As Filmmaker correspondent Nick Dawson braves the harsh Scottish terrain to bring us up-to-date coverage of the Edinburgh film festival one considers with so many festivals to choose from, how should a novice develop a cogent strategy for the festival circuit? Last night I was able to attend a festival strategy conference in New York produced by the IFP as part of its "Industry Connect" series and sponsored by Warner Independent. Mary Jane Skalski (producer, The Station Agent, Mysterious Skin), Steven Rapheal (sales agent, Pan's Labyrinth, La Vie en Rose), Kerry Weldon (executive director, New Fest) and moderated by David Nugent (festival programmer, Newport, Hamptons) sat down at the SoHo house for a sobering panel on navigating the festival shark pit.

There was a general consensus among the panelists, that all aspiring filmmakers should remain aware of the Sundance schedule. "You really can't ignore Sundance, it's still the best strategy" stated Skalski. "It's the place where distributors will take the biggest chances on American independent films." Although they acknowledged that other festivals were good choices, they warned that if a film gets too much festival exposure, it wanes on distribution potential. Skalski also said that although lots of young filmmakers get jazzed about Cannes, the world-renowned festival is incredibly competitive, expensive and political. Toronto is also gaining momentum, but the line-up is gargantuan and faces lots of international competition.

"The first screening is always the most important" Mr. Raphael concurred. "So have all of your materials ready." What materials might those be? "A solid press kit and top-notch stills" he answered. "I can't stress the importance of having a great image that can be duplicated over and over again. It's so crucial and a lot of first-time filmmakers overlook it." He emphasized how essential having a professional photographer on set is, as well as hiring a professional to write the press-kit.

"Just because your film got into Sundance doesn't mean your scott-free" Skalski stated. "The film still has to be screened, reviewed and sold, it's a very nerve-wracking experience for everyone but the journalists." They also discussed not harassing the programmers and distributors, one politely placed e-mail is fine, but anything more then that will solidify your fate as annoying and word of annoying filmmakers travels faster then news of a new wunderkind.

So what if your film doesn't get into Sundance? Well the panel agreed that the next festival's that have the most industry buzz are the New Directors/New Films series by Lincoln Center and, to a lesser degree, Tribeca. New Fest director Kerry Weldon had a good suggestion: "Pick six festivals, aim high then low, pick the top three major festivals that you would like to premiere at, then three niche festivals where your films subject matter would be appropriate."

Although a lot of this may sound disheartening, it's good for filmmakers to remain cognizant of how the independent film world actually works. Strategizing for the market is unavoidable, even thought it's independent, it's still a business. Programmers "track" films long before they screen at festivals so it's important to try and get on their radar without seeming desperate. They track who's in it, who's attached, even down to the crew so all this should be major preproduction considerations.

It's true there's been plenty of exceptions that have gone against the advice above and still went on to do well. A great example is David Gordon Green's George Washington which Sundance originally passed on. As this years festivals begin to wrap, good luck to all filmmakers who are planning a festival tour in the upcoming year.

# posted by Benjamin Crossley-Marra @ 8/22/2007 10:51:00 AM