The name of a Sheffield Doc/Fest session was “The Secret World of Film Festival Programming” and the goal was to demystify how festivals are programmed and provide tips for filmmakers navigating the festival system.
Moderated by Adam Benzine, associate editor at Realscreen and featuring Hussain Currimbhoy, Director of Programming at Sheffield Doc/Fest, David Courier, senior programmer, Sundance Film Festival and filmmaker Jeanie Finlay (“The Great Hip Hop Hoax”), the panel delivered on its promise — and then some.
Finlay, whose films have screened at SXSW, Sheffield Doc/Fest, Hot Docs and elsewhere, provided the filmmaker perspective on navigating the film festival circuit, while Currimbhoy and Courier explained the process for applying to and getting accepted into their respective festivals.
Here are some of the highlights from the panel:
Let’s be clear. The odds are not in your favor.
Currimbhoy said Sheffield Doc/Fest gets about 2,000 submissions and they screen about 150 films (but that includes interactive films, shorts and older films that screen outdoors).
“Last year, we received overall, close to 13,000 submissions including shorts and fictions. Of those 13,000, close to 8,000 were shorts. The rests were features. Of those features, I’d say about 1800 or close to 2,000 were documentaries. Of those, we show 41 feature films.” — Courier
Don’t send your film in until it’s ready.
“When I first started here, I’d say send me the rough cut, it’s cool. Then when I saw it again, the whole thing had changed. It was a different film totally. Now I say ‘send the best thing you’ve got.’ I don’t mind if it’s not color corrected or sound mixed….More and more, I do suggest don’t rush it. Say what you want to say and express what you want to say with your film.’ — Currimbhoy
“My advice would be don’t send your film until it’s ready…It doesn’t have to have gone through complete post, but make sure you are telling the story the way you want to tell in the form that you want to tell it and that it is very clear. Send us the best cut you can.” — Courier
Don’t send gifts to programmers.
“Don’t send me gifts, please. One guy sent me a film from Liverpool that was about a drug rehab center. The DVD case came and there was a syringe inside of it. One guy sent me a packet of shrimp gumbo mix from Louisiana. It was a sweet thing, a little taste of home, but please don’t do that.” — Currimbhoy
“Make sure you put the title of your film on your DVDs because we wind up with these stacks and going through them, we say ‘what’s this blank DVD here in my stack?’ You want to make sure you catch their eye with the title and you’re watching that film.” — Courier
Check to make sure that your film plays all the way through.
“Filmmakers are rushing to get the DVDs made and don’t check to see if they play all the way through. It’s so frustrating to get 40 minutes into a film especially one I’m really enjoying and thinking it has a chance…Most of the time, we’re not going to contact you and say ‘send us another DVD.’ It’s irritating because you’ve just wasted 40 minutes of really precious time.” — Courier
Some festivals — including Sundance — allow you to re-submit a film.
“Not all film festivals allow you to re-submit a film. We do it. We don’t love it, but it happens.” — Courier (who explained that “Watchers of the Sky” submitted two times before it was finally accepted last year. “Searching for Sugar Man” also re-applied after ring rejected once).
Festivals don’t make money on submission fees — but not everybody has to pay them.
Currimbhoy said that if a filmmaker writes a really nice note explaining they can’t afford the fee, it may be waived.
Courier said that established filmmakers often don’t pay submission fees – “We don’t charge Alex Gibney to submit to us because we have an incredibly relationship with Alex Gibney. It doesn’t make sense. It’s not like you’re only charging the little guy. It’s about honoring a filmmaker whose work you respect.” — Courier
Pick the right festival for your film.
“There are so many festivals. you’ve got to get the timing right. Ask yourself: what do you want from the festival? Do you want to make a name for yourself? Do you want to make money? You can’t make your name, make lots of money, get the right sales…it’s a weird alchemy. You’ve got to realistic.” — Finlay
Do your research. And follow the rules.
“You need to know what the premiere status rules of a film festival are and abide by them and don’t try to trick people.” — Courier
Reach out to festival programmers — but not too much.
“I encourage people to contact me to say ‘Here’s what I’m doing. What do you think?’ — I do encourage people to write to me.” — Currimbhoy
Sundance keeps an extensive tracking list for films in production or even in development, which is one of the reasons Courier said he is attending Sheffield Doc/Fest’s “Meet Market.” “I’m looking for things for next year. If you’ve got something, be in touch with me because I will add it to our tracking list and when it’s ready, get in touch again…but not too much in touch. The perfect balance is what you need.”
Know the right times to follow-up.
“It’s pretty well known from us that we make our decisions around Thanksgiving time, so don’t bug us in September or October or even early November that you didn’t hear because it makes sense that you didn’t hear because no one heard.” — Courier
Film festivals reject great films. There are many factors that come into play.
“I write so many personal notes to filmmakers because of the high volume of films that we get and the few documentaries we show, we have to say ‘no’ to so many films we love. I’m writing these really sincere glorious reviews of a film that I just rejected basically. People think that’s just so phony. Why would you reject it if you really feel that way?… But there are a bunch of factors. You can’t have four films on hockey, for instance, in a program of 12 films. That’s crazy. You’re mixing up what you’re programming and there are lots of different factors to it.” — Courier
Special thanks to IndieWire for this one.