In this episode I talk to Brad Wilke, an award-winning filmmaker, produced feature-length screenwriter, and film programmer for the Seattle International Film Festival.
When licensing music for their projects, sometimes filmmakers will ask whether it's advisable to purchase only the "festival rights." Sometimes it's possible to save money on music licensing by obtaining permission to use a song in a film limited to play at festivals. It sounds great, but it is it a good idea?
Jon Gann is the founder of the DC Film Alliance, a non-profit organization supporting Washington, DC's film and video community, and the creator of the DC Shorts Film Festival - one of the country's premier short film showcases.
When Julie Keck & Jessica King (collectively known as "King is a Fink") tell you that they are social media experts, they can do so with straight faces. Chris asks them to speak in sentences with fewer than 140 characters as they talk about the interplay of social media with audience building, crowdfunding, and celebrity encounters on Twitter.
You probably know that one of the most valuable traits of a film festival is the access it affords you to others in the industry. Festival programmers, distribution companies, potential colleagues-- they're all there. If you know that your feelings of intimidation and awkwardness are costing opportunities to make valuable connections, try keeping these tips in mind.
My sister-in-law invites her blog readers to a "sneak peak" of something new. Predictably, I lose my $#!†.
Is now really the best time to make a short film? And, if you’re new to film, you’re not in film school and you don’t have industry connections… how do you even get started?
In this free webinar and discussion (and sneak preview to the Short Film 101 series starting Saturday, Oct 5), Kathy Cabrera will share the answers to these questions. She will address why now is the best time to make your short film; and three easy get-started tips that everyone novices to advanced filmmakers can use to jump into short filmmaking like a pro.
Back in August, I emailed all of the submitting filmmakers (for both the current Atlanta Film Festival and past events) to ask them what they most want to know about film festivals. One theme emerged above all others, one burning question that begged to be answered: Why don't festivals offer feedback on films?