You’ve` GOT IT MADE

short film Distribution guide

NIGEL R SMITH page 2 page 1 contents

INTRODUCTION 2

YOUR FILM 3

DEVISING AN OVERALL 7 STRATEGY FOR YOUR SHORT

Delivery materials 9

THE FESTIVAL CIRCUIT 11

Cry for Bobo SALES AGENTS/ 36 INTERNATIONAL DISTRIBUTORS

UK INTERNATIONAL 42 & about the TELEVISION SALES author DVD SALES 44 DIGITAL DISTRIBUTION 52 NIGEL R SMITH ONLINE DOWNLOADS AND STREAMING Nigel has produced a number of award–winning short films, including Scotland’s most widely successful short to date, Cry for Bobo, which has made more than 150 film festival and other event appearances spanning 34 countries. THEATRICAL SCREENINGS 58 It has received 25 awards and commendations along the way, including a Méliès D’Argent for Best European Fantasy Film, a Royal Television Society Award , OTHER OPPORTUNITIES 61 a BAFTA nomination and several festival Audience Awards. Nigel’s efforts to promote Bobo saw him both sweeping the streets of Harajuku and dining with FOR PROMOTION the King of Morocco. FINAL COMMENTS 64 Films he’s produced have variously screened: for a remote island community; at a convention of US vocational guidance counsellors; in Italian school classrooms; to staff aboard an Antarctic exploration vessel; and at a European APPENDICES 65 circus clown convention. page 2 page 3 INTRO- YOUR DUCTION FILM You like your film. Love it, even. There were problems along the way (there always are) but you feel that your film is a success. If you’re a producer, you’re production equipment and non–linear editing still talking to the director. If you’re a director, you can still stand to be in the software aimed at both the industry and home same room as the producer. You’ve shown the film to friends who all love it. You’ve made consumers. It’s never been easier – and perhaps You’ve shown it to enemies who begrudgingly tell you that it’s pretty good. a great short cheaper – to make a short film and hundreds are produced in Scotland alone each year. film – now you Since, as a filmmaker, your primary reason for making films is presumably that want audiences you have something to say or a vision to share, you should want to make every That’s a LOT of films. Some are inevitably more feasible attempt to reach as broad an audience as possible. everywhere to accomplished than others but they have all been love it as much made by filmmakers with something to say and You may have made the film as a stepping–stone to greater things – although a desire to communicate this to an audience. as you do! we do appreciate the short as an art–form in its own right – so you will want to Yet the general public is only able to see a small have it seen by industry figures who will be able to assist you reach your goal of fraction of these films – and in this country, levels This booklet is aimed become a professional filmmaker. at those with little or of awareness outside of those connected with, or aspiring to work in, the industry, remain low. no experience of short How do you go about finding your audience and increasing the film’s and your film distribution or own profile? marketing, and will Why spend all the time, effort, expense and look at the promotion heartache to make a short film if you’re not and distribution of subsequently going to go through all the time, This is a question you should be the short film form effort, expense and heartache of getting it seen asking from the very earliest stages – be it animation, by audiences? of project and script development documentary, narrative – because the answer can at least or experimental. It The good news is that there have never been partially determine your shooting aims to provide you more opportunities for short filmmakers to format, running time, subject matter with a slew of practical reach audiences with their films. The traditional and all manner of variables. It would information that will routes of the international festival circuit and seem wasteful (and very expensive!) help you to make your television screenings have been augmented to shoot and post–produce your film as successful as it by the possibility of DVD sales and the film on 35mm if your sole intent is to can be. increasing prevalence of on–line streaming and place it on a low–resolution website, downloading to a variety of devices. for example. Many companies won’t There’s been an involve themselves with a project explosion in the number The bad news – primarily for producers, but also until they know how and where it of short films produced for directors who’ve taken the driving seat on a can be marketed, and have made an in Scotland over the low–budget production – is that, having spent informed ‘guesstimate’ as to its likely last ten years – an several months getting to a point where they’re chances of financial – and to a much increase that’s been sitting with a master tape of their film in their lesser extent critical – success. A short echoed across the hand, they’re still less than half–way through film is a different beast from a studio globe – brought about the process. They still need to get it seen by feature, but it can be useful to think by the availability of audiences and that’s what this booklet aims to along those lines when coming to increasingly cheap help them do. make your short. page 4 page 5 WHAT IS YOUR BUDGET FOR PROMOTING YOUR FILM

WHAT DO YOU PLAN TO DO All short film promotional activities carry both financial and time implications. You ? have to consider how much money you can afford to spend promoting your film, WITH YOUR FILM and how much time you are prepared to commit. As a general rule of thumb, the larger a film’s scope and budget, the greater your efforts should be to ensure it The first thing that you need to Perhaps you’re entirely reaches audiences. consider is what you’d ideally like uninterested in any prospect your film to achieve. of financial return or industry Whatever you feel you might be able to do to promote your film will inevitably involvement, and extremely keen impact on its visibility to both industry and the general public. It’s unlikely that Perhaps your goal is to connect that the widest possible audience any producer will be able to afford to do everything that can be done, and so an with the film and television be able to view your film as soon effective strategy is necessary, prioritising some activities over others. industries and you feel that as possible, and have an online appearing at international film streaming website like YouTube in Some short film funders now require a promotional strategy and accompanying festivals and winning awards is a mind as the film’s home. budget to be in place as a pre–requisite of their funding a short film and will only good way to attract attention to allow access to this money once a film has been completed. your film and to yourself. The plans you construct to help your film reach its audience can Perhaps you’d like to see some play an important part in any revenue back from your film as potential funder’s decision to soon as possible and plan to sell provide your film with a budget. Our Tartan Short film Cry for Bobo has made over 135 film it yourself on DVD, bypassing the No one wants to finance a film festival appearances in 33 countries over the last five years, in festival circuit altogether. that, on completion, will sit addition to numerous other event appearances and television unseen on a dusty shelf. screenings. This cost me (personally) in excess of £5,000 during the first two years of the film’s life, with only around £4,000 returning in the form of festival award cash and sales agent revenue returns.

I spent almost a day each week for the first six months, and an evening a week thereafter to help the film on its way.

I have to admit, if I’d budgeted it all out in advance, I might have been deterred from doing what I did. That said, I believed strongly in the film’s potential, and seeing a relatively small You can find a sample promotional amount of money trickle from my bank account each week budget supplied as an appendix to this didn’t seem so bad. I’m proud of what the film has been able guide (Appendix 1 – page 65). to achieve internationally, and of the various accolades it has received along the way. DEVISING AN page 7 OVERALL Festival premiere Strategy SHORT DVD sell–through FOR YOUR DVD rental Theatrical release

Are you familiar with the idea of a ‘value chain’ for feature film revenue generation?

Theatrical (cinema) release is still seen as the economic driver (though no longer the major source of revenue, and no longer even stand–alone profitable for the studios on all but low budget surprise successes).

Some studio films receive film festival premieres, but the film festival circuit is only crucially important for those independently produced films which don’t have major distribution muscle behind them and therefore need all the publicity they can muster. Festivals like Sundance, at which independent producers seek distribution and sales deals, or distributors and sales agents seek to sell unsold territories, are major players in this respect.

Theatrical release is followed by a film’s exploitation across a number of territories, through the following markets, each allotted its own time ‘window’. This is a simplified model of what happens:

• Festival premiere • Theatrical release • DVD rental • DVD sell–through • Pay–per–view/Video on Demand cable/satellite TV • Premium (pay) cable/satellite channel • Free–to–air television • Internet distribution

Up until recently, many short film producers sought to replicate the feature film Back up value chain in their promotional efforts for their films: copy Final Edit • Take the film out on the festival circuit initially • Try to engage a sales agent to sell to television and cable • Look at the possibility of DVD sales, either through a sales agent or independently • Place the film on the internet only after every other avenue has been exhausted page 8 page 9 DELIVERY

