Steve Fairclough’s Post

Submitting your film to a film festival can indeed offer several benefits, but it's essential to carefully consider various factors before making a decision. Here are some potential benefits of submitting your film to a film festival: Exposure and Visibility: Film festivals provide a platform for your work to be seen by a wider audience, including industry professionals, fellow filmmakers, and the general public. This exposure can lead to increased recognition and opportunities. Networking Opportunities: Film festivals often host events, panels, and networking sessions, allowing you to connect with other filmmakers, industry experts, and potential collaborators. Building a network within the industry can open doors for future projects. Credibility and Validation: Selection or recognition at a reputable film festival adds credibility to your work. It can be seen as a validation of your filmmaking skills and may attract attention from distributors, producers, and other professionals. Audience Feedback: Screening your film at a festival provides an opportunity to receive feedback from diverse audiences. Understanding how your work is perceived can be valuable for your growth as a filmmaker. Awards and Prizes: Many film festivals offer awards and prizes for outstanding films. Winning or even being nominated for an award can significantly boost your film's profile and enhance your reputation as a filmmaker. However, it's crucial to consider the potential challenges: Submission Costs: Submitting your film to festivals often involves entry fees, and these costs can add up, particularly if you submit to multiple festivals. Selection Uncertainty: There's no guarantee that your film will be selected, and rejection can be disappointing. It's essential to manage expectations and recognize that the competition is often fierce. Budget Considerations: If your film is selected, you may need to allocate resources for travel, accommodation, and other expenses associated with attending the festival. Before submitting your film, research the festival thoroughly, consider your goals, and evaluate whether the potential benefits align with your filmmaking objectives. Look for festivals that align with the genre and style of your film, and weigh the costs and benefits before making a decision. #FilmFestival #IndieFilm #Filmmaking #ShortFilm #FilmSubmission #FilmCommunity #SupportIndieFilm #Cinema #FilmDirector #FilmLife #FilmIndustry #MovieMagic #FilmMaker #FilmCuration #FilmSelection #FilmEvent #FilmScreening #CinematicArts #IndependentFilm #FilmmakersLife

Brian Newman Column This is a must-read for anyone who makes #films, wants to make them, or has friends who do. —Dana Harris-Bridson, Editor-in-Chief “Theatrical has never been more important, or interesting Many of the better and curated arthouses say that audiences are showing up for strong narratives, and there’s a growing sense that the theatrical window is becoming more important than ever before. If a film can make it past that first week and be doing well, the word of mouth can spread. In addition, younger audiences are coming back to theaters, especially for repertory cinema and special events. There’s a bit of a problem in getting screens — it’s a crowded marketplace in arthouse land (not the case with the megaplexes right now). If you’re not a U.S. filmmaker, this sounds crazy, but it’s still true So, your sales agent might take a deal from a tiny U.S. distributor for a very low minimum guarantee, and guess what — your film won’t perform well here, but you’ll close those other deals and be on to your next film. But if you raise some funds, you could do a service deal with a distributor or booker in the U.S., and keep your rights, get a better release, build your fanbase and audience, and maybe come out ahead. That’s much better than getting no distribution in the U.S. or very poor distribution in the U.S. This is a tough one, I know, but humor me — it even pays for international filmmakers to think about doing this, because it can be better for your film and your career. This works better if you are making a film for a very specific, sizable, underserved audience In all of these cases, the #filmmakers identified a core audience that was not being served by the media; their niche was not small, but quite large, and it was begging for good films. I always tell people: Make a film that’s film festival- and distributor-proof. Meaning: It doesn’t matter whether you get into any film fest, or if no distributor buys your film, because you have such a sizable potential audience that is hungry for your film that you can go directly to them and succeed.” Read the full article: IndieWire I got just a few inserts, but you should read the whole article; it is worth your time. #IndependentFilm #FilmAdvice #FilmIndustry

