Okay, this sounds like an open, transparent form of festival programming, but in fact, I've watched 25 movies in the past few days and my eyes are bugging out of my head and I don't have a thought between my ears, so I'm being lazy and throwing the ball into your court.
What questions do you guys have for me?
Are you a filmmaker waiting to hear from us on submissions? Have a question? Ask away.
Are you a novelist considering crossing over into film and have questions? I can help.
Have you locked your keys in your car and need me to call AAA? Just let me know.
If you don't have a question, but really want to read some crap that's spilled out of my brain, run over to From The Write Angle to read my April 20th posting, "Artistic Cross Training."
So... ask, or read, or both.
Thanks for ... which ever one of those things you decide to do.
41 comments:
How many features will play at the fest this year, and how many times will each screen?
The number of times a feature plays as always been a sticking point between me and Leslee, one of the co-founders. When I was in, each film screened twice, which was nice. There was a chance for buzz and you could catch films that screened before or after yours when you were out partying.
But... the second screenings weren't selling, so rather than show a few movies to one full and one 1/3 house, we show more films to more people. Good for the filmmakers who get that second screening time, but I still miss the old days.
As for how many films will play... that's still up in the air, but we have the theatre for a week. Six nights have 2 competition films each night. Sometimes we steal a day and do a special screening of an alumni film that might have stars. Then matinees and docs on the weekend - sometimes we can squeeze 2 docs into a single time slot. Midnight movies we love to program, but have to find the right, rowdy movies that will warrant the projectionist's overtime, etc. etc.
So, the final number is always a little different every year.
I think that the main question that most of us have is: when will the notifications start to cone out?
Sort answer - starting next week, if not sooner.
We still have some shuffling to do with the shorts, but I've done all my lobbying and am happy with the list no matter how it settles, so I've taken my chef's hat out of that kitchen.
Leslee may have done invites for shorts already, I don't know. I believe she asks filmmakers to keep tight lipped until we announce the entire list so we hit the press releases in Normandy-style invation. My communication with her for the past few days has only been about the features I've been shoving into my brain, as we work to fill that list up as well.
If you've like some help with the tea leaves... for shorts, if you haven't heard anything at all from us in the past few weeks, that's not a good sign. It ain't over 'til you get our final e-mail, but if you have another festival in LA making an offer... shoot us an e-mail to double check... but, you know...
For features, some have only been seen by one person, and we always have at least 3 watch them to be sure. Just the other day I gave a big recommendation for a 40-something film that a 20-something screener had passed on. So, there are no words on the wall for features to read... but if you haven't heard from us by the end of next week, it's not looking good.
But, remember, things change. We do send out official PASS letters, so you won't be left wondering.
Good luck everyone.
So if I don't get into your festival should I still make the trip to come check it out? Or will my networking ability be greatly diminished if my film didn't get in?
Well, first, submit a 2-Minute 2-Step and make a movie that's guaranteed to get into the festival the very next night! I'd suggest you make it short, sweet, and funny. A note saying that you're planning on being in town whether you get in the 2-step or not will help, too.
Second, we have had people who did not get in come out for the festival. I recall a conversation with one of those who said he was having a great time and learning a lot - but he'd never been to any festivals, so he had a lot to learn.
So your experience will be unique to you, but I would suggest you look at it more of a scouting trip than networking. Sure, you'll meet people. You'll see a lot of movies and LA (if you haven't been here before, that alone is worth the trip). You'll have a blast - but don't count on walking away with a job or anything.
Should I fake my orgasms?
If you got a second round letter for your feature, but not a third round letter, does that mean you're out?
How many submissions did you receive this year? Both shorts and features?
Yes.
No.
I don't know, I don't have the database here at home.
Re: the features, we are still making decisions so sit tight.
We would really love to play Dances WIth Films, and we made it to the second round, but we also already had a public screening in LA. How bad does that hurt us?
When should we expect acceptance and or rejection letters to be sent out? Without a Box says today is the day but thats not always a strict date more of a ball park figure from my experience. I'm curious if Dances with Films will be my West Coast Premiere.