There are some crucial differences in competition with DVD and online MATERIALs between the feature film value chain delivery of short films. It’s a battle and the market for short films; short they’re unlikely to win. When you make a short film, the film of the film supply them with a number films don’t tend to make money itself is the most important outcome of different legal and promotional theatrically or on the festival circuit The days of festivals rejecting short of your blood, sweat and tears but it’s materials. as the economic incentive to screen films because they’re available by no means the only end product that short films theatrically in cinemas online, on television or on DVD may you need to consider. Production financing is typically and at festivals is largely missing. well be coming to end – though delivered to producers in cash–flowed festivals will still typically insist Whether your film is entirely stages throughout production, with However, the festival circuit remains that films be less than one year or self–financed or has been made the final amount of money only being incredibly important and you’d be eighteen months old. Festivals won’t with money from a television released on delivery of all the required unwise to ignore it. This is where want to disappear so it’s likely they’ll broadcaster, media workshop or other materials. Legally, no film festival will your film could win awards and reach have to learn to peacefully co–exist source of funding, you will need to be able to show your film unless you’ve its most appreciative and committed with the other media. gather together a variety of legal agreed to their terms and conditions, audiences. It is also one avenue documentation, promotional materials stating that you have all the necessary through which to secure a sales What producers and producer/ and other information in order for your copyright clearances and permissions. agent, who is more likely to consider directors of short films will film to be seen outside of your own No sales agent will handle your film your film if it’s a proven festival increasingly come to realise is that living room. If your film has a financier until they’ve received copies of all success. their efforts to promote their films or broadcaster on board, they will necessary clearances and permissions. might best take place across all contractually expect that the producer But how long can festivals demand media simultaneously, in order to premier status and stipulate a film’s absolutely maximise a film’s audience The basic required delivery materials absence from the web given that and revenue generating potential. (deliverables) usually will include they offer little by way of financial return (prize money is the best you Clearly a producer can’t physically do • Film print and/or video master • Underlying rights and screenplay can hope for)? all of this at once. Selecting priorities tape of broadcastable quality agreements based on the potential of individual • Director agreement Festivals – particularly short film films will become increasingly • An English language subtitled festivals – have realised that they’re important. copy of the film print/master tape • Cast and crew agreements/ (if not in the English language) employment contracts/releases This booklet aims to introduce you to the following areas: • For tape masters, a full stereo • Location permissions sound mix on Channels 1 & 2 • Music cue sheet • Film festivals and an M&E mix on channels 3 • Short film sales agents & 4. M&E stands for music and • Synopses of varying lengths effects – necessary if your film is • DVD inclusion • A director biography/filmography • Digital streaming and downloads to sell to television in countries • Cast & crew/showcase/cinema screenings/other events where re–voicing is preferred to • Full credit listing of the film subtitling. • Showreel usage • An English language dialogue list • Digital stills (or 35mm slides) – a Whichever method (or methods) of distribution you decide to explore there variety. Best to liaise with your are some basic things to consider. Perhaps most important of all are your photographer before you shoot deliverables. the film so that you know what you’re going to get. page 10 page 11 THE FESTIVAL The Edinburgh International Film It makes things easier if you begin Festival produces the Film UK Guide to to gather together your deliverables British Film, which publishes in–depth during production. Gathering all these CIRCUIT information on all British fiction materials together at a later date will features and short films completed prove costly and time–consuming. in the last year. A completed Film UK Without them it will be difficult for you Despite the increasing profile afforded short films via the internet, the Yearbook form is essential if you want to have your film screened at festivals international festival circuit remains a hugely productive arena for the promotion your film to register on the industry and other events, and impossible for of your short film. radar. Visit www.filmuk.org.uk for more you to either engage a sales agent or info. sell the film to television yourself. Festivals screen to cine–literate and adventurous audiences who seek out new and fresh short films, with many festivals also offering awards to short filmmakers. Your financier should supply you with These materials should be budgeted Awards and accolades – while nice in themselves – also have the benefit of a list of expected materials, and the for in the first instance, and it’s furthering your filmmaking career, drawing attention to your film and raising technical aspects required to fulfill advisable to set aside an amount of its potential as a commercial product – and some of them look pretty fine on a delivery – film or tape specifications, money to have someone pull them all mantelpiece too! the number and type of still images together for you if you lack the time to etc – but the above list is an excellent do it yourself. Producers, distributors, sales agents, talent agents, development executives and starting point. other industry personnel attend festivals in search of new talent. If your film Let’s assume that you have all the has been selected for the festival there’s every chance that it could be you who Even if you have no financier to satisfy, required delivery materials to hand, catches their eye. it’s essential that you have these items together with your completed film. in place at the end of production if you “Multi–award–winning director/producer/writer” certainly doesn’t look bad on a want your film to screen in a public What do you do with it all now? CV, and could help convince potential financiers that they should be backing your forum. If you have a specific sales next project. agent in mind, contact them before you finish production on the film to ascertain the materials that they DECIDING WHAT YOUR FILM IS require. AND WHAT IT ISN T

There are currently over 600 film festivals across the globe, with new ones starting every year, so you can’t entertain entering them all unless you have an unlimited supply of time and money.

Certainly your film won’t be eligible for them all anyway – there are festivals that only accept feature films, or films of a specific genre – so think carefully which types of festival your film could appeal to. There’s little point in submitting your grim social realist drama to a comedy or fantasy film festival, or your gross–out black comedy to a human rights–focused documentary festival. This is something you should be considering at idea and script stage before you shoot your film: who will it appeal to and where’s the audience for it? page 12 page 13

FINDING YOUR FESTIVALS If you’ve crafted a hilarious and dramatic Star Wars spoof then consider its themes and target appropriate festivals to which you’ll submit it: festivals looking for Some film festivals are prestigious, some not. Some show feature films only, some drama, comedy, perhaps children/youth, perhaps fantasy, perhaps science– accept features and shorts, some are specifically for short film, some concentrate fiction. No dialogue?W hat about festivals for the deaf? Silent film festivals? on a single genre – and so on.

What about you, the filmmaker? Are you female? Gay? Jewish? A student? A small Unfortunately there is no single reliable, consistently up–to–date publication or child? There are festivals out there seeking your film. website listing all the current international film festivals together with their focus and entry requirements so you’ll need to visit a number of websites and compile a Sadly, if your film is between 40 and 70 minutes in duration, most film festivals working database or spreadsheet. That’s a lot of work, so consider choosing four – short and otherwise – will be reluctant to accept it at all. It’ll be too long to or five sites to begin with (see below). qualify as a short film under most festival guidelines, and not long enough to qualify as a feature film. You also need to keep this database up to date as best you can, and if you’ve the time, periodically search for new festivals. It’s an onerous task, but the good news If your film is longer than 25 minutes, most festival programmers agree that is that once you’ve a database up running you can update it for any subsequent it’ll have to be a truly excellent film before they’ll give up their perhaps limited films you make. programming time to it, although documentary festivals are generally more forgiving in this respect. The following websites carry Overall, if your film falls within the 3–18 minute range it stands a much better chance of being programmed. Of course, the length of your film is a decision that lengthy lists of international you have to take even before you begin writing the script. film festivals:

A number of festivals now have a ‘short short film’ category specifically for films www.moviemaker.com under 10 minutes in duration – under 5 minutes in some cases – and even under www.britfilms.com www.reelmind.com 3 minutes in others. www.screendaily.com www.prohub.com www.eurofilmfest.org The current optimum length, both for film festival programmers and television www.withoutabox.com buyers appears to be, for better or worse, around 10 minutes. www.filmland.com www.marklitwak.com www.filmfestivals.net www.german–cinema.de Let’s assume that you’ve crafted a film that’s of an acceptable length to short film www.filmfestivals.com www.lefilmfrancais.com festivals and the short film section of feature film festivals – where are the festivals www.filmfestivalspro.com that could be most receptive to your work? www.withoutabox.com www.indiebin.com www.shortfilmdepot.com www.indiewire.com www.reelport.com www.insidefilm.com

Weekly film trade publication Screen International annually issues a printed booklet based on the information held on its website – www.screendaily.com. page 14 page 15

KEEPING A FESTIVAL TRACKING DATABASE OR SPREADSHEET SHORT FILM AWARDS

OSCAR – must win one of a short list of approved festivals or screen theatrically in Your database of festivals should the Los Angeles area – then apply direct to AMPAS (www.oscars.org) ideally contain: Jamieson European Short Film Award – must win one of a short list of specified

European festivals (www.eurofilmfest.org) • Festival name • Where it is (city, country) BAFTA – must participate in a short list of approved festivals or be available on • Festival dates (month) 35mm (under review) – then apply direct to BAFTA (www.bafta.co.uk) • Submission deadline (month/date) • Film/tape formats accepted Scottish BAFTA – must be produced in Scotland within the 12 months prior to • Admission fee charged? the awards – apply direct to BAFTA Scotland (www.baftascotland.co.uk) • Competitive? • Priority in your festival strategy – suitable at all? Scottish BAFTA New Talent Awards – must be produced in Scotland within the • Date submitted to 12 months prior to the awards – apply direct to BAFTA Scotland • Receipt of screener confirmed by letter/email (www.baftascotland.co.uk) • Date film accepted/rejected • Date film sent and how sent Jim Poole Award – film should be produced in Scotland in the last year - contact • Date film returned or where forwarded on to Cameo Cinema (www.picturehouses.co.uk)

Even if you’ve no interest in pursuing awards or commendations, consider whether submitting your film to festivals which are non–competitive is a DEVELOPING A FESTIVAL STRATEGY worthwhile exercise. Given the time and expense involved in submitting a film to a festival, shouldn’t it offer the prospect of something in return over and above Once you’ve constructed a festival database or spreadsheet which contains all the promise of an audience? the festivals you’re keen for your film to screen at (or that you suspect could be receptive to it) revisit the festival websites for those festivals which have submission deadlines coming up in the next three or four months to double Be realistic in choosing the festivals Cannes and Berlin each only accept check they are suitable for your film. to submit your film to: is it really 15 short films into competition every of a quality that would attract the year, require 35mm prints to screen, If everything looks positive, bookmark the festival on your web browser and set attentions of the major film festivals and demand World Premiere status aside some time to apply for it. If it’s not, strike through it on your database and such as Cannes, Berlin and so on? – so if you complete your film in move on. July or August, do you really want to High profile festivals can have very delay it’s premiere for six months or It helps to have concrete ambitions and goals for your film, besides reaching strict criteria for entry; if your film isn’t more? What if your film isn’t accepted audiences. Do you want to chase an Oscar? A BAFTA? The European Short Film a premiere in their country or their – you’ve wasted precious months Award? A win at Cannes, Berlin or Edinburgh? What’s the highest accolade your region, they may not be interested in during which it could have been film could realistically achieve? screening it. For example, Cannes and touring the festival circuit. Berlin ask for World Premiere status, Look closely at the home websites of the respective organisations to discover how Edinburgh asks for UK Premiere your film might qualify, and research and submit to festivals accordingly. status. page 16 page 17

FESTIVAL SUBMISSION

Since your film has a festival circuit lifespan of two years (few festivals screen There are two types of festival work that’s over two years old), consider entering the higher profile festivals in screening for the short film the first year, leaving smaller festivals to the second year. form – those dedicated to screening only short film and those which run some short High profile short film festivals in film programmes, typically as Europe include: a side–bar to their feature film Clermont Ferrand (France) – www.clermont–filmfest.com programming. A few festivals Oberhausen (Germany) – www.kurzfilmtage.de choose to screen shorts in front Hamburg (Germany) – festival.shortfilm.com of features. rules and regulations for each festival Milano (Italy) – www.milanofilmfestival.it BEFORE you spend time filling in their Encounters (UK) – www.encounters–festival.org.uk Plan on entering both, but form and mailing off your materials. bear in mind you stand a much North America: better chance of acceptance at It’s worthwhile taking a look at what sort a dedicated short film festival, of films have screened at the festival in Palm Springs (USA) – www.psfilmfest.org/festival which obviously allots all of its previous years, and what sort of films have Aspen Shortsfest (USA) – www.aspenfilm.org programming time to the form. received awards there. CFC Worldwide Short Film Festival (Canada) – www.worldwideshortfilmfest.com

