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This article is used by permission of Mark Litwak, Esq. and is taken from
www.marklitwak.com.
Film Festivals
Part II
By Mark Litwak, Attorney at Law
In my last column I discussed the importance of film festivals to attract
the attention of distributors, and how the Sundance Film Festival has become
an important part of the independent film world. In this column I will review
several other important festivals.
Slamdance
Slamdance was established in 1995 by several disgruntled filmmakers who
decided to launch their own festival after being rejected by Sundance. They
called their festival “Slamdance 95, Anarchy in Utah — The First
Annual Guerilla International Film Festival,” with the motto: “By
Filmmakers, For Filmmakers.” The festival takes place in Park City
at the same time as the Sundance festival. Most years the festival has exhibited
its films at the Treasure Mountain Inn in makeshift theaters that are barely
tolerable. While the films vary widely in quality, some agents and distributors
do attend the screenings. In 2005 the opening night movie MAD HOT BALLROOM
was sold to Paramount Classics, and another film, ILL FATED, was picked up
by THINKFilm, a distributor based in Canada.
Telluride
This is a film lover’s festival. Films are selected solely on artistic
merit. It does not matter if the films are independently made or major studio
fare. Telluride is not obsessed with premieres, although there are many.
The goal is just to show great films. The festival does not attempt to be
a publicity event. While the media are allowed to attend, they must purchase
a pass like everyone else. This greatly reduces their presence. Indeed, paparazzi
are discouraged. Many movie stars and directors attend, and they appreciate
the fact that they can stroll about town without a dozen photographers in
their face.
This is a very well-organized event. You can buy a pass for $650 that provides
admission to all events, including the Opening Night Feed and Labor Day Picnic,
and admission to any screening just by showing up 30 minutes before show
time. Numbers are passed out so you do not have to remain in line to maintain
your place. You can sit at a nearby cafe and sip a cappuccino until it is
time to enter the theater. Popular movies are scheduled for additional screenings.
The venues are all within easy walking distance of the hospitality center.
Badges are mailed weeks before, so you do not have to wait in long lines
to register.
Unlike most festivals, the films that are shown at Telluride are not announced
beforehand. Participants show up on the strength of the festival’s
reputation for selecting interesting films. Telluride has a great track record
for picking pictures that have gone on to receive critical acclaim.
Telluride itself is a charming town, and the residents and festival staff
are cheerful and helpful. You really feel welcome here. Indeed, the town
closes down the main thoroughfare for the opening night food feed. Of course,
with only 5000 participants, this festival does not have to deal with the
overwhelming logistical problems Sundance confronts.
Cannes
This is one of the most glamorous, and perhaps the most important festival
in the world. It takes place on the French Riviera in May and is the occasion
for numerous parties and gala premieres. The French take film very seriously,
and this is one of the few festivals for which you should bring a tuxedo
or formal gown. In the evening, stars walk up a red carpet while the photographers
snap their pictures.
The festival is divided into sections. The main competition and Un Certain
Regard operate under the auspices of the official festival. Two important
sidebars are the films in the Director’s Fortnight, which are selected
by the Société des Réalisateurs de Films (Film Directors’ Society),
and the films shown in the Semaine de la Critique (French Critics’ Week)
which are selected by the Syndicat Français de la Critique de Cinéma
(French Union of Movie Critics). There are relatively few U.S. films. Those
selected tend to be independent films from favored auteurs and a few major
studio features accompanied by big stars. The programmers favor diversity
and will program a mediocre Mongolian film rather than another solid American
one.
The Cannes market runs alongside the festival. The market is comprised of
distributors conducting business from booths in the Palais (the exhibit hall),
or hotel rooms on the Croisette (the seafront main road). While the festival
focuses on the art of film, the market is mostly commerce, and the films
exhibited tend to be quite different from those in the festival.
Berlin
Of the major European festivals, the Berlin International Film Festival
(the Berlinale) is the most arty. Berlin does not have the glitz and glamour
of Cannes, nor the heritage of the Venice Film Festival, but it is a very
important event, especially for art-house fare. 3500 journalists from 70
countries attend. The European Film Market runs alongside the festival, providing
an opportunity for buyers and sellers to conduct business. With AFM recently
vacating its February slot to move to the fall, and with Cannes in May, attendance
at the Berlinale has soared.
Toronto
Toronto is generally considered the top Canadian festival and one of the
most important North American festivals. It has become a critical venue for
acquisition executives, and many films are screened. There are separate industry/press
screenings, and the festival is accommodating to independent filmmakers as
well as industry bigwigs. This is a well-organized event that offers a wide
variety of fare as well as seminars and roundtable discussions. Screenings
are attended by enthusiastic audiences in this cosmopolitan city known for
its film fans.
—Mark Litwak (www.marklitwak.com)
Mark Litwak is a veteran entertainment attorney and Producer’s Rep
based in Beverly Hills, California. He is the author of six books including:
Reel Power: The Struggle for Influence and Success in the New Hollywood,
Dealmaking in the Film and Television Industry, Contracts for the Film and
Television Industry, and the recently published Risky Business: Financing
and Distributing Independent Film. He is the author of the CD-ROM program
Movie Magic Contracts, and the creator of the Entertainment Law Resources
website at www.marklitwak.com. He can be reached at law@marklitwak.com.
Disclaimer-Any
material sent to or provided by Mark Litwak is for illustrative and educational
purposes only and should not be relied upon as legal advice, or be considered
confidential or the basis of an attorney client relationship. This
material may not be suitable for your particular situation and different
legal advice may be appropriate depending on your jurisdiction or circumstances.
Therefore, you should not rely on this material, or any part of it, without
the advice of competent legal counsel.
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