Hi - I recently produced my first indie feature film, All About the Afterglow. Thanks in advance for reading this and for all of your advice. So here's the deal.
The films great. I'm extremely proud of it and it's a solid movie. That being said, we shot it extremely low budget with no BIG names and our marketing/PR experience / budget is minimal. I submitted it to around 17 festivals and so far our response has been pretty poor. We got the rejections we expected (Sundance, Slamdance, SXSW etc.) but also have been rejected from some mid-level festivals and I'm starting to get worried that the ones I thought were a safety net will possibly garner a similar result. Like I said, this is my first feature film producing venture, so I've clearly made a rookie mistake and probably shot the bar too high. Also, I'm starting to realize the politics of it all a bit more realistically. We were recently accepted into a festival in India, because we got an in there from a friend. I didn't even enter the festival but got in because of a good word to the programmers! Is this often the case, that you have to network your way into the festival, or can you often get by on good merit alone?
But, getting to my main question - There are so many festivals out there, I've scoured the web and withoutabox endlessly, but on the tight budget that we have remaining, I want to be smart with my festival choices. Does anyone recommend any smaller festivals that they had success with in a similar situation (low budget, indie etc.) not restricted to the US? I think the film has a great European appeal to.
Incase you're curious about the movie, here's the trailer: https://www.youtube.com/watch?v=7g55DA4afEk
And any other questions, please ask away. And thanks again.
5 people like this
congrats!
Now, you gotta change hats from artist to businessman (unless you don't care about making money).
Forget festivals and concentrate on film markets. Get your master tapes organize and all your contracts signed and looked by a lawyer and sell the movie. Aim for American Film Market 2018 in November. Start contacting Sales Agents.
1 person likes this
Feature film and film festivals are generally an ill fit.
3 people like this
As Dan advised, forget festivals. With no names it's a waste of time. Since VOD will likely be your only ROI, your time is better spent lining up a decent aggregator like Distribber, IndieRights, or Gravitas Ventures. Your trailer is okay but the film's central message unclear. Spend time coming up with a marketing "hook" and include it in your key art/poster. Is your protagonist's life in jeopardy? Is there a deadline? In other words, WHY should someone pay to watch your film?
Whether you did it on purpose or by accident, you have one clear advantage - you gave your film a title beginning with an "A" and lots of streaming sites list their available films alphabetically.
1 person likes this
Congratulations on the film! I'm not a big fan of festivals due to the high cost of applying and low return of being accepted and then winning and possibly receive a deal or any compensation. If it were me, I would focus on the windows of selling online. Good luck!
5 people like this
David, I have to VEHEMENTLY DISAGREE with everyone above regarding the Festival System. And, first, here's where I'm coming from: 13 films produced, including shorts and having gotten distribution on a lot of them and some with distribution to come. Bottom Line: You can't HURT yourself with a festival. Especially if you don't have big names. Get some play in theaters through the system. Get it reviewed both in local newspapers and online. Do some Red Carpet interviews that you can put on Facebook, IMDb, YouTube to get your name out there. Meet with some smaller distributors who might be interested in a movie such as yours. I've done it and I know many others that have. I have friend - now, to be fair, he is a prominent television star that you have seen in some blockbuster movies - BUT he made a small indie feature, making his directorial debut with some recognizable t.v, faces and character actors and sold out two theaters on opening night of the Northeast Film Festival, got a lot of New York/New Jersey press and even got distribution on his feature. He's got a limited theatrical nationwide with 100 or so theaters. NOT bad. There are many smaller and regional fests that can help you. I DISAGREE with the "VOD is your only market." I know another filmmaker that made an okay indie - not great, not bad - sold it to Showtime and put it on DVD. ALSO< you are marketing YOURSELF and at FESTIVALS you will meet other filmmakers, directors, producers, writers, investors, actors and those connections can be valuable to you in the future. It can help you keep working and networking. I couldn't disagree more. HOWEVER, I DO AGREE you need to market it correctly, get a good poster concept and you may have to go through a content aggregator. BUT< you might also get one local theater to run it - there's your theatrical - for a week, get a DVD/BLU-RAY back-end deal to go with your online and maybe even get an airline deal. I know some festivals - I would have to see your feature first - so if you want to at least explore it, reach out to me. GOD BLESS and STAY FRESH! ;)