You must think and act well Also look at how many short films are Rest of world: ahead of the festival itself, since actually screened during the festival Message to Man (Russia) – www.message–to–man.spb.ru typically submission deadlines – some festivals, like Cannes, Berlin Sao Paolo International Short Film Festival (Brazil) – www.kinoforum.org are three or four months before and Marrakech, only show 15 films in the actual event – some much competition each year. What chance does That’s by no means a comprehensive list of the major short film festivals – longer. You have to be aware of your film have of being accepted, given there are a huge number of other festivals, which are very worthwhile. Have upcoming festivals and submit that major festivals deal with anything a look at Scottish Screen’s website for a more extensive list of international in plenty of time. For some between 500 and 2,000 film submissions festivals and markets (www.scottishscreen.com/festivals). festivals, the earlier you submit, each and every year? the cheaper their entry fee. The UK has a smaller circuit and lower profile than France, Germany, Italy, the Almost all festivals require you to fill in USA and Canada. Despite the large number of short films being produced It’s worth subscribing to an entry form, either online or on paper, here, we don’t have the same culture for short film viewing – festivals for short e–roughcuts, Scottish Screen’s and send a preview DVD copy of your film films in the UK, while excellent, are few in number and television screenings weekly newsletter (email together with additional materials. So, restricted to occasional slots. roughcuts@scottishscreen. make your application, sit back and wait com) or Brit Films (email film. – there’s no point in continually hassling [email protected]), the festival as to the progress of your the British Council’s monthly submission. round up, to keep up to date with all upcoming festivals and Film accepted? The festival should contact submission dates. you regarding the screening format they require to discuss shipping details and Visit the individual festival’s so on at least a month before the festival website, and ALWAYS read the dates. page 18 page 19

When they contact you, you should: Cry for Bobo was accepted by approximately half of the festivals it was submitted to – extremely good going. At one Check whether the festival has print/ point there were eight 35mm prints doing the rounds, and six tape insurance – so that if your film or Beta SP tapes. tape is lost whilst in their possession, was accepted by around 30% of they’ll bear the brunt of replacement The Return of Peg Leg Pete costs. Confirm that they’ll pay the cost the festivals to which it was submitted – very good going for of shipping your film or tape to the a film that was also available on the internet - but my strategy for this film avoided major festivals where there’s stiff onward destination of your choice in a timely manner – most will. Ask them to competition for screening places. provide you with a festival programme and any relevant press quotes or what preview format you sent reviews. You’re unlikely to get the latter (DVD usually) and whether your from larger festivals, but some of the submission included a CD with smaller events can be quite obliging. supporting documentation and promotional materials. A word of warning: although festivals accepting your film are quick to get If your film is doing well, check that in touch with you, those who decide you have enough screening copies that they don’t want your film are to go around. You should keep a frequently slow to tell you, some you’ll high quality master in reserve so submit to and never hear from again. you can strike another screening copy. If another 35mm print is If your film is being accepted by If you’ve not heard from a festival required, get in touch with your less than 10% of the festivals you’re six weeks before the event starts, it’s lab and pay the price – and if you submitting it to then consider whether worthwhile checking their website can’t afford another film print, why it’s worth changing your strategy to for programme details – and if these did you enter so many ‘35mm only’ focus more on the type of festivals, haven’t been announced, send the festivals? Remember that festivals or perhaps the countries, that have festival a chaser email asking what’s will typically forward your film been accepting the film – or whether happening with your film. If your from their festival to anywhere you it might be an idea to abandon festival film has won any awards or had any specify instead of returning the promotion altogether and cut your significant screenings since you film to you and you should allow at losses. submitted to the festival, tell them – least a week for this to happen. make them feel guilty should they turn Losses? Submitting to film festivals and down a successful film! After about six months on the festival circuit, assess how promoting your short film is certainly not free, and there’s obviously no Keep a record of everything you’ve successful your film has been guarantee that any prize money the film sent to each festival so that if your before spending more money into might be lucky enough to win will cover film is accepted, you already know sending it out. your costs! page 20 page 21

LEGALITIES

All festivals ask you to sign their submission form thereby signifying your acceptance of a whole slew of their rules and regulations – in effect, you’re entering into a legally binding contract.

What the festival requires is that you confirm that you hold all the necessary rights to offer them the film to screen and that they will have the right to screen it. If someone views your film and there’s material in it which infringes on their rights, the festival wants to be sure that YOU are the one who might be sued, not THEM.

ONLINE SUBMISSION SERVICES Be aware that festivals can put onerous clauses into these agreements – look out in particular for clauses which give the festival the right to offer your film to a cable channel which The onerous form–filling of the festival competition with each other, and sponsors their festival, free of charge, for unlimited screenings as submission process has become much each claiming the allegiance of other this can well have a detrimental effect on any later VT sales. easier in recent years with the arrival major short film festivals. It’s not of online services such as Withoutabox clear yet whether one or other will Some festival rules and regulations contain clauses that allow (www.withoutabox.com), where you triumph for the hearts and minds of them to put the entirety of your film online – often well past enter your film details and samples of short filmmakers. But they are worth the festival dates, and there’s the potential that viewers could stills, and so on. Once on their website, checking out, and could, in time, make download the film free. You might be perfectly happy with this – if you can submit to an increasing Withoutabox redundant in the short you own all the rights and haven’t licensed them to a sales agent number of festivals associated with film arena. you can make these decisions yourself. them at the click of a button and a pinch of the credit card. An added Be wary of uploading a high–quality BUT, if your film is lucky enough to have secured a sales agent, advantage is that submission fees via digital version of your film to such they’re likely to take a dim view of your offering the film up for Withoutabox can be slightly reduced. sites – you can never be sure where the nothing. You may be in breach of your contract with them, and However it’s primarily aimed at the copy might end up. If you do upload legal proceedings could follow. More about the role of sales feature market. a digital version of the film, make sure agents later on (see page 36). there’s something on the screen clearly Two major European short film festivals identifying it as a preview version. One final word of note: ALWAYS READ THE FESTIVAL RULES AND (Clermont Ferrand – www.clermont– REGULATIONS BEFORE YOU SUBMIT A FILM. Understand what filmfest.com and Oberhausen – www. you’re agreeing to before you sign any agreement. kurzfilmtage.de) now offer a very similar service to Withoutabox, specifically tailored for the short film festival circuit – seemingly in direct page 22 page 23

WHAT SCREENING SUBMISSION

COPIES TO MAKE

Festivals across the globe screen a variety of film formats, and they also ask for initial submissions to be on specified formats.

SCREENING COPIES Festivals usually accept the following screening formats but double–check the guidelines before sending your film: The number of copies you can • 35mm film afford to make partially determines • 16mm film your ability to access the festival • Super 8mm (very few small festivals left) circuit – there’s no point in making 30 festival submissions each month if you only • Digibeta (PAL & NTSC) have one screening copy – what happens if the film gets into every festival you • BetaSP (PAL & NTSC) submit it to? • DV (very few, non–specific) • MiniDV (PAL & NTSC) • DVD (PAL & NTSC) • VHS (PAL & NTSC) SUBMISSION NUMBER OF COPIES • Upload to Server The number of submission copies you’ll require of your film largely depends on the type of film you’ve made, and on your festival strategy but if you want to go as When setting out to participate in the (PAL & NTSC), DVD and Download wide as possible (and can afford to) a good rule of thumb is: international festival circuit, it’s wise to Server. For maximum festival to decide in advance the formats on penetration, having at least one 35mm Approx 350 multi–region DVD copies. From this, you can give some to cast and which your film will be available. This print is advisable, but it’s still possible crew (which you should do anyway, particularly if they’ve worked for food!). will, of course, depend on what format to hit a huge number of important the film was originated on, how much festivals with tape formats. Approx 30 VHS copies – 20 PAL and 10 NTSC should suffice. you can afford and where you’re keen for your film to screen. In an ideal Producing tape formats is an You might want to restrict yourself to sending out DVD screeners only, to save on world you’d have a number of different expensive business; asking duplication VHS duplication costs, since the balance has shifted between DVD and VHS, with formats available for every possible houses to prepare extra copies can ever fewer festivals accepting the latter. Be aware that you have to provide copies situation. cost up to £100 for a single tape capable of being viewed on PAL and NTSC screens. standard conversion from BetaSP PAL Major festivals such as Cannes, Berlin to BetaSP NTSC. Even MiniDV can cost You can cut costs by burning individual DVD copies at home (or at someone else’s and some smaller French, Italian and £75 for a single standard conversion home), but this is time–consuming. Best to get them all done at once to take Spanish festivals still demand 35mm from PAL to NTSC. The more copies advantage of economies of scale if you can afford it. screening copies, and won’t accept you can persuade a post–production anything less. house to supply you with when you’ve Chose a copy house from which you can also order DVD boxes, packing boxes and completed your online layback, the DVD/tape labels. It’s probably best to restrict yourself to better. three or four formats, the most popular You’ll also need a convenient and cheap method of gathering together all the being BetaSP (PAL & NTSC), MiniDV supporting materials that festivals ask for – CD is the best format for this. page 24 page 25

