Saskia Wilson-Brown

In January, I attended the Slamdance / Sundance extravaganza in Park City, Utah, helping produce the Slamdance, WorkBook Project & Open Video Alliance Filmmaker Summit.  While there, I participated in and listened to a lot of conversations about the shifting role of film festivals, particularly as those shifts apply to a mid to high-level independent festival such as Slamdance. What follows here is the third of five four thoughts that came to me about the functionality of film festivals (and in no particular discursive order).

3. What festivals should do to better serve their communities.

The motivations that guide independent film festivals vary wildly: Whereas some were founded solely to develop industry in a second-city environment, others take radical stances against the industry altogether, shifting their focus towards serving their local creatives instead. Others, still, strive to function as arts-based businesses, leveraging sponsorships and ticket sales in an attempt at joining the ranks of corporatized culture-hawkers.

It is hard to generally classify the purpose of pre-existing film festivals, then, as their needs and motivations are often so divergent. One can nonetheless begin to make an attempt at creating a sort of style guide outlining some pragmatic ways that festivals can better serve independent filmmakers and artists, their contradictory purposes notwithstanding.

Based on several conversations had with such luminaries as Lance Weiler, Brian Newman, Paul Rachman, Peter Baxter, Lisa Vandever, Roger Mayer and others, here is the beginning of a list of how festivals can better help independent filmmakers.

NB. I see the following 5 points as responsibilities, not suggestions. I believe that arts organizations, due to their very nature of being the cynosure of dialogue and thought, have the responsibility to guide that discussion in the correct, honest direction.

I. Manage Filmmaker Expectation (No dangling carrots)

Too often festivals obliquely play into a system based on false promises and permission-based access. In this, they encourage and fail to manage filmmaker expectations, and inevitably end up with some seriously disappointed filmmakers on their hands.

It is crucial for independent filmmakers to understand how the system actually works, and to understand, also, that there are alternatives. It is therefore crucial for a festival to actually explain what they are to expect – from an industry point of view- from inclusion in the festival.

Action point: Clarify what will and probably won’t happen at the festival with your filmmakers along every step of the way, from the call for submissions to the acceptance letter.

II. Be transparent:

If a filmmaker, however naively assuming that his independent festival of choice has scads of dollars to throw at promoting his screening, throws up his hands and lets the festival do all the work, imagine the shock and dismay he may feel when finds his big premiere empty. Conversely, if a filmmaker is aware that the festival has no marketing budget, he might be inclined to engage in a little marketing of his own, and in so-doing will support the festival’s efforts (with the happy accident of helping ticket sales, to boot).

My point is this: Anyone who’s worked a festival knows that they are damn hard to run, and are often on the verge of collapse. BUT: Most filmmakers and attendees do not realize this. In order to – again – temper expectations and ensure a good experience for all, it is simply a question of a festival engaging in a little transparency in its affairs. Open books and open access (within reason, of course) can be positive for several reasons, most saliently in helping people know what to expect of you- what you are capable of providing as a festival. It also allows a community to help where they see problems or deficiencies.

Action point: Clarify and publish your budgets, be clear about shortcomings and explain how your community (including your filmmakers) can help fill them.

III. Educate:

With transparency in festival affairs and transparency about the reality of what to expect, festivals also have a responsibility to provide their filmmakers with information about alternative solutions for independent film. This can be done simply by shifting the focus away from old-industry panels towards realistic, functional and educational seminars centering both on the ‘art’ side of the filmmaking process and, of course, the business.

There are several areas that are drastically changing with the advent of new(ish) technologies:

• New fundraising stratagems (crowdsourced)
• New storytelling techniques (transmedia)
• New production processes (crowdsourced)
• New distribution strategies (online, VOD, etc)
• Open culture

Action Point: Taking a cue from The WorkBook Project’s DIY Days, and Slamdance/WorkBook Project/ Open Video Alliance Filmmaker Summit, create open access educational seminars around the new models in distribution and fundraising. Make the information available online.

IV. Develop access to new distribution models

In addition to educating filmmakers about new models for film production and distribution, festivals should also provide optional distribution solutions for its filmmakers in new media platforms, VOD and theatrical. These should allow filmmakers to exploit their rights piece-meal, monetize their films and gain new audiences, with the appui of the festival’s curatorial credibility behind them.

This is a hugely lengthy topic to go into, but for examples of festivals that are attempting to do this, take a look at a few examples:

• Slamdance’s deal with Xbox (which has made money for both Slamdance and the filmmakers)
• Sundance’s deal with YouTube (which has not made money for the filmmakers, as far as I am aware
• Tribeca’s recent VOD deal (which is, as far as I am aware, NOT optional for the filmmakers- which if its true, totally sucks)

Action Point: Use your festival’s organization cachet to broker deals for your filmmakers, and offer those deals as optional systems to complement their distribution strategies.

V. Share resources and organize year-round community screenings

Imagine a scenario where the audience winner at Nashville FF is given a 15 city theatrical run through community screening programs run by Nashville FF partner fests.

In line with the previous point, festivals could increasingly work together to further four-wall film exhibition through year-round screenings, and by combining marketing and local resources with other festivals.

In turn, by leveraging partnerships with other arts organizations and venues worldwide, festivals can help their filmmakers reach wider audiences, and also provide them with a de facto theatrical release. Of course, the benefits of partnering reach beyond only helping filmmakers, as these sorts of partnerships can help spread a festival’s brand, vision, and curatorial voice- in turn allowing for higher levels of sponsorship or- better yet- more participants in its next crowdsourced fundraising campaign.

Action Point: Organize year-round screenings in your community. Make friends with your colleagues and organize film exchanges. Share resources and programming.

A Conclusion!

All these points, to me, demonstrate one overarching fact: In order for an independent arts community to thrive, it must take a conscious stand to stop trying to emulate a corporate business methodology of exclusion, competitiveness and opacity.

In copying a system that, really, has little to do with how we as independents actually work, festivals are unwittingly incorporating all the nasty little habits that are anathema to thriving collaboration and creativity: Status-based ranking systems for humans (‘VIP’ passes, for instance), one-way payment systems, the obsession with celebrity attendance, fearful and covetous business practices. In following this approach, of course, we effectively stop innovation and discourage the development of new collaborative systems altogether.

In servicing the arts, a festival services the arts community in all its forms – even those it sees as its competitors. One will never exist without the other.

Next installment:

• #4: How to sustain without selling out: An exercise in ego management.