Having a previous screening in LA doesn't help your Dances With Films chances. Everything is harder for us when a film has been screened here before - from promotions, to ticket sales to reviews. Plus, if you've had a shot at the LA audience and another film of equality hasn't, then we feel like we own that one slot to the other film.
Having said that, we have screened films that have played LA before - but for those about to go into production, we're getting tougher on that. Even on premieres outside of Los Angeles. As the quality of submissions goes up, the pickier we can be about those things, so keep your powder dry, folks.
And, I hope your screening in LA went well.
Nothing will be going out until next week, so have a good weekend, and work on your 2-Minute 2-Step submissions!
If our feature is accepted, I want to take full advantage of it. What would you say is the best way to approach/attract agents, distributors, reviewers, etc. to our screening(s)? Does the festival do any of this promotion themselves, in a more general for all the films sense?
We are one of the few fests - possibly the only one - who does a pre-festival meeting with as many of the filmmakers as can make it to discuss these issues. I'll also blog about them more here for filmmakers who are in but can't make it for the meeting - and filmmakers in general.
So either way, keep an eye out here.
I read in an earlier post something about a second round feature letter and a third round feature letter? What if you got neither? Does that mean your film wasn't even watched?
All films are watched by a minimum of 3 screeners... believe me, I've just had to watch 25 movies in a couple of days, some of which were passed on by other screeners. 99% of the time they deserved it... but there's always that one percent.
As I said earlier, if you haven't heard from us regarding your short, then the odds of us coming back to you, "Hey, you're in!" are very small. Plan accordingly.
If you haven't heard back regarding a feature, then that means nothing at this point. By the end of next week... plan accordingly.
Everyone will be notified one way or the other eventually, and every movie is watched and respected.
If our feature is chosen, I'd like to possibly play a shorter, tighter version by 12 minutes? Is that acceptable?
We had some dialogue and pace issues that are now resolved. Hopefully I'm not shooting myself in the foot by making note of this before decisions are made.
when will shorts be notified?
Shorter is always better. :)
Shorts - we are shooting for early next week.
when will features be notified, best guess?
Thank you so much for saying that. Cutting your first feature is a learning process. I'm thankful to have a good support team.
It's really great to have a festival that understands what it takes to get the picture right. Especially when it comes to VO and dialogue that is not needed... and getting the pace right.
I'm crossing my fingers we have the opportunity to premiere at Dances With Films. I've always loved what your festival represents for filmmakers such as myself.
Cheers:)
Thanks, Eddie. We're all filmmakers, so we know the deal.
Features - shortly after the shorts, if that helps.
How do I know you're a real person and not a robot? I heard robots watch the films and run a complicated software program which determine the best combination of story elements and...
Thanks for giving insight into what goes on behind the scenes. I'm not a believer in all the conspiracy theories about film festivals in general and this blog really does shed light on the decision making process. Much appreciated.
You're welcome. Thanks for participating and making me laugh.
Here's a question that will hopefully draw from your publishing experience(s).
I've been a professional filmmaker (DP & Director) for the past 15 years and I am seriously contemplating changing careers. I originally went to school for screenwriting but found that course not to be economically sustainable after graduation. I then shifted my focus to Gaffing (to more or less feed myself), and eventually to DP and Directing work. To cut a long story short, given my current geographical location and a myriad of other factors, I feel that I've taken my film career as far as it can go without sacrificing or damaging my personal life.
So, my big question is, what kind of advice or tutelage can you provide to someone that wants to shift from being a filmmaker to a novelist? I know that it's somewhat of a broad question, but I'm still open to any and all advice or warnings that you can provide.
Good question. I think I'll do a whole blog on this later, but for now:
1) Your screenwriting skills definitely transfer to novel-writing. In fact, I believe the next trend in writing styles will be dialogue-heavy, terse discription, screenplay-like streamlined text.
