When filmmakers are deciding if their movies are festival-ready, they need to “make sure they’re putting their best foot forward,” says Wendy Mitchell, a delegate for the San Sebastian International Film Festival, and consultant for the Berlin International Film Festival’s European Film Market and Cannes’ Film Market.
Are marketing materials and a festival budget in order? Is the film truly over the finish line? Is the right promotional strategy in place?
This is how to get your film ready to shine on the fest circuit.
Marketing materials to gather
Film stills
Even before shooting has started, filmmakers need to start planning their marketing. Mitchell suggests hiring a photographer. “Film stills are so important,” she says. “Capture the behind-the-scenes and submit [these photos] to festivals. I know sales companies who won’t sign a film unless they have over 100 film stills.”
The photographs could also be used for the movie poster, which can play an integral role in grabbing programmers’ interest. Filmmaker and festival consultant Bears Fonté admits that posters can do a great job of getting her excited about a submission by giving her a sense of the director’s style. “A cool poster will also help me remember the film later,” she says.
Social media
While the right way to use social media for film promotion is a topic of much debate, Gray Rodriguez, a film festival organizer who worked for the Sundance and Bentonville film festivals, says that, at the very least, having an active account where you share photos, clips, teasers, and updates, shows festivals your level of seriousness about your work, and gives an indication of the target audience.
Rodriguez also suggests having a QR code that links to the film’s website or social media account. These codes can be used online, or put on stickers and placed in strategic locations at film festivals, like in cinema foyers, on the back of movie theater seats, or at popular bars and restaurants. Since most filmmakers still use printed materials for their movie posters, screening details, and business cards, QR codes can be an efficient informational supplement. “Something like that might really help the film to stand out and is also more cost effective,” she says.
Cover letter
One aspect of marketing that regularly gets overlooked is the cover letter for a film. This is where a director can really open up about their creative journey, explain who they are, why they made their film, its themes, and why they’re submitting it to this festival.
“I’ve been hearing more and more from programmers emphasizing how important cover letters are,” says Rodriguez. “Filmmakers should put some thought and care into it, and be as interesting and creative as they can with it.” Fonté warns that it should be as succinct as possible and filmmakers should aim to cover the above in four to six sentences.
Technical specifications to get right
Ratios
After completing the edit and locking picture, filmmakers need to ensure that the technical specifications align with each festival’s specifications.
Check the aspect ratio, audio, file size, and format of your film. More often than not, converting the file into a Digital Cinema Package (the file format used for digitally projecting movies in theaters), will not be required. But Fonté insists that “directors need to know what all these things mean,” adding, “We’re not in the day anymore where you can get along without knowing that.”
Albert Chow, who has worked in technical roles at the New York, Tribeca, and Seattle International festivals, says that most fests will tell accepted applicants the required technical specifications in a welcome letter—or at the very least, will share them when requested.
When budgeting, technophobic directors should consider funds for a postproduction supervisor who can help remind you about the film’s sound, color, and special effects, says Chow. “By engaging the services of a postproduction company, they can help get your film finished” by coordinating these departments and making sure that their work aligns with the filmmaker’s vision. They’ll also ensure that when the film is finished, it’s properly formatted for each festival.
Filmmakers working on microbudgets can also turn to YouTube tutorials for advice on how to alter technical specifications, says Fonté.
Screenings
It’s essential that filmmakers watch their work on the largest screen possible so they can approximate what viewers will see at festivals. Chow recommends renting out a screening room, as “you might not notice blotchiness, pixelation, or a boom microphone being in-shot on a computer screen.”
Other specifications to consider are having:
- A stereo mix of the audio
- Spell-checked subtitles
- Correctly labeled files
- The shortest credits possible
- A lightweight, backup format that can be played on any platform
Filmmakers need to ensure that there’s nothing onscreen that will take viewers out of the story. “If the audience sees a bad exhibition, that’s what they’re going to think of your movie,” says Chow.
Submission strategy
- Before submitting, get honest feedback. After writing, directing, and editing a film for months, sometimes years, directors need to screen it for someone who will give them fresh insights. This will help them figure out “what kind of film they have and which kind of festivals it might be good for,” says Mitchell. Fonté recommends hiring a film festival consultant, if budget allows, as they will have seen hundreds of films every year and will be well placed to help plan a strategy.
- Submit polished products only. When it comes to finally submitting films, directors should avoid showing their work before it’s ready, says Mitchell. “Sure, festivals can look at something that’s unfinished. But you want to show them the best version, rather than giving it a punt.”
- Have a Plan B…and Plan C, D, etc. While lofty ambitions regarding a film festival submission plan are common, Mitchell insists on a backup strategy should the finished result not meet the requirements of those events. She explains, “You don’t want to use up all of your submissions budget in the first month and get rejected by all of them. There are thousands of great festivals out there and you can find a better fit for your film.”
- Be strategic about your selections. Rodriguez always advises filmmakers to search FilmFreeway for festivals that are appropriate, then to write personalized and thoughtful cover letters for each. “There are so many festival organizers who get films that don’t match their program. That’s a very quick rejection. It’s on the filmmaker to do as much research as possible,” she says. Filmmakers with smaller festival budgets should keep a close eye on deadlines, so they can submit early and save funds.
- Presence matters. Prioritize festivals the creative team can actually attend, so someone (or several people) can be there to represent the film.
Ultimately, directors need to reflect and consider what they’re looking to achieve from their festival experience before submitting, says Rodriguez. “They might want to meet people, have the film seen by as many people as possible, or even to try and sell their next project. Once you’re accepted, you need to have a plan, know why you’re there, prepare, and have fun.”