This Is How You Build An Audience For Your Short Film Online https://ift.tt/OjnEzco Jon Ryan is a New-York based filmmaker who has successfully released multiple short films online. In August 2023, Jon Ryan released his short film Gut Punch on YouTube and was able to get 100k views within 30 days. Since then, and across various channels, the film has amassed over 250K views. In this interview, Jon Ryan talks about the process and steps he took to increase his chances of visibility and a successful online release. The following interview with Jon Ryan Sugimoto was conducted by by Lydia Muir. Please do enjoy. LM: For Gut Punch, what made you choose to do the online release before submitting it to film festivals? The main goal this time was to get traction online because I've done the festival route many times. If you think about it, in terms of time and money, you really can only do one film a year at the most (depending on what you’re spending). So this is just a plan to be able to do more films and get the fastest response possible from a public audience. I think the reality in making money off of a short film is it almost never happens. So what you're really looking for is asking the world, is my idea good? I figured, if I put it out online, I can get that answer faster. There's also a strength in building your own following with coming out with more films. If you're able to put out multiple films faster your next film is gonna be better because you learned from the reaction. So many filmmakers have an idea and sit on it for a long time and just never make it. You're never gonna know what you did right and wrong until you ask the world. That's my main philosophy behind putting things out online—what are the comments gonna say, what's the Letterboxd review, what's the IMDB review? Are people reaching out to me… You really only get that from an online response, especially at that speed. LM: That makes sense. Instant feedback, and at a lower cost. When do you know the film is ready for the online release? How do you schedule it? Normally I have a plan from the beginning before I hit pre-production. So, it starts with a script and once it is more or less locked, I will enter pre-production and formulate every detail of the production with a date in mind that I'm posting. I won't tell anybody, but that's my deadline and on that day I will throw an event. It can be of any size, but it must revolve around you and your film. So, then you're building everything up to this big event. Part of the plan is to rent out a theatre and it can be a 50-person theater, it can be a 100-person theater. It doesn't really matter, just as long as an event is happening, that you can invite the right people to. People wanna go out and do something and if you can give them something to do, that is focused around you—you’re building an audience. Then the plan is to premiere the film in person at your event and schedule the YouTube premiere at that exact ti...

“I always like to tell any new filmmakers that making the film is just half the battle, now it’s time to get people, not just your family and friends, to see your work, And that’s up to you. Now you’ve become the salesman. Get them in the door." -Joe Carabeo Why do Film Festivals matter for the independent filmmaker? The landscape is changing fast. Brands can also make use of the awareness that festivals provide. Check out this article penned by our Founder, Cameron Kit, posted on Short Movie Club. #filmfestival #festivalstrategy #filmfestivals #independentfilm #brandawareness #earnedmedia

Independent film festivals, such as Sundance, Cannes, and Berlinale, play a pivotal role in the film industry, providing a vital platform for emerging filmmakers. Here's a concise overview of the importance of these three major festivals: Sundance Film Festival Importance: Discovery of New Talent: Sundance is renowned for launching the careers of emerging filmmakers like Tarantino and Aronofsky. Industry Networking: It facilitates networking opportunities with industry professionals, aiding in distribution and production. Diversity Focus: Sundance actively promotes and celebrates underrepresented voices in filmmaking. Cannes Film Festival Importance: Global Recognition: Winning the Palme d'Or at Cannes provides global prestige and exposure. Artistic Innovation: Cannes is a hub for avant-garde and experimental films, contributing to cinematic evolution. Film Sales Marketplace: The festival hosts a film market where distribution deals are negotiated, impacting commercial success. Berlin International Film Festival (Berlinale) Importance: Cultural Diversity: Berlinale emphasizes cultural diversity, showcasing films addressing global social issues. Talent Development: Berlinale's talent programs support emerging filmmakers, contributing to the future of cinema. Audience Engagement: It uniquely engages both industry professionals and the public through screenings, fostering a broader appreciation for cinema. Conclusion Sundance, Cannes, and Berlinale not only propel emerging talent but also contribute significantly to the dynamic evolution of independent cinema.