2 people like this
I would also add, that yes, there are obviously politics in the Festival System - much as there are in the business - but you can take a film such as this and concentrate on several growing regional fests and some local ones, if only to get positive publicity and notoriety and some reviews, as well as for the purpose of networking and future work. Remember, the film is also a calling card in addition to being a business asset. Moreover, I watched the trailer and while it does look like it was shot and edited well, I had a hard time deciphering just WHAT the film was about? I would be interested in seeing it. But, I wouldn't throw the Festival System out the door and I wouldn't shout to the social media that you only got in a festival in India because of a good word. That kind of defeats the purpose of getting in. Aim for eight to ten festivals, get some publicity and awards for your IMDb page (yes, people REALLY DO look at that stuff, investors included), get some HEAVY NETWORKING IN FOR FUTURE WORK, find a content aggregator and start considering if you'd like to submit it to smaller to mid-level distributors or go straight to CreateSpace for DVD/BLU-RAY. BUT, GET IT OUT THERE! GOD BLESS and STAY FRESH! ;)
1 person likes this
David -
When you have time, check out the (free) Blog section of FilmSpecific.com, including the Feb. 27th and other recent issues. Stacey Parks has overseen/advised producers on hundreds and hundreds of films regarding production/festivals/distribution. Best advice on the internet!
1 person likes this
Also, while I'm not against anyone talking about new and innovative ways to distribute your films, if a person offers advice that also offers other paid services, you take it with a grain of salt. Heck, take what I am saying with a grain of salt. The thing is, I have nothing to gain by recommending festivals to you. And, I, personally, wouldn't let someone talk me out of submitting to festivals. I've honestly met so many wonderful connections, including an Oscar-Winning director, Oscar-Winning actress, many recognizable faces, one of the producers from Little Miss Sunshine ... not to mention lifelong friends. The list goes on and on. At your level, you NEED the festival system to some degree. If I am vehement about it, it's because I'm also PASSIONATE ABOUT IT. Some friends of mine did a documentary, "Official Rejection," which sounds like an indictment of the Festival System, but actually gives the GOOD, the BAD and the UGLY involved. Very interesting watch. You should check it out sometime. Here's the trailer: https://www.youtube.com/watch?v=HWTXIncCnjg
Apparently the link isn't working, but just search Official Rejection on YouTube and the trailer will come up. :) GOD BLESS and STAY FRESH!
3 people like this
Overall the trailer looks great and its got the right "feel" for an indie rom com. You may not have any names, but the cast is easy to watch and they seem to be delivering solid performances. But Erik's got a very good point that right now the trailer doesn't offer a central hook. It feels like a story about a couple of friends on a road trip to find a girl. If that's an indication of the film, that may be why it's not getting much attention at festivals. Festivals are businesses, often geared toward specific audiences. They want films with a hook to draw people to come.
Dan's advice about taking it to AFM and starting to reach out to Sales Agents is good. Beware of shady distributors and aggregrators. The usual hook is no money for your film up front and the promise of a percentage of revenue after the distributor's expenses are recouped (they'll make money and you won't see a dime). Before you sign that kind of deal, use Distribber or sell it yourself on iTunes and Amazon.
Good luck with it. My only advice for the trailer would be don't start with the two guys in the car (the shot looks cheap in an otherwise good looking trailer and the dialogue feels like the set up to a meandering talking-heads movie). Start with "Where does it go?" It draws the audience in with a question and the promise that if they watch the film there'll be an answer.
Hi Everybody. Thank you all for your responses, this is all invaluable advice. I appreciate all of your time and thought. Also appreciate the advice on the trailer. Having received some distribution offers that are similar to the above "warning" offers, I'm glad we turned them down.
