{"id":60603,"date":"2015-08-07T10:16:00","date_gmt":"2015-08-07T15:16:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=60603"},"modified":"2015-08-07T10:27:30","modified_gmt":"2015-08-07T15:27:30","slug":"film-festivals-worth-money","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/film-festivals-worth-money\/","title":{"rendered":"Are Film Festivals Worth the Money?"},"content":{"rendered":"

Let’s answer a common question among filmmakers: Are film festivals worth your time, energy, and money?<\/h2>\n

Top image from\u00a0FilmBudget<\/a><\/em><\/p>\n

Ah… film festivals<\/strong>. Many times these events cause filmmakers to enter a complete\u00a0state of nervousness and stress. You’re spending your limited, hard-earned money just to watch it potentially swirl right down the drain. Hope that gets you pumped up.<\/p>\n

As one long time filmmaker friend of mine bluntly said to me, “film festivals<\/strong> are a complete racket.” And this is from a guy who\u00a0has had several successful festival runs with his films. But honestly, he isn’t alone in thinking this. I can see how and why many filmmakers believe this, even if it is just the frustration talking.<\/p>\n

After having this discussion with\u00a0him and watching the money drain from my own account after\u00a0submitting\u00a0my current film to nearly 20 festivals, I began to question myself. So let’s explore this question: are film festivals worth the money?<\/strong><\/p>\n

You Better Make it a Good One<\/h3>\n

Getting your film into a festival is crucial if you really want to take that next step \u2014 but the first step is making a great film.<\/strong> This should be a no brainer, yet I’ve known some filmmakers (myself included) who submitted an unpolished film early in their career. What you have to understand first and foremost is that you are competing with hundreds of other filmmakers<\/strong> for just a few coveted spots. So make sure your film is really ready to go before you submit it<\/a>. If it is, it’ll get noticed.<\/p>\n

\"Film<\/p>\n

Make No Mistake… This is Going to Cost Ya<\/h3>\n

Not only do you need to take the initial submission fee, but you need to make sure you have some funds stashed away for when the film is selected.<\/strong> Once again, this is a discussion I’ve had many times after talking with young filmmakers. They all plan for\u00a0the submission fee, but often completely miss the other fees. Well, what are these “Hidden Costs?”<\/p>\n

Additional festival fees only come if and when the film is selected. For instance, some festivals require\u00a0a specific type of media format for screening<\/a>. These could be DCP, HDCAM, Blu-ray, or even Film Stock. Needless to say, a lot of these formats can run you several hundred dollars per copy. One thing I will note… while submitting my latest film, I was surprised to see more festivals list MOV and Blu-ray as screening options.<\/p>\n

\"Film<\/p>\n

Who Really Goes to These Things Anyway<\/h3>\n

You.<\/strong> You should go to these things. If your film gets selected and screens at a festival,\u00a0you should attend<\/a>. The only reason you shouldn’t attend is if you just can’t afford it or if you’re currently working on a film that requires all of your resources..<\/p>\n

This again goes back to the “Hidden Costs.” You need to make sure you budget<\/a> not only your time, but your money as well. I’ve made so many contacts at film festivals. This is where festivals really pay off early. But in order for this to happen, you need to network<\/strong>… more on this in a second.<\/p>\n

\"Film<\/p>\n

Hone in on Specific Festivals<\/h3>\n

Now, don’t just submit your film<\/strong> to a long list of random festivals. That would absolutely be a waste of money. Our very own Noam Kroll had great advice for how to do this in an article he wrote<\/a> last year. Take note of the info in Kroll’s article… this is a plan of action that many successful filmmakers follow.<\/strong><\/p>\n

You want to 30% of your submissions to go to the top tier major festivals<\/a>, that being Toronto, Sundance, Hot Docs, etc. Then you want the majority of your submissions, around 50%, to go to the mid-range festivals<\/a> like Flickers, Slamdance, SXSW, etc. Now the last 20% of your submissions need to go to the niche festivals that relate to your film’s theme or subject matter.<\/p>\n

Here is a nice submission guide from TIFF<\/a>\u00a0on how to submit your film.<\/p>\n