The Misconception of "Making It": African Filmmakers at International Film Festivals and the Struggle for Recognition "Remember, you can't complain about being ignored by the press because you're African while simultaneously ignoring the press that is there specifically to cover you..." I'm writing this in the thick of awards season film festival coverage, with Venice and Toronto now behind us. My experiences during this relentless whirlwind of events reminded me of a persistent problem. The journey of African filmmakers through the labyrinth of major international film festivals is fraught with expectations and missed opportunities. The excitement of having a film selected for a prestigious event is often tempered by the reality of the festival's aftermath, where visibility and media engagement are critical yet elusive. There appears to be a prevailing belief that acceptance into a major international film festival means you've essentially "made it." This couldn't be further from the truth. In reality, festival placement is just the beginning of a crucial phase that demands strategic thinking, relentless promotion, and savvy media engagement. There is a disconnect between African filmmakers and producers whose films are selected, and the international press covering these events. It's a two-sided coin of frustration that needs to be addressed for the benefit of African cinema as a whole. Last week, Akoroko Premium subscribers received an in-depth look at this conundrum from key industry perspectives. To receive the newsletter and more, subscribe at the link: akoroko.com/subscribe/

Kobani International Film Festival Entering film festivals is an essential step for any aspiring filmmaker, and I’ve seen firsthand the transformative impact it can have. As a judge at The Kobani International Film Festival, I strive to be fair and provide guidance to new filmmakers, helping them refine their craft. Film festivals provide a platform where emerging talents can showcase their work to a wider audience, gain critical feedback, and measure their progress against other filmmakers. This exposure not only builds confidence but also fosters a sense of community among creators, encouraging them to push their boundaries and evolve in their storytelling abilities. For new filmmakers, film festivals are more than just a stage for recognition; they are learning experiences that can shape their future careers. I love seeing fresh voices enter the festival circuit because it’s an opportunity for them to receive constructive criticism, network with industry professionals, and gain valuable insights that are often not available in a classroom setting. Engaging with a diverse audience and receiving feedback from experienced judges allows filmmakers to understand different perspectives and refine their work, making them better prepared for the competitive world of filmmaking. Jano Rosebiani https://lnkd.in/e7PWbsUy #filmfestivals #newfilmmakers #tipsfornewfilmmakers

As this latest FilmInk Magazine report states, the world premiere of Anno 2020, a feature film directed by James Morcan and produced by Australian production company MoneyShot Productions, will take place in Sydney on March 24. [SINCE CHANGED TO APRIL 7). The premiere, which will mark the official cinematic launch of Anno 2020, will be attended by film industry representatives and friends of the production as well as cast and crew members. It follows the movie’s recent success in film festivals – most notably the Titan International Film Festival’s ‘Best Experimental Film’ award, in Sydney last month, and Quarter-Finalist status in the Best Film category at the International British Film Festival 2023 in London. Anno 2020, a mystery-drama set in the cataclysmic year that was 2020, also received an official selection for the Symbiotic Film Festival in Ukraine. For MoneyShot Productions’ producers, twin brothers Gil and Oren Ben-Moshe (pictured), the Titan International Film Festival award in particular was welcome recognition of the challenges they and their fellow producers, cast and crew overcame in getting the movie locked off and greenlit. “Completion of Anno 2020, which was shot around the world at the height of the strict Covid-19 lockdowns, was truly a triumph in the face of adversity,” said Gil Ben-Moshe who is also an actor and who plays a starring role in the film. Beyond the movie’s official launch, interstate cinematic screenings Australia-wide are planned, followed by screenings in New Zealand and possibly the US as well. The longer-term target includes online distribution on major streaming platforms. #Newsflash >>> The film’s producers welcome enquiries from any industry and media representatives or well-wishers who would like to attend the world premiere of Anno 2020 in Sydney on March 24. Details of, and tickets for, this red-carpet event, which will include the first cinematic screening of the film, are available from StickyTickets at https://lnkd.in/gdEnVbeW #News #filmmaking #indiefilm #movies #producers #directors #filmdistributors #filmfinanciers #investors