SUBMISSION supporting materials Details to include on Tape Labels Festival programmers are dismayed by the number of entries they receive where In addition to the screener Keep a folder containing all these the screeners aren’t immediately identifiable – and are therefore more likely to be copy, there will likely be materials on your computer so lost or overlooked. additional information that you can drag and drop to required by the festival. It quickly burn a CD. Since software If it’s tape, then the spine label should have: Film Title, PAL/NTSC, Director’s name. is worthwhile gathering all compatibility is an issue, store the The top label should have: Film Title, Director’s Name, Running Time, Colour/B/W, this information together text files as both .pdf and .rtf format. Aspect Ratio, Screening Formats available, Sound Format, Production company and keeping it updated so return address, contact phone and/or email. it is ready to go out. For a And make sure that the file titles are suggested list of additional clearly understandable. For example, If it’s DVD, provide basic details on the actual DVD, and everything else on the information festivals may FilmSynopses.pdf is much better than DVD case or paper sleeve. require, see Appendix 2 Blurbs.pdf. You might like to send (page 66). a list of the disc’s contents together with it. Obviously, not every festival requires all of this Alternatively, you might like to For a sample letter, see information. Nevertheless, construct a promotional website or Appendix 3 (page 68). if you have to address each webpages for your film, on which festival individually and you place as many of the above as print all their requirements you can in a downloadable format. out on paper every time the If you’re regularly using an online cost of printer toner and submission service like Withoutabox, COVERING LETTERS postage will be enormous. you should be able to upload all your So, send each festival a materials to them. CD containing ALL the These should be on no more than one page of a letterheaded sheet, word– information and let them processed. Keep a master copy on file and make individual letters based on it; pick and chose what they update as required. need. The letter should include: • Title of the film • Any entry number given by the festival if a submission form has been completed online and one has been assigned to the film. • Say what you are enclosing with the letter – DVD or VHS (NTSC/PAL), information CD, entry fee (credit card details, cheque or International Money Order). • Briefly pitch the film’s narrative and sell its successes. • If you have previously had a film accepted by the festival, mention it. • Consider including favourable press quotes or other festival blurbs. • Ask the festival to email you confirming they’ve received your submission. • Tell them you hope that they’ll love your film and will include it in their festival. • Provide a list of enclosures. page 26 page 27

KEEPING A FILM PROMOTION EXPENSES SHEET

PRIOR AGREEMENT BETWEEN PRINCIPAL PARTIES

All your festival and promotional–related activities will cost money and someone will have to pay for this up front. You should ideally have a prior You should be able to account for everything you spend on written single–page basic agreement between the principle parties involved promoting the film on paper, with receipts where possible. in promoting the film (usually producer and director) which covers:

This can include: • Travel expenses to festival or • What film or tape formats you make the film available in? event • Who will take overall responsibility for submissions? • Tape/DVD duplication • Paper and printing costs • What percentage of total costs will each person be responsible for? • Tape/DVD stickers • Promotional items – postcards, • Where will this money come from? • VHS/DVD covers (optional) posters, other appropriate • How any revenue made by the film will be divided? • Information CDs items • What about award money, trophies, certificates etc? • What to do if award monies are intended for writer, cinematographer or • Stills and slides composer? • Festival submission fees • Who will attend festivals/events if a festival offers to pay travel and • Submission postage & packing accommodation? Alternate between director and producer? • Screening copy postage & packing A typical agreement would involve each party placing some money into a central pot, in the control of the person doing most of the work – usually the Why bother keeping this? producer, though you could agree on an amount of time each week/month where both parties will get together to work on submissions and top up the funds.

Once ALL expenses have been repaid, persons either agree to place any monies remaining into the further promotion of the film, split the proceeds evenly, or pay off deferred fees from the film.

For a sample expenses sheet, see Appendix 4 (page 69). page 28 page 29

WHO CAN HELP YOU MEET THE COSTS OF FESTIVAL SUBMISSION

The onus is on you to pay for every aspect of your film’s journey around the festival circuit, but there are places you can turn to for assistance.

SCOTTISH SCREEN BRITISH COUNCIL If your film was made through They can assist with shipping costs a Scottish Screen–associated to foreign festivals (but you have to scheme an amount of money will get the materials to them in London have been allocated to your film’s first). They can sometimes help with budget specifically for promotional the travel costs of producer or director purposes. Try not to spend this on the attending a foreign festival – though production itself! They also have the they’ll only do this for each individual Markets and Festivals Fund to support film ONCE. Scottish–based talent to attend international markets and festivals to promote themselves and/or their projects. More information is available on the Scottish Screen website (www. SALES AGENTS FESTIVALS scottishscreen.com/investment). / DISTRIBUTORS Festivals will usually cover your return shipping costs and can sometimes be They may take your film to festivals like persuaded to waive their entry fee, Clermont Ferrand in France – which particularly if they’ve seen the film at director David Cairns and I could not afford to attend any has a large short film market – but it’s Cry for Bobo another festival and have approached unlikely that they will enter you film to you. You might also win some prize festival unless they (or someone else) provided our travel and hotel costs. festivals on your behalf, since this isn’t money if you’re lucky enough. We decided to take any invitations that we received on a turn about basis, seen as a profitable enterprise. depending on our availability. Accessing the festival circuit involves David ended up going to Britshorts in Berlin, Reus in Spain, Puchon in a large financial commitment, but the South Korea, Cinemagic in Belfast and the Milano festival. ability to reach a wide audience and raise the profile of yourself and your I ended up going to the CFC Worldwide festival in Toronto and Short Shorts film makes it worth the money – and in Tokyo. effort – involved. We both went to the Royal Television Society Awards in London and the Marrakech Film Festival in Morocco. page 30 page 31

FESTIVAL LIFESPAN OF

A SHORT FILM

A short film has a festival lifespan of around two years from the month in which the film was completed. There are a few festivals across the globe that will accept older films, but not many. So, you really need to make the most of your film’s festival lifespan.

Put into perspective, the lifespan of a short film online can be endless depending on the success of the film and your efforts to promote it.

ATTENDING A FESTIVAL WITH YOUR FILM

There are two reasons for you to attend a film festival, particularly one that has a strong industry presence, or even incorporates events aimed at the film KEEP A RECORD OF YOUR industry. Firstly to promote your short film and see it play to audiences – there’s a lot to be learned from watching groups of people react to your film. Secondly FILM S APPEARANCES AND AWARDS ' and more importantly is to promote yourself and your future work. As your film travels the festival circuit, you should keep a record of where and (Okay, there’s a third reason for attending a film festival: to relax and watch as when it’s played. Adopt the following categories for your list: many films as possible!)

• Awards won and commendations received Audiences at film festivals will hopefully be interested in seeing your work • Film festival appearances screened, and in offering their responses to it. So far, so good. • Confirmed upcoming film festival appearances • Theatrical runs and non–festival appearances in support of feature films Film industry figures at the festival may also be interested in viewing your work • Other event appearances but for them, perhaps, it’s an uncomfortable truth that your film is ‘old news’. Short film sales agents excepted, they can’t get involved with your film since it’s Also keep a note of any anecdotes you receive from the screening – audience already been made. numbers, reactions and stories. Assuming that your film has screened successfully, industry personnel will be NET SEARCHING (a lot) more interested in what you plan to do next – projects that they can It’s worthwhile doing a Google/Yahoo search on your film title every two or potentially be involved with. So, whilst it’s important that you pay attention to three months – if it’s out on the festival circuit you may be surprised by some audiences at film festivals, as a filmmaker your attention should focus elsewhere of the hits you find – local newspaper reviews and entries on blogs run by film – on the industry members present. fans are potentially things that you can add to your file of press quotes and recommendations. How might you handle your presence as a filmmaker at a film festival? page 32 page 33

YOUR SCREENING BEFORE THE FESTIVAL Before your screening, let the festival staff know that you’re in attendance – If your film is accepted into a festival You might also like to let Scottish they might like to introduce you to their audience. Be prepared to stand up it’s always worth contacting the festival Screen know that you plan to attend a in an audience to be identified, or even to step on stage – and if you do, have well in advance to let them know festival – it’s possible that they might something interesting to say about your film. Jump at any opportunity to that someone from the film could be have a presence there and might be participate in a Q&A session on your film after a screening or take part in a panel available to attend their screening/s (if able to offer advice, assistance and discussion. The more you can do to create a ‘buzz’ around your film the better. that’s the case). Some festivals are able networking opportunities. to offer accommodation for visiting Given the opportunity, let the audience know that you’ll be available after filmmakers either free or at a reduced Be prepared and pack business your screening and would be happy to meet them (most often in a bar or cafe hotel rate. Some are even able to offer cards. You are likely to meet people attached to the cinema) to talk about your work. basic travel expenses. of interest to you at screenings, in Delegate Centres and bars and you Ask the festival if there’s an industry should aim to make a professional presence and if there is a Delegate impression at all times. You might also MEETINGS WITH INDUSTRY MEMBERS Guide that your contact details and take DVD copies of your film to hand details of your film can be included in. out to industry personnel. BEFORE THE FESTIVAL Prepare brief verbal pitches for your If there is such a guide, try to get hold projects, optionally backed up by of a copy in advance of the festival Resist the temptation to take copies single page pitch documents you can (some festivals place their guides of screenplays that you’re working Some film festivals have a strong leave behind with the person you’re online) so that you can identify anyone on to hand to industry personnel industry presence and publish a guide meeting as a memory jogger. of interest to you and arrange to meet you might meet. Inevitably, they’ll of delegates present. As previously them. more than likely end up (unread) in mentioned, try to get hold of this Arrange somewhere convenient a hotel room bin at the end of the guide before the festival and scan it to meet during the festival, and be Make sure that the festival lets you festival. A single page document or for companies and individuals who mindful of other commitments the know the screening dates and times of brief treatment for each project would could be of interest to your future person might have – don’t expect to your film as far in advance as possible. be more appropriate, something that endeavours. monopolise their time. It would be less than ideal to discover you can use to accompany the verbal that the dates you’re at a festival don’t project pitches you’ve prepared and Conduct some research on the Decide what, ideally, you want to coincide with the screening/s of your rehearsed. individual you’d like to meet, and achieve during a meeting – would film, or that your film is set to win the company they work for – what you like your screenplay to be an award and you won’t be there to production credits does the company considered? Are you interested in receive it. have, and how close a ‘fit’ is there being considered for directing work between the films they handle and the on the company’s projects? Plan a project/s you’re seeking interest in? meeting strategy to achieve your aims. If you feel that a company could be interested in your work, send a If you can’t get a message to brief, friendly email to the individual someone you’d like to meet before representing them at the festival, the festival, ask the festival how you requesting a short meeting with them, might best contact someone. Some letting them know who you are and festivals have alphabetised message why you’d like to meet them, and boxes for delegate use, but be aware passing on your festival contact details that not all delegates regularly check (mobile number and email address). them. page 34 page 35