2) This might not apply as much to you since you're asking this question, but respect the medium. In LA we have a ton of screenwriters who have never done theatre trying to adapt their screenplay for the stage without understanding the medium. So study up, and you soon find you're not learning, but re-learning from a different angle - which is not intended to be a plug for my other blog From The Write Angle.
3) Film is collaborative. You can write, INT. NY APARTMENT - DAY and let the designers and set dressers worry about the rest of it. You're going to be infront of your computer begging for their help in a novel. Just make sure you put on the hat of each department head as you go.
4) 2% of novelists find an agent. 50% of those get published, so keep gaffing. :)
Keep an eye out here, during the off season with DWF I plan on blogging more on this topic. Agent Query Connect is another good place to gain some quick knowledge.
Good luck.
Robert ~
Thanks for the quick reply and the info on Agent Query Connect. I certainly have no intention of turning your comments section into a discussion forum but since you took the time to answer me the least I can do is to respond and perhaps expound upon my original question. If it does begin to feel like a forum perhaps it could be moved to withoutabox, email, or some other form of discourse.
1) I thankfully never had too much concern about shifting writing formats from screenplays to novels. I do find your perception/prediction about trending writing styles somewhat ironic and disconcerting. I personally loathe the current trend in filmmaking that overly relies on a preponderance of unnecessary verbosity and/or ludicrously overwrought dialogue exchanges that exist solely to inundate the audience with excess stimuli in an effort to obfuscate an actual lack of writing ability. Yes, the preceding sentence is deliberately satirical. I will freely admit that my style(s) are not trendy, especially when it comes to the aforementioned dialogue exchanges - my current film has been somewhat vilified for this on the festival circuit.
2) I've practiced this every day of my career, but it's still reassuring to know that there are others that take their craft (whatever it may be) seriously.
4) I've already compiled a short list of agents that have represented authors with styles similar to my own. I'd personally rather go unpublished that seek the self-published route. My Gaffing days are about 7 years in the past (save for a Disney shoot last December), since then my time has been spent DP'ing and directing. I want to explore this possible career move as a means for personal gratification. The financial aspect isn't an immediate concern, especially if I liquidate my company.
I'm particularly interested in your personal experiences in either getting published or procuring an agent and the difficulties therein.
Again, thank you for your help and wisdom.
Chainsaw, I got your second comment via e-mail. I don't know why it didn't post here. I have no problem turning the blog into a discussion board, but it can be hard to follow when new articles are posted.
You'll find all kinds of publishing/writing discussions at AQC.
When will the music videos be notified?
We are going to try to get all of the notifications out over the next week or two.
How long, typically, does it take after the notifications go out for the screening schedule to be released? For those of trying to plan a trip out there.
Good question. I'm not entirely sure as I haven't been as involved with the schedule as the programming, but my guess would be more in the range of hours/days and not weeks. My film was in year 3. Then they drew screening times from a hat. We do more planning now.
If possible, of course, you'd want to come out for the week. This gives you time to network, promote, schedule meetings, have fun, meet fellow filmmakers, have more fun, etc.
hello! when are we looking at for feature notifications? and do yeses hear sooner than nos?
1 - scroll up in the comments.
2 - Yeses do hear before nos since we have to confirm them, make sure every slot is filled, THEN notify the unfortunate.
roger-it's just that I had noticed your last reply was a few days ago and I was wondering if you had any clearer idea of what day you're aiming to notify by, etc... (or whether the yeses have in fact already been informed). I'm not trying to be pushy and I know you guys have a massive job choosing! I'm just anxious to know bc of travel arrangements, other fests, etc. And because being in DWF would rock!
Notifications are going out even as we speak.
So should we take a lack of notification by now as a pass then?
Not yet for several reasons:
Notifications go out one at a time, and that takes time. Hopefully all will be out by Monday. If you don't hear by then, start working on that 2-Minute 2-Step script.
Some filmmakers balk, pull out, or don't get back in touch with us, so we pull films back from the brink and schedule them.
We do send out official pass letters, so you won't be left hanging.
Good luck everyone.
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