🌍 Top Countries Consuming Short Films 🎬 The consumption of short films varies across the globe, influenced by factors like cultural interests, film festivals, digital platforms, and the presence of film industries. Based on general trends and available data, here are some of the countries known for high consumption of short films: 1. United States: The U.S. has a large audience for short films, supported by numerous film festivals like Sundance and Tribeca, as well as digital platforms like YouTube and Vimeo. 2. France: France has a rich cinematic history and a strong tradition of supporting short films, with festivals like the Clermont-Ferrand International Short Film Festival being highly influential. 3. India: With its large population and a growing interest in diverse forms of cinema, India has a significant audience for short films, aided by digital platforms and local film festivals. 4. United Kingdom: The UK has a vibrant film culture with numerous film festivals (e.g., London Short Film Festival) and support from institutions like the British Film Institute. 5. Germany: Germany has a strong tradition of filmmaking and a keen interest in short films, with festivals such as the Berlin International Short Film Festival (Interfilm). 6. Canada: Canada supports short films through its film festivals, such as the Toronto International Film Festival (TIFF), and public funding bodies like the National Film Board of Canada (NFB). 7. South Korea: Known for its innovative cinema, South Korea has a growing audience for short films, bolstered by festivals like the Busan International Short Film Festival. 8. Spain: Spain has a deep appreciation for cinema, including short films, with events like the Huesca International Film Festival and support from cultural institutions. 9. Italy: Italy’s long cinematic history extends to short films, with festivals such as the Venice Film Festival featuring sections for shorts. 10.Japan: Japan has a significant interest in short films, both animated and live-action, supported by festivals like the Short Shorts Film Festival & Asia (SSFF & ASIA). These countries have vibrant film cultures that embrace short films through festivals, educational institutions, and digital platforms, contributing to their popularity and consumption. 🌟🎥 #FilmIndustry #ShortFilms #Cinema #GlobalFilmCulture We are proud to say, Shortfundly in a mission to build a world largest shortfilm repository.

Last year, I got to attend the European short film market Clermont Ferrand. Seeing the attendance for that festival by mostly enthusiastic new filmmakers blew my mind. I was so impressed the hunger and respect the French have for new filmmakers. But it's a different scene in the UK. I don't know the facts and figures in terms of comparison of what funding is put towards new filmmakers and festivals in European countries compared to the UK. Though from my submissions, I've seen Belgian shorts with near enough 5x the budget of BFI funded shorts. Yet this isn't a particular gripe about the lack of funding here. It's about the lack of culture the UK has towards understanding that short films are where new talent get discovered and find their feet. The first people who should be flocking to short film festivals and programmes are new filmmakers, writers and performers. Yet I've found particularly this year with running Short Com, there's been a real lack of those people attending, especially in Edinburgh. I've heard from other film festivals that they've had a smaller attendance compared to previous editions. This year, I reached out to every college and university institution in Scotland teaching film to engage with them about Short Com and us looking to put on an industry of talks and networking to bring ambitious new talent together looking to make comedy in TV and film in the future. I put together what I felt was a good lineup of speakers, put a lot of time into organising and promoting it whilst trying to make it affordable for people to sign up. Only a few people signed up. According to Eventbrite, a few hundred had visited the page, which suggests to me that the message was spreading. Yet I couldn't justify going ahead with it for all those involved. As one Edinburgh based person originally from London, who reached out to me said they found it rare to find these sort of events and opportunities, especially in comedy, was excited to see this sort of thing happen. There's probably definite things that I could improve on in terms of marketing etc. but a lot of us are having a real hard time figuring out how to reach young people. I've wasted so much time and money trying to put on an event aimed at trying to help the scene in Scotland. Yet there's a real lack of people in the UK and especially in Scotland, who are not willing to stick their neck out. I understand we're in a real tricky economic situation at the moment. And as one friend said to me, why would you go out when you get Netflix or Disney + for a fiver a month. There's definitely a lack of confidence in Scotland but my overriding feeling since I've returned to Scotland is that people aren't willing to stick their neck out and some people aren't prepared to look to improve their skills and knowledge. Respect to all the filmmakers, industry and civilians who do attend film festivals.