THE MEETING AFTER THE MEETING

When meeting someone, be you don’t currently have a suitable Within two weeks of the festival’s end, send any materials you’ve agreed to, professional in your approach. Turn project for the company – you can still requesting a quick response confirming their receipt. up at the agreed meeting place at appear keen to work with them, and or before the agreed time, and be agree to send new material to them. You may have to wait some time for a full response to your material – UK ready to fully engage. For this reason, companies typically take anything between a week and two months to reply. arranging meetings early in the Be prepared to answer any questions Hopefully the person you’ve sent material to will let you know roughly how long morning is best avoided, particularly the person might have about you a response will take. later on in a lengthy festival! or your work – and don’t agree to something which you can’t realistically Don’t be downhearted if the eventual response to the material you submit isn’t Festivals can be frenetic hives of deliver (saying that you have a positive. At least you have made a new contact, who will hopefully be receptive activity, and delegates are frequently draft screenplay or full treatment to your work in the future. on–the–go from dawn ‘til dusk (and of a project ready to mail them the beyond), often in hot and stuffy week after the festival, when all environments. you currently have are some rough INDUSTRY SIDEBAR thoughts jotted down on the back of a Ask how long the person can spare napkin, for example). Some festivals incorporate a series of industry–related events – you, and try not to overrun an agreed interviews, workshops, seminars, open pitching sessions. slot. Offer up your business card As your meeting draws to a close, so that the person you’re meeting thank the person for sparing time Attend as many of these as you can, even if you have no immediate definitely knows your name! for you, and make sure that you interest in a session’s subject. New and useful information and both know what the outcome of the inspiration can often come from unexpected sources – and you Before you leap in to pitch your meeting is, and what’s required to never know who else might be in the room. project/s, engage the person by asking follow it up after the festival. them what they’re currently looking for – your research into a company is unlikely to apprise you of gaps in their FESTIVAL CHECKLIST project slate that they’re looking to fill, or new opportunities that they’re Here’s a quick reminder of basic materials that, as a interested in pursuing. filmmaker, you should take with you to a festival:

This new knowledge may result in you • Business cards realising that the one or more of the • DVD copies of your film projects you’ve planned to pitch are • Page pitches not currently suitable for the company. Try to have a back–up project you can turn to, or be prepared to adapt your pitch ‘on the hoof’ to make it seem suitable. Don’t be afraid to admit that page 36 page 37

SALES AGENTS

SALES AGENTS Atom Films – www.atomfilms.com / Big Film Shorts – www.bigfilmshorts.com La Big Family – www.labigfamily.com INTERNATIONAL British Film Institute – www.bfi.org.uk Dazzle Films – www.dazzlefilms.co.uk DISTRIBUTORS Future Shorts – www.futureshorts.com Microcinema International – www.microcinema.com Network Ireland Television – www.network–irl–tv.com OneDotZero – www.onedotzero.com A sales agent is a company or The good news is that agents have a Shorts International – www.shortsinternational.com individual that you, as the holder of broad range of contacts and expertise SND Films – www.sndfilms.com all necessary rights to your film, enter that you don’t. Selling short films is into a time–limited legally binding their business. agreement with, to allow them to try HOW SALES AGENTS DO BUSINESS to sell your film as widely as possible Traditionally, sales agents have to their network of contacts across the primarily done business with broadcast Films are currently licensed and sub–licensed under international copyright law globe. television and cable companies, selling using three basic variables: short films either singly or in packages Sales agents attend selected film from their catalogues. However, the 1. TIME – how long is the license for? (and how many screenings are allowed festivals (Clermont Ferrand and increasing availability of short films on during this time) Sundance are favourites) in search the internet has made many broadcast 2. TERRITORY – what countries does the license cover? of new, saleable short films to add to and cable companies reluctant to pay 3. MEDIA – what media are included (theatrical, television, DVD, web distribution their catalogue. If you’ve a short film for short film content. etc..)? in a festival, check the Delegate Guide and make sure that any attending Sales agents continue to search for If a sales agent is interested in representing your film, they’ll want to license it agents are made aware of your film. and adopt new business models to from you for the longest period of time in as many territories as possible and help them exploit their catalogues, across as many media as possible in order to then sub–license it to their buyers You may be approached at a festival with most efforts going into online and perhaps display it on their own website. by a sales agent who’s seen your film streaming or download distribution – and is interested in representing it – or, more on that later. They will want to be the only company able to represent your film – to have the failing that, you may decide to contact EXCLUSIVE rights to sell it. them directly. So, what might you expect from a sales agent deal? The bad news is that sales agents are not interested in entering your film on the international film festival circuit, since film festivals don’t pay to screen films (the reverse is true in fact, through entry fees) – there are no ‘sales’ to be made there. page 38 page 39

TIME In terms of a license period, you don’t want to allow them to have the film for the duration of copyright. In the past, seven years was adequate time for an agent to sub–license a film around their contacts. Now that online rights have become a real issue and longevity a real possibility, agents will be looking for longer license periods.

TERRITORY

Agents will seldom look for anything less than a global license – particularly as their business models increasingly rely on online viewing that crosses national boundaries. REVENUE FROM SALES AGENTS MEDIA Sales agents don’t work for free. sub–licensed by them to a third party They’ll aim to sell your film to website (itunes.com for example), then This is the main area for negotiation Many festivals are reluctant to screen television stations across the globe, revenue models vary greatly between when making a deal with a sales short films which are being streamed either individually or as part of a sales agents. agent, and many ask for exclusive (downloadable or not) from a website package of shorts. rights in all media. You might want to which can be accessed from anywhere There appear to be two basic online consider arguing that their DVD rights in the globe. They want their festivals But for doing so they’ll take a distribution models though: should be non–exclusive so that you to show films that can’t be seen commission on each sale and may also can attempt to sell the film on DVD elsewhere by their audiences. And levy a charge for the costs involved The first involves the sales agent yourself. Certainly, agents will aim they want to be able to show them in making the sale (such as their placing an advertisement in front to place the film on as many DVD first. compilations as they can, granting attendance at festivals and markets, of your film. Every time your film supplying copies of deliverables to is viewed, a tiny proportion of the a non–exclusive sub–license in each In the world of feature film, cash broadcasters and so on). advertising revenue received by the case. As DVD and online rights advances based on expected revenues sales agent is attributed to your film’s become increasingly important to from films can be involved, with sales You might typically expect a sales account. agents’ business models, you will find agents guaranteeing payment up agent to keep between 35% and 50% non–exclusivity increasingly difficult front. Unfortunately, in the case of of each sale amount, though models The second involves the sales agent to argue for. short film, this never happens – so for agents’ returning revenue are charging an amount for the viewing or you’ll never see any money up front becoming more complex, particularly downloading of your short film, and If you grant a sales agent the license from a sales agent. to sell or display the film as web in relation to online content. Similar you receiving a small percentage of principles should be in operation when this amount. content, you can ask for a holdback On reaching an agreement with a sales an agent succeeds in placing your film – a time period that the sales agent agent, you’ll have to supply them with on a DVD compilation. Other models may emerge over time; must honour, within which they can’t their required list of deliverables (see this is still a new and largely unproven exploit the film in any agreed areas – page 9). So, what kind of revenue can If your film is available from a area of business for the short film form. to be placed on this right, particularly you expect from a sales agent? if you plan to ‘hit’ the festival circuit. sales agent’s website or has been page 40 page 41

A WARNING

Sales agents typically demand unless they’ve agreed to your doing so exclusivity; they want to be the only beforehand. company through which your film can CHOOSING be seen (other than on the festival A sales agent is a great thing for your circuit). film to have in terms of reaching A SALES AGENT audiences worldwide, and in terms You might find that simply by entering of prestige (someone in the industry a short film competition or festival thinks it’s marketable) – but not How can you be sure that you’re choosing Don’t be nervous about aiming that you’re expected to grant the necessarily in terms of financial return the right sales agent for your film? You to negotiate points on a contract festival or organisation the right to – it remains to be seen just how much should research your sales agent and the sales agent offers. Often, short freely screen your film on a cable can be made by a filmmaker from their find out what other short films do they filmmakers lack in–depth legal channel or over the web. There are film’s online presence. represent? Are they similar to your film? knowledge, but if you bear in mind even US festivals that ask for the right Ask them what they’ve been able to do the three basic variables of TIME, to include any films submitted to them A sales agent should be able to for films similar to yours. How much TERRITORY and MEDIA, you’re off on a compilation DVD showcasing the make sales and help your film reach revenue typically returns to the producer/ to a good start. festival – a DVD which is available for audiences in a way you couldn’t under rights holder? And when? How often do commercial sale! your own steam but be realistic about they send out statements of account? the likely returns from any sales; they Watch out for this in festival are likely to be modest. Contact the producers of films in the sales submission guidelines and in the agent’s catalogue and ask them what Terms & Conditions of the agreement That said, few producers set out to their experiences of the sales agent have you sign with a film festival as such make a short film with the specific been. How well do they think their film clauses are typically ‘hidden’ in the intent of making a profit from it. has been selling? Have they seen any small print. money, heard about any sales? Received So what might you be able to do as regular download or online viewing If you allow this to happen, your sales an individual trying to sell your film? figures? agent will feel justifiably annoyed page 42 page 43

UK AND INTERNATIONAL

TELEVISION Channel 4, BBC2 and cable channels possibility of language difficulties to have in the past paid around £100 a be surmounted for a start. minute for short film but these rates SALES are slipping and they are no longer Factor in the likelihood of a offering as much, if anything. W ith the broadcaster not knowing your proliferation of websites making short reputation, their preferring to buy films freely available on the net, the from contacts they already know (sales commercial potential of a TV screening agents) and their preference from has reduced considerably in recent buying a number of short films in a years. ‘package’ deal, and the prospect of an individual film sale is fairly remote, Television has, in the past, been an important arena for short film – giving access The money you receive from a single unless your film has had significant to potentially huge audiences and providing revenue to short filmmakers. television sale could be greater than success on the festival or awards circuit what you’d receive from a sales agent You will need to research the constantly changing television commissioning who’s made a number of sales on your But it’s not just about sales. landscape in a number of different territories across the globe to discover which behalf, but deducts commission and It’s also about reaching audiences. television stations are currently buying short film and approach each broadcaster expenses before paying you. Perhaps or cable channel individually. This can be quite time consuming and costly when you might like to try to sell to a UK TV you consider that you will be expected to supply a copy set of deliverables with company first (so that you can become each sale. aware just how hard it is) then leave the rest of the world to a sales agent. In the UK – where broadcast slots for short film form are few – you are limited to Channel 4’s 3 Minute Wonder slot, cable channels such as TCM or dedicated shorts Selling to a foreign television company channel Propellor, occasional late night slots on BBC2 and Channel 4, and very is even more difficult than making occasionally a whole night on BBC3. a sale to a UK company, there’s the page 44 page 45

DVD SALES

You can aim to sell your film on DVD, either singly or as part of a compilation. This has been a growing area of business for the short film form over the last five years or so, and a quick hunt on Amazon or on eBay will uncover numerous examples.

