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Film Festivals Offer The Life Lessons For Longevity
By Ted Hope
By Kellie Ann Benz
Okay, I’ll admit it. I think ‘Jersey Shore’ offered some of the best life lessons. I’m not too cool to reveal that I gleaned much from the leg-humping silverbacks who F-bombed their way into obscurity on that cautionary tale of a show.
Replace, if you will, their onenightstandpad with a film festival party, and you can see how they offered all of us a first rate how-NOT-to for which should be grateful.
I cite their example as a sobering reminder for everyone packing for their first film festival.
First, the good news. Film festivals are wicked wild fun. Truly.
Festival attendees are some of the most electric creatives you’ll ever meet – and when actors or actresses are in attendance, some of the most beautiful humans you’ll ever see with your own eyeballs – film festivals offer a throwback to Dominick Dunne-esque invitation only cocktail parties. At the best international festivals, the ribald wits congregate as safe harbour from a cruel, cruel world that only understands their stories when told in a linear three act structure. At the discovery-zone of regional indie festivals, you can feel welcomed into an exclusive club where only the cinematic smarty-pants go.
For the chosen ones with films competing, a film festival is the blue ribbon approval after the drudge of production, the maxed out expense of post, and the ‘pick me’ panic of festival submissions. Depending on where you’re chosen, you could very well Duplass your way into a career.
Ask any one of the indie hopefuls whose films have received the golden handshake at Sundance, Cannes, Rotterdam, Venice, Palm Springs, Toronto and you’ll get an exhausted ‘phew’ – a true sign that they had no way of seeing that life changing moment coming.
Here’s the rub, anticipating that your life will change or that your film will sell or that you’ll leave a film festival wealthy is guaranteeing that you won’t. Murphy and his nasty little laws.
However, anticipating that you will meet people who you will work with in the future is Lena Dunham smart and precisely the way to use a festival to benefit your career.
Since the social make-up of a film festival often mirrors the social make-up of any community, I offer these quick glance personalities-types to find and/or avoid at any film festival:
THE MOVIE WATCHERS – Not the ones ‘screening’ films, the ones watching them. Native to the film festival circuit, this tribe’s natural habitat consists of dark theatres and festival line ups. Easily identified by their traditional garb; hoodie/vest/toque* ensemble, un-environmentally friend coffee cup, dog-eared program and OCD attachment to their smartphone. If you make movies because you love movies, these are your future collaborators, industry pals and trusted confidantes. Make friends with these people.
*Toque is Canadian for knitted ski hat. Toque is also way cooler than knitted ski hat.
THE PRODUCED PRODUCERS – Good Producers are a rare breed. Find the ones who made the new movies you loved and introduce yourself. Exchanging a business card isn’t betraying any Producer relationship you already have; it’s ensuring that you diversify. Foolish are the writer/directors who put all their eggs in one basket, so save the I-don’t-mingle hooey for the E raves*, and exchange twitter handles.
*Unless you’re a starlet or undiscovered hunka hunka movie star, don’t take the E at E raves. Note to Starlets and Hunka Hunkas – no one casts messy druggies, but they WILL sleep with you. You decide what you want.
THE COORDINATORS – Film festival staff are often a mysterious bunch. First, there are a lot of them, second it’s questionable what they all do. Here’s a hint, the people who coordinated the parties you’re attending (mostly running around making sure you’re having a great time) are the money people to know. Naturally, Festival Directors, Artistic Directors or any other variation thereof, you must thank and be gracious to. But the Coordinators are often the ones with extra comps, free passes, late night exclusive invitations, and other unexpected goodies. Here’s the secret though – you don’t know this and you must NEVER expect them to share. They loathe people who expect perks. Best way to get the inside track from the Coordinators is to be kind, polite, talkative and genuinely interested in who they are. Besides, today’s festival coordinator is tomorrow’s Development Executive or award winning filmmaker. These might turn out to be long relationships. Pay attention. Be real.
WRITERS – Screenwriters do actually Charlie Kaufman their way through most parties, that’s their job. No one takes a gregarious screenwriter seriously. So getting screenwriters to release the death-clutch of their single malt scotch long enough to open up, could mean a future collaborator for you. Like Coordinators, pay attention, be genuine, exchange emails.
THE UN-PRODUCED PRODUCER – If the Producer you just met doesn’t have a credit on the film they say they produced at the festival, it’s not a titling mistake. Politely back away and keep mingling.
THE OVER-MARKETERS – We all want to market our films, find our audiences and feed our niche. Film Festival parties, however, are not always the best place to do that (your audience is much bigger than fellow filmmakers) If you run into someone who can’t stop giving you all the crap they’ve invested in to promote their film – worse yet, that’s not even in the festival – walk away.
NOTE ASKERS – if any filmmaker asks you for feedback or ‘notes’, don’t walk away, run!
THE DRIVERS – Don’t have an inside track to anything. Be polite, move on.
REPORTERS – This is a dicey one, because getting quoted seems like the goal. Your publicity, however, needs to be leveraged in unison with the marketing of your film. So tread carefully. This means keep a professional distance until you’ve seen the same reporter enough times for a natural friendship to develop.
The best thing you can do for yourself before you arrive at a festival is scan the delegates list and know who you want to meet, then stay open to who you might meet along the way. Take cards, keep notes, assess after your home who you want to follow up with.
A festival invitation should mark the beginning of a long run for your film and herald the spark of a career for you. In the film industry, longevity is the only goal worth pursuing.
Overall, I’ll end with this; the age old manners your mother shamed you into for family dinners, also apply to film festivals – and your life in the film industry – be kind, pay attention, listen more than talk and most importantly, just like ‘Jersey Shore’ taught us all, keep your pants on.
KELLIE ANN BENZ’s four woefully inappropriate short films, have competed at 175-ish international film festivals. A columnist for Canada’s National Screen Institute, she just wrapped her first feature film.