1- Can I send more than one entry?
Yes, but different entries will need to go through the submissions process. There is no discount scheme for more than one submission – though you can send the same submission twice if the second version is revised after receipt of critical appraisal
2- There are tons of Free Film Festivals – why should I submit to yours and pay?
Free Film Festivals generally do not promote talent, but arrange a screenings of classics in public domain, or cult favourites and put out challenges for film makers locally. They are not taken very seriously by journalists and like genre festivals (with one or two notable exceptions) are run by enthusiasts, not professionals.
3- Can I submit anything that has been screened at other festivals?
What you send can be from any country, from any year and regardless of when and where it has been screened before. FILMS HAVE A SHELF LIFE OF FOREVER. This film festival is not at all interested in the transient nature of festivals. If your film has had something important to say about city life, then bring it here to get a new lease of life. The film will get some additional PR. The competitions are for the amateur and student and are not the usual ‘Official Selection’ laurel leaf stuff of note. But if your film has had some attention at a festival, but then disappeared or never got distribution, bring it on and let’s see what we can revive.
4- What is in this for the professional?
Good question. Well, when the likes of Spike Lee go to a crowd funding platform to get the financial foothold – this is story in itself. This festival was designed, conceived and put out there from nothing. No loans, no funding cycle, just wits guts and conceptual strength. In reality, no crowdfunding film project succeeds without campaigns help, entrepreneurialism, social media, and target marketing, nailing pre campaign pledges which can be advised over if the film maker aligns themselves with the festival.
5- How is this different from other festivals?
Easy. Unless one of the top ten festivals in the world, or a notable genre festival, the PR and associated work is done for free: the internships, the blogging, and the voluntarism, all of it. The entire model depends on free work. Then there’s the journalism and the business of getting the word about. After that is the next venture and the business of earning a crust in between ventures. This festival is far less concerned with the ‘Red Carpet’ big names and more concerned with a long life cycle being given to a film and film maker who deserves it, as well as helping those making their bones as first timers. There is room here for the inspired amateur who can prove some talent in making an ad or clip that can prove a commercial hit.
6-Google are making ads for $150.00, so what’s the point of your festival?
Well – one cannot live on $150.00 and the solutions posed by Google are (quelle surprise) set around the usual digital behaviours of anticipating human action through the ‘add on.’ So, if a business wants to make an ad – it uses Googles systems of templates instead of the human imagination. Supposing the small business wants to adjust the template…rather than have a director deal with his usual tools and gambit, the business has to translate wants and needs around templates, budget and available add ons. There is the advantage of You Tube which undoubtedly lies in the favour of Google, though YouTube is rather universally available anyway. Digital Media facilitates creation. It is not a creator in itself.
7- Why are you screening in pubs?
Because they are very heavily populated nine to five with a tired and bored audience with nothing to look at whilst having something to eat, drink or while chilling out. And there are lots of them…far more than in a marginalised festival…oops, there’s another truth out there: festivals screen in venues that care predominantly on making receipts on proven studio output. The audiences for festivals are marginal. There are only a small percentage of citizens in any country in the world that attend the cinema on a regular basis. Out of that figure, even less go to see a brand new feature by an unknown. Even less than that go see an unknown at a festival. The competitions entries are a welcome relief for the tired citizens, and the films of choice about the city are screened to a selective audience within a private stakeholder context. Plus – folks in London, the centre of the universe (only joking, but undoubtedly a major international city), love their local. The local means here near to where there is home, work or play.
8- What Does ‘Zero Tolerance for Wannabe Culture’ Mean…?
Well, funny you should say that….a considerable amount of folks have taken film, media and communications degrees in the days of the democratisation of further and higher education. Back in the day when a film course was as rare as a Fabergé Egg – there were equally as few festivals. Now there are huge swathes of all of it…and no mathematicians or engineers. Why is this exactly? Because an equally huge swathe of folk find the prospect of being in or attached to media glamourous. In reality – film is as much a product as a chair or car. However varying degrees of need (emotional) and self-aggrandisement is inappropriately associated with the product of film. This detracts from its beauty and potential to comfort, educate or inform. Film does not exist to have a barnacle/ship relationship with. This does not detract from the capacity for film to be art, but the love of film need not be as consuming as it is for some people. Skills and development are required to drive careers forward – not ensuring emotional needs are met.
9- So What do I get for my Buck…?
Another juicy one…….pay attention
If rejected, there will be a reason given within a reasonable period. If accepted, you go onto our ‘Talent Register’ – this means an access to our in house social media, online magazine and general publicity goodness. Would you believe that this is part of the model anyway? Just that not many people know that nearly all work for festivals is done for free, but isn’t carried forward. It’s all mostly ‘hamster in a wheel’ stuff that is repeated year in and year out. What we want here is to grow a family/community of talent (across disciplines within the film remit) that can rely on the model for forward progression and not to ‘take the piss’ out of the number wanting to work in the industry and are willing to work forever for nothing.
There are those that would develop a league table of festivals based on a particular criterion: to those be warned. There are only a small percentage of festivals that follow the necessary compliance, register for taxes, pay journalists, and provide venues with guaranteed number. In fact, a considerable amount of festivals are developed as extensions of the ego of the founder, not to be disturbed or questioned. You know who you are.
If you are a film maker with a work of note under your belt that needs taking out of the wardrobe and shaking off for some new found freshness and appreciation – then come here. Come to us for some acutely defined campaigns planning and pointers as to where to go for the birth of your next baby. You will be well taken care of, but don’t expect the world. We will look after you better than most – but don’t push it.
Any other questions not covered here in the FAQs, drop a line on the phone number given with business details. If it is a dumb ass question – or one covered here, don’t expect a reply. Nutritionally speaking, we are a bit busy building a b vitamin complex and are wannabe (and film maker ego) intolerant.