If you have a sales agent attached, they will want the exclusive right to sub–license your film for DVD releases. If you have granted them this right, you may find yourself in the strange situation of having to renegotiate with them to release your film on DVD yourself.

Short films typically appear on two types of DVD – short film compilations containing a variety of work from a variety of filmmakers, and single DVDs, which contain one or more works by a single filmmaker or production company. page 46 page 47

COMPILATION DVD

Compilation DVDs are a relatively If you’re a shrewd negotiator, it’s new method of distributing the short possible that you may be able to SELLING DVDs film form – attempts to marketV HS secure payment for use of the film compilations didn’t catch on, but with on DVD, particularly if it’s going to be INDEPENDENTLY the increased versatility of the DVD released for profit (although typically format, and menus allowing rapid you shouldn’t expect more than a This is a far more tricky and speculative venture. Essentially, you take all the access to individual films, business couple of hundred pounds). The financial risk and responsibility with little guarantee of what returns (if any) you’ll has blossomed. The ever–increasing figure will depend hugely on how be able to make. number of compilation DVDs suggest many territories the DVD publisher that it can be a profitable enterprise. plans to make the DVD available in. Things to Consider: Here’s how your film could appear on You may even be able to negotiate a • You can either place a single short film on your DVD, or collect together a a compilation DVD: percentage of each copy sold over a number of works, either produced by your company or by a specific filmmaker certain number. Realistically, though, you work with. • By invitation from a Film Festival don’t expect to see any money past • You have to be sure that you have the right to use all the materials you plan to (Milano, Hamburg, Raindance) an initial advance. on the DVD. • By submitting to or invitation from • You have to think of DVD extras which will add value to the product – a a company creating compilations Once you’ve supplied the DVD documentary ‘making of’, commentary tracks, director’s notes, picture galleries (Cinema 16, Short Cinema Journal publisher with their required and so on – and budget how much these will cost to prepare. etc) deliverables, it’s up to them to do • You have to investigate the design, manufacture, distribution, advertising and • By invitation from a public body for all the hard work of manufacturing, sale of your DVD yourself. inclusion on a showcase DVD (UK distributing and selling the DVD. They Film Council, Scottish Screen) should send you a few free copies for It’s becoming common for companies in the UK to offer one–stop shops for • By invitation from a film school your archive. design and mastering, packaging and multiple copying of DVDs and the (definitely no payment involved!!) economies of scale come into effect here; the more you order, the cheaper the cost price per unit will be to you.

Let’s assume that you get all of this together and one morning a huge box arrives on your doorstep containing two thousand copies of your DVD, ready for you to sell. How might you go about doing this?

Once you’ve tested the generosity of your family, friends and acquaintances you need to consider wider sales – this inevitably means advertising and distribution – and hopefully a USP (Unique Selling Point), which would boost saleability.

Let’s look at three different examples of DVDs that have gone on sale in this manner, using three different models (whilst also bearing in mind that there will be other routes you could follow). page 48 page 49 the Chris Morris DVD, My Wrongs 8245 8249 and 117 –

VD in a booklet package, The format was a single film on D with minimal extras. The film won the short film BAFTA a few years ago, and is by an established comedian and satirist with a proven track record – so that’s a fairly strong USP. Warp Films, The company which produced the DVD was the film arm of established electronic music record label Warp, who were able to access nationwide DVD sales, both through their mail order website and through distribution Ashvin Kumar s DVD, Adventures in to CD shops nationwide. ’ Shorts: A Filmmakers Journey to The DVD had an RRP of £7.99, which fell to £5 within a year. (Possibly a sign that they’d manufactured too many and Hollywood needed to offload them quickly to stimulate cash flow.) VD had perhaps the highest commercial Nevertheless, this D VD – the Cinema 16 visibility of any individual filmmaker D This DVD was initially advertised on the Shooting People DVDs have had a higher profile, but these are compilations. message board (shootingpeople.org) in the UK.

Kumar has compiled his two short films Road to Ladakh a DVD by Austrian experimental and Little Terrorist together with two ‘making of’ filmmaker Virgil Widrich documentaries and an additional documentary, Can you Cannes? that documents his team’s efforts annesto promoting these films and their other projects at the C This DVD compiles three short films and an early feature International Film Festival. film from Austrian avant–garde producer/director Widrich, whose short films Fast Film and Copy ShopV haveirgil Pitched very much as an experiential ‘how to’ DVD, won numerous awards on the international film festival this has been marketed to the aspirational Shooting People network, and made available for sale through a circuit. ustomFlix On–Demand DVD US website portal called C reateSpace – www.createspace. The films are all experimental narratives using new Publishing (now called C animation techniques – a USP of sorts. com).

The DVD is for sale through his website, from the websites of a number of international film festivals, and it was also for sale at a table during the Hamburg Short Film Festival, together with a few other independently produced short film DVDs and compilations.

Widrich has sought – and found – a method of getting his DVD into outlets that should be sympathetic to his work. page 50 page 51

POD PUBLISHING OF DVDS

POD (Print on Demand) publishing is increasingly popular in the book world, and its DVD equivalent holds similar promise. Because there are no (or few) up–front manufacturing costs, it reduces the financial risk and you can always consider switching to higher volume traditional replication if your sales grow immensely. On–demand publishing can also allow you some more flexibility and control over your materials; within reason they can be presented in the way you’d like them to be.

Let’s take a look at three DVD POD models: www.createspace.com The producer sends a DVD copy of their film together with box artwork to CreateSpace and sets the price of the DVD. When customers order it, CreateSpace duplicates DVDs and artwork then ships them direct to the customer. CreateSpace sends the producer regular profit statements, taking a percentage of the purchase price from each sale they make, however it’s up to you as producer to attract potential buyers to visit the CreateSpace website to make a purchase. www.shortfilmcentral.com Short Film Central hold a catalogue of content from short film producers and allow customers to pick and choose to create their own short film DVD compilations. The company then makes an individually tailored DVD which is mailed out directly. Producers receive a percentage of the DVD’s purchase price based on the number of films on the compilation. www.ebay.co.uk The cheapest and most widespread hard copy distribution network of them all. A home colour printer, a DVD burner and an online connection are all you need here. Use ‘Buy It Now’ rather than an auction format. Buyers do search for and do buy short film DVDs on eBay if the price is right and the package made to seem attractive although all efforts on your part to direct buyers to your eBay link will help drive sales.

This mention of the internet brings us neatly into another relatively new avenue for the exploitation of short films. page 52 page 53

DIGITAL Advertising income based royalty A website licenses your film, puts adverts– before it and after it, then places it on DISTRIBUTION their website for streaming or download. The site will then offer you a percentage of their advertising revenue income for each view or download. ONLINE Percentage of a download fee – A website charges a fee for the streaming or download of your short film and DOWNLOADS returns a portion of this revenue to you. As mentioned above, sales agents are already offering streaming and downloads, both paid and free. In addition, many other sites – already too numerous and AND fast–changing to identify them all – are offering short film content. STREAMING Short films content online • www.bliptv.com The early proliferation of companies Digital distribution is very appealing • www.brightcove.com attempting to distribute and screen to short filmmakers: digitise your • www.cruxy.com short films on the web led to several film, register with and upload it to an high–profile ventures either going increasing number of websites, and • www.one.revver.com/revver bust or drastically scaled down their potentially millions of people around • www.stage6.divx.com operations as there simply wasn’t the the globe have to opportunity to • www.iTunes.com market for it at the time. watch it streamed, or download it to • www.wamclips.com watch later at their convenience. • www.amazon.com However, there’s a second wave now • www.youtube.com gaining steam, with what – at this In some cases filmmakers will be able • www.bbc.co.uk/dna/filmnetwork point in time – appear to be solid to make money from this method of commercial models for streamed distribution and there are currently watching online or for downloading to two revenue–generating models for For mobile phone users: a variety of personal viewing devices. online downloadable and streaming • www.bango.com content. • www.atomicwedgietv.com • Mobile phone service providers

The online film content revolution is undoubtedly gaining momentum – and short films are at the forefront of its development. It’s not clear yet which business model – free to the consumer or paid for content – will become dominant, however with the huge success of sites such as YouTube offering short films for nothing it may be almost impossible to ask consumers to pay for content in future. page 54 page 55

If it’s industry members that you want to impress – presumably they’ve already A WORD OF WARNING seen your work at a festival, or you’ve sent them a DVD copy of the film – consider what they will be looking for. Probably not your film (which is already If you have a sales agent, they’ll want your film to form part of ‘dead’ in terms of their ability to get involved) but evidence of other extant their catalogue and may also want it to be available for screening/ work that might convince them you’re a talent to be watched, or pitches for downloading from their own website exclusively. If you want to place upcoming work that they might be able to get involved with by contacting you. the film anywhere else online, you’ll have to make sure that the deal you strike with your sales agent gives them non–exclusive rights for Arguably, a website that exists solely to promote a short film is of limited the internet and that they’re happy with what you plan to do. If not, usefulness – and costly if you register a domain name for it – but maintaining you have to leave the film in their hands. a website that both demonstrates your work as a filmmaker and alerts the industry to projects that are upcoming can be of some use. If you don’t have a sales agent, what might you do?