2 people like this
Distribution is as big a process as production. Filmmakers spend time in pre-production for a perfect shoot but usually no plan for distribution. You need to have a plan and a budget for getting distribution no way round it. I always have a list of festivals that I know cater to my type of film before even starting production. I start with the biggest festivals then work my way down. Message me and I'll tell you exactly how to get your film distributed.
Very few people in forums like stage32 want to hear/ admit it, but it's true much festival programming does not come through blind submission but rather a connection or referral such as yours in India. This is particularly true when you get to the larger festivals where programming tends to be a backdoor thing and the surprise hit sore Breakout projects were brought in by people connected who were championing them for the filmmaker whether that be sales agents distributors or other producers. If you'd like any specific feedback on your film, you can reach me directly here. Congratulations on your first feature and unlike some, I'm not trying to sell you anything.
Royce; I doubt that (but I don't know). The little film festival over in Bend OR. had nearly 1,200 submissions - that would be a lot of people knowin' a few. The Eugene International Film Festival had submissions from Taiwan, New Zealand, India, France, the UK...all over. I didn't know any of them - even the ones from Oregon.
1 person likes this
Doug, the number of submissions a festival gets has nothing to do with the number of films that get programmed or where they come from. It's a safe bet that a small festival with 1,200 submissions does not screen each of those films to decide whether or not it should be on the program. I've been involved on both sides of festivals across decades and what I'm referring to are the top festivals in the Western Hemisphere and how it works. You can doubt all you want but the fact is a phone call is what gets lots of films programmed in lots of festivals, more so than not and if you don't believe it pick a film that screening at multiple festivals and asked the filmmaker if they submitted to the festival or if they were invited.
Unfortunately Royce, I have to agree with you to some extent (but yes, we did have to screen every film - tedious!) and the same at EIFF. As you get into the upper echelon of festivals, it's basically the number of laurel wreaths a film has in the lower ranks. It's true that Sundance only wants premiere showings so that might be by invitation only (I don't know) but I seriously doubt that others like TIFF and SxSW operate that way. I don't know so if you have evidence they do, please share it.
Doug, since you're using EIFF as an example, I'll point out that one of my titles was programmed there in 2010 without submission. It was requested after it premiered at the Los Angeles International Film Festival. I don't know which of a dozen possible motivations the programmers had but they sought the film out. Another interesting point is that film was submitted to the LAIFF and initially rejected, but then a phone call from the distributor not only got it scheduled, but got it scheduled at the most desired 9 p.m. Friday time slot as world premiere. I'm not going to list the title of the film here but if you care you can look up 2010 EIFF online and compare it to my filmography. Easy. This is just one film. I stand by my observations. When referencing festivals such as Sundance, there's a lot more politics involved.
I'll look it up - I was probably one of the screeners.
Royce - I just looked at the 2010 film list, Which one was yours?
Dig for gold Doug dig for gold it's right in front of you
Sorry Royce - can't find it. I went through the alphabetical listing and didn't find it and I don't have the time/inclination to play games right now.
Not playing games Doug. Just covering my bases. It's kind of moot to the point in any case
I laughed! Thanks for posting All About the Afterglow!
David, as a film distributor for independent films both domestic and international, I can tell you that a good reputable distributor will want the best for your film and advice the route to go. Our reputation is also on the line when we distribute a film. There are many films that are presented and many that are turned away. Honesty works both ways. We do not want you to loose money and we do not want to sell a film that will have an empty auditorium; not good for you or the exhibitor. A good reputable distribution with experience in this industry will be upfront and honest. Be careful with people that say they are distributors and do not have anything to show, those are the ones you need to stay clear from; unfortunately lately it seems there are many people calling themselves distributors. Reputation is important in this industry. Good luck with the film. If you have any questions, feel free to email.
Having run a festival, and NOT believing in the festival circuit as a requirement for all (or most) films (and sometimes it actually hurts a film), I recommend you ask yourself (1) Why do I want this in a festival and what will it get me? (2) Can the festival(s) I get in get me any mileage towards that goal? (3) Is there another way of promotion? As you are experiencing, festival programming is very political; if you go see the films at festivals you were rejected from, you might note that your rejection is because your film would show how poor other selections are - and that's a real thing in film festival-land.