the festival will help you facilitate that,” says Womack. “If you want to meet managers and agents, go to L.A., New York, and even Atlanta.”
How to make sure your film gets seen
Producer Drea Clark has worked as a festival programmer for nearly 20 years, and she insists that every film that’s submitted to a festival is watched. “I know that there’s anxiety from filmmakers, because they’re paying a fee for someone to judge you,” she says. “But everyone very much respects that submissions are the lifeblood of festivals.”
When it comes to impressing programmers, Clark tells filmmakers that their additional material—including profiles on submission sites, the film’s logline, and its synopsis—all need to be written in an enticing and captivating style. “They need to be quick, clear, and juicy,” she says. Filmmakers should not be shy about what makes their point of view and voice different, too. “If you have a director’s statement, make sure it succinctly explains why you have a unique perspective and why you had to tell this story,” Clark adds. “Explain why the festival should discover you and how your background bleeds into your story.”
Patience and resilience are key
As with every aspect of filmmaking, patience is necessary when embarking on the festival merry-go-round. “Newcomer filmmakers will aim for bigger festivals, spend hundreds entering their movies, and when they don’t get in, convince themselves they’re bad and have no talent,” says Womack. “Those festivals are industry festivals, and mostly cater to [more established directors].”
Smith often reminds new filmmakers that they have to build up to that level. That journey begins by getting their projects into as many festivals as possible, going to these events in person, and meeting people. That’s how they can start to gain a reputation as a filmmaker among industry professionals and programmers.
“Patience is a virtue. This is a slow-burning process. You have to wait for responses. Then you go and attend festivals and learn from the people there,” says Smith. “It’s always important to remember that no one is judging and attacking you there. They want to help you level up, grow, and get you ready for your next film.”