OTHER WEBSITES The BBC Film Network now carries BUILD YOUR OWN WEBSITE hundreds of UK short films, and is a great resource for filmmakers and film fans alike. But they won’t pay By placing your short film in its entirety Should you place your film on a third you for your content either unless up on your own website people will be If you envisage film festivals party website for viewing and perhaps it is selected to be offered for free able to view it but you’re unlikely to be looking at your website, you could even downloading? download (as it does with a few able to make any financial return in the include, in downloadable form, shorts every month). process. If all you want is for people see everything that a film festival It depends how old the film is and if your film – with the tantalising thought might ask for in terms of publicity you have a sales agent. A sales agent Unless you have no other options that a major industry figure will see it materials (see Appendix 2, page 66) would be rightly annoyed if a short open to you – or unless you are and snap you up – then go ahead. but this may not stop the festival film they were trying to sub–license ideologically disposed towards the from requiring that you ship them to television stations or for inclusion free availability of your work – don’t It’s important, however, to bear in mind these materials anyway. on DVDs or even stream online were put the entire film on any website that as soon as your film is available to be freely available elsewhere (ie yourself for either streaming or on the web it becomes of less interest If your website targets curious not via their website) to anyone who download until you’ve explored to film festivals, sales agents and DVD members of the general public wanted it. all other possible avenues for compilers. who’ve seen the film at a festival promotion. and have read the festival There are now many websites which By all means, if you’re able to do it catalogue and found the web freely offer short film content (see cheaply and have the time to do so, address, what more can you offer above) so take a close look at the Incidentally, check out www. set up a website to promote your film them that would enrich their legal agreements that you enter into nightisday.com for an interesting and the personnel involved or include experience of the film? when posting your content onto each business model. It’s a Scottish–based promotion for your film on your broader one – in effect, you’re granting them a website set–up by independent company website. Some film festivals If you are intent on making sales of non–exclusive license to do whatever filmmakers to promote their six–part do ask if the film has a weblink, and will your film on DVD, provide payment they want with your film. Are you short film series about a Glaswegian publish this link in their catalogue. options (including shipping costs), happy with that? What happens if you superhero. You could watch the first and for best effectiveness offer a then try to engage a sales agent? Can part free online, then pay £1 per When setting up a website it’s important PayPal link. you withdraw the film from websites episode to see the next five online to consider who’s going to visit the you’ve placed it on? for a limited time period. If you website, and why? What should this bought them all, they sent you the website contain? DVD of the complete series when it came out. page 56 page 57

VIRAL MARKETING

If you decide to place your entire somewhere that the film – or further short film for online viewing or content related to the film – is download from your own website, available. how are members of the public going to stumble across your unadvertised To increase the chance of making website? You could engage in a revenue from your film – having EMAILING LIST spot of ‘viral’ marketing. This is an gotten a number of people to your important tool at your disposal, website – it makes sense to have particularly if, like the makers of Night something that they can buy there. Construct an emailing list for your option of unsubscribing from your Is Day, your ambitions outweigh your If you’re offering a DVD for sale, short film – include cast, crew, mailing list. Once your film has done resources and traditional forms of for example, then make it easy to relatives, industry representatives, its promotional rounds, stop sending advertising and publicity are either too purchase with a PayPal link or similar contacts, festivals the film has been to your bulletins and be aware that you expensive or not possible for you. payment system. Convenience is – and do an occasional mass mail–out can’t sell or pass on the email list to crucial! bulletin to them updating them anyone else without permission from The internet has led to the creation of on the progress of the film. Useful each address. (For more information an extraordinary number of special If you do attract visitors to your information such as what festivals it’s read about Data Protection: www. interest websites, newsgroups, website, try to get some simple been to, where it’s going next, what ico.gov.uk/Home/for_organisations/ chatrooms, and so on, so consider who feedback from them – did they like awards it’s won and any amusing data_protection_guide.) might your film appeal to. Look at the or dislike the film? And, above all, anecdotes collected along the way. central themes and issue and seek out try to get a contact email address. You might even include projects The internet is a superb resource and groups that exist to discuss them. These website visitors could be your that the team who made the film are potential ‘shop–front’ for your activities customers in the future, perhaps currently involved in. and your film, and it’s developing all Drum up interest in your film by buying the next film that you produce the time. providing clickable links that lead or even possibly helping to finance This costs next to nothing – just a them to your film or place clips your next film if you have the brass little bit of your time – and can do Let’s turn our attention to another from the film on YouTube and other neck to ask. a lot to maintain awareness of your avenue for promoting your short film. websites directing the viewer to film. Remember to offer people the page 58 page 59 THEATRICAL SCREENINGS PUB CLUB SCREENINGS The days of shorts preceding features are sadly long gone and it’s very rare to Regular short film events are see a short in front of a commercial feature in cinemas. So how might your film becoming increasingly popular in make non–festival appearances in cinemas in the UK, either on it’s own, as part the UK, USA and Germany – many of a programme of short films, or screening before a feature film? are monthly, some occasional, some one–off. They either have a submission procedure to follow or are hand– CAST AND CREW OR SHOWCASE picked by the programmers. SCREENING Typically these events will screen You should consider why you want to hold the screening? Are you looking for either DVD or MiniDV shorts in a a local cinema (or other quiet venue with a large screen video projector and cinema, pub or club environment good sound facilities) to hold a cast and crew screening and give them the that’s been hired or secured for the opportunity to see it on the big screen? Or are you looking for a cinema or purpose. screening room venue in central London that you can invite a throng of industry talent spotters to as well? Examples include: Cinemas will only be interested in hosting a screening outside of their normal feature programming hours, for obvious reasons. Independent, non–multiplex cinemas are usually the most approachable but it’s worth talking to all your local • The Magic Lantern – regular themed screenings across Scotland screening venues to see if they would be willing to support local filmmakers. (www.themagiclantern.org) • Future Shorts – takes place monthly in Edinburgh, Glasgow and around the globe (www.futureshorts.com) Here s some things to consider: • Curzon Cinema – monthly short film programme in central London cinema ’ (www.curzoncinemas.com) • Do you rely on local cinema largesse – or will you have to pay? There are hundreds more such events across the globe. These events are small– • What formats can the cinema screen on? Is your film compatible? scale, and are often difficult to find out about without having local knowledge. • Will you ask for a morning or a late night slot? A weekday or the weekend? The best way to find out about this kind of event in the UK is by subscribing to the • Do you call this a premiere/public screening? Shooting People website (www.shootingpeople.org). • Who do you invite – cast, crew, extras, family, any local industry financiers, sponsors, journalists, media, distributors, local film festivals, TV buyers – These events can be fun evenings. Your film will be seen by audiences who have a anyone else you want to impress and get involved with? real interest in the short film form, but such screenings are likely to fall below film • Will you use publicity material – such as a page of text on the film director’s festivals in terms of their priority on your submission strategy. thoughts – that gives the audience some further info on the film? • Do you provide some level of catering? Do you invite everyone to the cinema Pub and non–cinema screenings are also on the rise thanks to the Public Video bar afterwards? Screening Licence (http://tinyurl.com/5emj4o) so approach the landlord and see if • Will you offer a small gift of some kind for the projectionist/cinema staff for they would be willing to screen your film before the main feature. giving up their time? page 61

OTHER OPPORTUNITIES FOR PROMOTION

OTHER EVENTS

Occasionally you might hear of an event – local or national – which might suit THEATRICAL RUNS your film – and if you do, don’t hesitate to get in touch with the organisers. The opportunity could come from almost anywhere....

Back in the heydey of cinemas a night opportunities in future however. (Read out at the pictures involved a whole more about the initiative here: http:// programme of films and shorts before tinyurl.com/6dyesq.) the main feature – but it’s very unusual for this to happen in the UK nowadays. The British Council constructs cinema programmes for screening at showcase A friendly independent cinema might events abroad, so if they’re aware of be open to the idea of screening a your film, they may request it. Scottish Cry for Bobo has screened a few times at The Stand Comedy short before a feature, but you must be Screen is also occasionally asked to put Club in Edinburgh. It’s also screened in the film tents at prepared to offer your film for free and together short film recommendations Glastonbury and T In The Park festivals. do so for the sheer joy of seeing your for overseas events and festivals. Make work on the big screen. sure you are in the Film UK guide as The Return of Peg Leg Pete made an appearance at a they will refer to it when looking for Recently there has been a new titles. conference for vocational guidance counsellors in America initiative between Mini UK (the car following an approach I received from a conference manufacturer) and Future Shorts to organiser who’d seen the film in a US festival and thought it screen shorts before features across appropriate. the UK but only a few titles have been selected and this deal has now ended. Keep your eyes open for similar page 62 page 63

SHOWREEL PURPOSES

This stands alone because, as soon as going to send this to? EDUCATIONAL INSTITUTIONS your film is completed, you can use it as all or part of a personal or company This depends largely on what you do – I don’t recommend that you speculatively send your film out to schools, further showreel on DVD. producer, director, cinematographer – education institutions and film schools, but do consider whether your film but in almost all cases a reel is likely to might be thematically strong enough to be of educational interest. You can include your entire film, or be going to companies and individuals restrict yourself to clips from it, but who might potentially employ you in a If you can persuade an educational body to incorporate your short film as part you should consider who else you professional capacity at some point in of their teaching materials, you could very well see a small financial return for its might allow to use your film on their the future. use in this context. showreel – presumably you don’t want a production runner claiming a more This might include larger production significant involvement in your film? companies, advertising agencies, corporate video production The following cast and crew members companies, post–production houses, make significant creative contributions sound studios, production companies to the film: etc.

FILM MAGAZINES • Producer Don’t just send your film out blindly. • Director A few magazines acknowledge • Writer If you’re a producer or writer, there’s the short film form; here are a • Cinematographer little point in sending out your couple it might be worth sending • Production Designer showreel to production companies, a copy of your film to: • Sound Recordist development executives and so on • Editor unless you have other projects in the • Showreel magazine – quarterly • Principal Cast pipeline that you’re trying to get their short film reviews • Sound Designer interest in: something which might • Little White Lies magazine • Animator appeal to their company in particular • Title Designer – there’s little point in sending your Think creatively – where else blood–drenched splatter movie to can you place your film? Try Do you supply them with the entire Disney – or even their adult division not to refuse any opportunity film, or extracts from it? W hat about Buena Vista. that’s offered you – unless you’re your own showreel? Who are you ideologically opposed to the aims of the organisation that’s shown an interest.

Having exhausted all other possibilities, let’s take a step to the side, away from all thoughts of financial recompense and reaching an audience, to look at how you might use your short film as part of a showreel of your work. page 64 page 65 FINAL APPENDICES

COMMENTS Appendix 1 SAMPLE PROMOTIONAL BUDGET

Description Budget Actual £ £

MARKETING & PROMOTION Graphic design 99.00 80.00 Postcards 50.00 50.00 Website design 30.00 00.00 Website hosting 20.00 20.00 Posters/Banners 50.00 50.00 VHS/DVD covers 30.00 30.00 Total 279.00 230.00

MATERIAL DUPLICATION VHS - viewing copies 50.00 50.00 DVDs - viewing/promotional 30.00 30.00 35mm Print 99.00 80.00 Other 30.00 80.00 Total 209.00 240.00

COURIERS & TRANSPORTATION The short film form is generally Ultimately, producers – and Festival submissions 88.00 99.00 Marketing materials transport 60.00 70.00 under–promoted and under–valued, producing directors – should take Duplication carriage charges 30.00 40.00 and the blame for this can at least responsibility for promoting their own Print/tape transport 30.00 40.00 partially be laid at the door of work. If they can’t be bothered to Total 208.00 249.00 producers who are reluctant to make the effort to promote their own devote their time and money to films – and by extension, themselves – FESTIVAL ATTENDANCE promoting their films. why should anyone else bother? Travel 99.00 99.00 Accommodation 99.00 99.00 Subsistence 70.00 50.00 Producers are always looking for The opportunities are certainly out Hospitality/receptions 60.00 99.00 their next project, and so they should there – it’s up to you to grasp them Total 328.00 347.00 be – but if they’ve spent time, effort, firmly. money and heartache putting a film GRAND TOTAL 1024.00 1066.00 together, why not make sure that it’s seen by as many people as possible? page 66 page 67 Appendix 2

ADDITIONAL MATERIALS SCRIPT AS PER FINAL EDIT (optional) FOR FESTIVALS A PDF file is necessary to retain script formatting Depending on where you plan to submit your film, you should gather together the following required and optional materials, and keep them updated. ENGLISH LANGUAGE DIALOGUE LIST • As per the completed film, NOT the shooting script. THE TITLE OF THE FILM • Also include any English language signage that appears. in other languages. • You can construct this by removing all the business/action sections of your Script as Per Final Edit, leaving just the dialogue. SYNOPSES A LIST OF APPEARANCES AND AWARDS a variety of lengths: • less than 15 words Update this constantly. Divide into sections under the headings below: • less than 25 words • Awards won/commendations received • less than 50 words • Festival appearances made • less than 100 words • Festival appearances upcoming • TV sales (if any) Having the shortest synopses in a variety of languages would also be helpful. You • Other appearances (runs in support of feature films, events etc) should enlist the help of a fluent speaker of the language for this, as free internet • Include the full name of the festival, its city/country, the month/year, and any translations will not necessarily be coherent. colourful information that you glean from each festival. DIRECTOR BIOGRAPHY & FILMOGRAPHY IMAGES A few brief prose paragraphs of CV highlights with the director’s filmography at Maximum of 10 .jpg images at photographic resolution (300dpi is generally foot of page. acceptable). These should include: • ONE preferred promotional shot • ONE shot of director or director/producer team DIRECTOR STATEMENT • ONE shot of each of the two lead actors A few brief prose paragraphs – the director’s thoughts on the film. • A few festivals still ask for 35mm slides if possible. But they’ll all accept a CD with digital images. PRODUCTION HISTORY A few brief prose paragraphs – who funded the film and why, anecdotal A CAPTION LIST FOR THE PHOTOS information. • A festival obviously needs to know what’s contained in each photograph. • Make sure that the numbering of the captions matches the numbering of the FULL CREDIT LIST OF THE FILM photographs. Taken directly from your opening and closing credit sequences. OPTIONAL MATERIALS TECHNICAL DATA SHEET Press pack (containing some of the items above): • Formats available for screening • Press & festival quotes – if you’re lucky enough to get good reviews • Running time • Postcards – full colour best, unless film is in b/w • Colour or B/W • Posters • Screen Aspect Ratio • Film–specific promotional items – beermats, plastic bags etc • Sound • List of favourable press quotes and blurbs from festival websites where the film • Language of Dialogue has participated • Promotional website address page 68 Appendix 4 page 69 Sample expenses form Appendix 3 Sample submission letter

DATE EXPENSE £ Anchorage Film Fest 17/7 UPPSALA FILM FESTIVAL - postage £ 4.41 1410 Rudakof Circle 18/7 BRIEF ENCOUNTERS SFF - postage £ 0.84 Anchorage 24/8 FOYLE FILM FESTIVAL - postage £ 1.72 AK 99508 5/9 BREST FILM FESTIVAL - postage £ 1.74 USA 5/9 STOCKHOLM FILM FESTIVAL - postage £ 1.83 10th April 2008 13/9 - oLYMPIA FILM FESTIVAL - postage £ 2.10 Hi there... 13/9 gIJON FILM FESTIVAL - postage £ 2.10 CRY FOR BOBO 13/9 ZINEBI FILM FESTIVAL - postage £ 2.10 1/10 BRITISH COUNCIL - requested, postage £ 0.44 Please find enclosed entry materials for your festival - a DVD preview copy, together with 1/10 BERLIN FILM FESTIVAL - postage £ 2.10 a completed application form (with credit card payment), a list of prior appearances and 1/10 oSLO FILM FESTIVAL - postage £ 2.10 awards and a CD containing all the photographs, synopsis, biographies etc... that you’ve 1/10 BERMUDA FILM FESTIVAL - postage £ 3.36 asked for. 5/10 BRITSPOTTING - postage £ 1.56 CRY FOR BOBO was produced in August 2001 for BBC Scotland/Scottish Screen’s award- 12/10 BUENOS AIRES FILM FESTIVAL - postage £ 3.36 winning Tartan Shorts scheme, and is quite unlike anything they’ve handled in the past - the 5/11 unspecified postage £ 1.91 film is proving itself a real crowd-pleaser with audiences of all ages, fast-paced and very 5/11 MANHATTAN SHORT FILM FEST - postage £ 2.68 funny, with an underlying message of tolerance towards oppressed minorities. 5/11 MANHATTAN SHORT FILM FEST - $30 cash entry £ 21.54 In addition to numerous international festival and UK theatrical screenings, the film has 5/11 oBERHAUSEN SHORT FILM FESTIVAL - postage £ 2.10 won three major UK awards; a Royal Television Society Programme Award; the TAPS 6/11 POST OFFICE - POSTPACKS FOR FESTS £ 9.50 Writer of The Year Award for ‘Best Completed Short’; and the Jim Poole Award for Best 7/11 BRADFORD FILM FESTIVAL - postage £ 1.00 Scottish Short. 7/11 BUFF MALMO FESTIVAL - postage £ 1.65 Amongst its international accolades, CRY FOR BOBO has won Best Narrative Short at 7/11 SANTA BARBARA FILM FESTIVAL - postage £ 3.19 the Athens (Ohio) Independent Film Festival; a Méliès D’Argent for Best European Fantasy 7/11 SANTA BARBARA FILM FESTIVAL -c/c $45 entry fee £ 32.85 Film from Sitges International Film Festival; Best Fiction from FIKE Évora International 7/11 ASPEN SHORTSFEST - postage £ 3.53 Short Film Festival; the FICE Award from Napoli Film Festival, and Audience Awards from 7/11 ASPEN SHORTSFEST - IMO entry fee £ 29.77 Brussels International Festival of Fantasy Films and the Down Under International Film 7/11 unspecified postage £ 0.95 Festival. 8/11 SAN FRANCISCO FESTIVAL - postage £ 2.51 “Cry for Bobo is beautifully written, directed and produced and works on every level, as 8/11 SAN FRANCISCO FESTIVAL - c/c 55usd entry fee £ 40.15 knockabout silliness, as a serious satire on racial intolerance, and as a visually sumptuous, 8/11 NEW ZEALAND FILM FESTIVALS - postage £ 3.62 technically perfect short film. This is an absolute must-see.” - Review from MJSIMPSON. 9/11 NASHVILLE FILM FESTIVAL - postage £ 3.36 CO.UK 9/11 NASHVILLE FILM FESTIVAL - c/c 30usd entry fee £ 21.54 9/11 Hazel - postage £ 0.19 I do hope that you’ll love the film and will want to include it in your December 2008 13/11 cRACOW FILM FESTIVAL - postage £ 2.10 programme. 14/11 wASHINGTON DC FILMFEST - postage £ 3.36 Please confirm receipt of this application by email to the address below. 14/11 wASHINGTON DC FILMFEST - entry fee $15 cash sent £ 10.77 I look forward to hearing from you... 20/11 unspecified postage £ 0.38 20/11 MATERIALS TO SND DISTRIBUTOR £ 6.18 Best Wishes 21/11 unspecified postage £ 1.01 22/11 DRESDEN FILM FESTIVAL - postage £ 2.10 Nigel R. Smith 23/11 POUNDSTRETCHER - BLANK CDRS £ 19.98 PRODUCER ENC: TOTAL AT 1ST DEC £ 257.67 DVD TOTAL £ 257.67 Entry form/list of appearances PAID IN FROM GIJON FILM FESTIVAL (AWARD) £ 50.00 press CD NEW TOTAL £207.67 Nigel R. Smith, 35A Brittania Row, Glasgow, G2 3IG SCOTTISH SCREEN 249 West George Street Glasgow SCOTLAND G2 4QE

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