Funny or Die:http://www.imdb.com/title/tt1446124/
IMDB: http://www.imdb.com/title/tt1446124/

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Cast and Crew

A press kit doesn’t have to be super fancy; although we recommend having the person who does your film’s logo help you out with this as well. Items a press kit should include:

• a brief rundown of the film
• a short synopsis of the story
• a bit of background, how it came about, what it’s shot on
• a cast list & crew list
• a couple of great production stills that can be used for press and promotion

Who you should give a press kit to:

• interested investors
• members of the press
• bigger industry players interested in passing along information regarding your film

If you would like an example, check out Official Selections press kit here.

At the very least, make the press kit accessible online. This way, members of the press can access information about your film without having to dig through your website (which they won’t, by the way … so make it easy for them to find what they need!).

Establishing musical tone for a film’s score is typically a straightforward process of elimination and addition.  For example, a drama needs dramatic music that is easily dictated by the scene; if a scene needs to be sad, we give it sad music, and then fill out the other emotions required, like hope or bitterness and so on; if a scene is “x,” then the music will be “x.”  For comedy however, writing music can be more complicated because it is never funny without context (unlike other types of music that don’t require context to convey emotion), and determining which tone will be funny within that context inevitably adds an additional layer of complication.

In Official Selection, our two main characters are respectively interested in making a refined drama and flashy action movie.  Much of the script’s comedy is derived from the fights between the proponents of these two genre extremes, which create the context that the score enters into.

The primary decision that must be made is whether the music itself will become a part of the context or act as a third party.  As a part of the context, it attempts to make no comment on the scene, being deadly honest to the content.  I say attempt however, because this is difficult.  If the music is too honest, then it becomes sarcastic, and if it isn’t honest enough, it becomes contemptuous in its apathy, mocking the emotions present in the characters to comedic ends.  Honesty itself can also be quite funny, as it tends to be in a dark comedy or some indie-style comedies (In Bruges and Greenberg come to mind).  Alternatively, if the music varies between these three lines, ducking in and out as it pleases, then it becomes a third party, making comments on the film as the narration progresses.

For Official Selection, the music plays this third party.  It consistently begins each new scene attempting to be emotionally honest, but the ridiculous behavior of the characters soon causes it to grow annoyed or impatient and it begins to swing at extremes.  For example, the film begins with a serious orchestral build rising to bombastic, classical horns and chords over the majestic phrase “UPON YOUR IMAGINARY FORCES,” but withers when the title is suddenly pulled.  For the second title, “Die Tomorrow 2: Resurrection Drift,” the music is prepared to sell the idea, beginning and ending concisely, before it can be pulled, but by the time the third title rolls around, it no longer cares and shows us with a half-hearted attempt at supporting what it believes is just a bad idea.  This cycle of providing honest tone before becoming sarcastic or apathetic cycles every scene, occasionally cutting out as if to say, “I’m not even going to respond to that behavior.”

The score, now a third party player, also goes one step further by aligning itself to the film’s cyclical nature.  Just as the film starts in an honest endeavor, deviates and then returns to seriousness, the music manages to find that honestly serious tone in the end.  I find this brings immense satisfaction to the end of the film; rather than ending in chaos or commentary, we end in honest conviction!

DS Wallace, Composer for Official Selection [http://www.ds-wallace.com/]

Please don’t let these folks slip through the cracks.

It’s easy to get caught up in the hubbub of festival activities and shove business cards into you coat pocket that you only wear in Boulder because you live in sunny California. But it’s very important that you make a point to follow up with the people you meet via email when you get home.

Put these people into your database (if you have one) and make sure they get updates about your film or latest projects. These are the kinds of people that tell their friends about the work you do and get people you would never otherwise connect with to jump on board with your work.

Follow up. There is no other reason to go to a festival if you aren’t going to be diligent about maintaining relationships.

These people work their butts off to provide a platform for talented filmmakers to gather, exchange business cards and have their film viewed by an eager audience. Not only do they sift through hundreds of submissions, they also wrangle volunteers, put together mixers and coordinate your accommodations. The least you can do is send the programmer a nice little note acknowledging their hard work.

Your gratitude will be appreciated and probably much needed after the festival is finished.

So, make sure to bring a few thank you cards along and fill them out in your hotel room before you leave. Chances are you’ll forget to mail it, so bring it with you to a festival event and ask a volunteer or staff member to make sure the programmer receives it (unless, of course, you have the chance to hand it to the programmer directly).

That’s all folks. It’s a simple gesture that goes a long way!

Remember, your best bet is to submit releases to publications in cities where you have representation. Example: You are screening at Tallgrass Film Festival in Wichita, Kansas and your producer happens to be a Wichita native who has come back from L.A. to show his/her film in their hometown.

Here is a basic template to use for submitting releases (and remember, make sure to do your research and submit it to the person covering entertainment/festival news):

[Your Logo Here]

FOR IMMEDIATE RELEASE: (date)

[Title Here]

(Example: XYZ Inc announces launch of new website )

Description: (optional) This is a very short description about the press release. Many online PR distribution sites will ask for this.

[CITY], [STATE],[Date] – [This is the opening paragraph. It should contain about 3-5 lines and considered most important since this catches attention of news readers and journalists. Typically questions for questions of who, what, when, where and why answered here. Keep it short and highlight what’s whole release is all about.]

[This paragraph goes into little depth. Give more details of product or any events taking place. This should contain about 2 comments made by spokespersons. For example, Mr. XXX said “xxxx”.]

[This paragraph focus on where users can find detailed information about product or events. Give a contact or website site for more information so that more additional information can be found. This paragraph should be concluded within 5-10 lines]

[The conclusive paragraph is known the “boilerplate” and can contain no more than 3-4 lines. A short "about" section, providing independent background on the issuing company, organization, or individual. Here you should explain future aspects, your or aim in meeting the current market or success. In general what you intend to do achieve.]

Contact Information:
[Company Name]
[Address]
[Telephone]
[Website]

###
(This mark lets the reader know that it is the end of the article.)

[Editors Note: optional]

Scenario 1

You’re in line for some popcorn before the next screening at a big festival and you realize you’re behind someone you’ve been wanting to meet for a while now.

You:

a) Tap said individual on the shoulder and say, “Hi (insert name)! I am a HUGE fan of your work. I mean, you’re like one of my heroes. I would love for you to check out my film at 4:00 p.m. today. Here’s my business card and cool little promo gadget. Let’s grab coffee sometime.”

b) “Hey there! I’m (insert name). What have you thought about the festival so far? Any films you recommend I see?”

If you chose option A, you’re the person everyone tries to hide from. Why? Because people don’t like kiss asses. This industry is full of them and film festivals are no exception. Option B at least puts you in a position to talk about something other than yourself (and conversation 101 says that’s a much better way to engage someone in participatory dialog).

Scenario 2

You’re at a filmmaker’s mixer thrown by the festival coordinators. You walk in to find yourself in a sea of filmmakers (duh) and approach the bar with sweaty palms. Once you have your drink, you realize you don’t know where to begin.

You:

a) You stand there like a fool and wait until someone approaches you (after all, your film is the bees knees. Who wouldn’t want to talk to you?)

b) You only hang out with the people you came with.

c) You start introducing yourself to people or at least the one person who seems to be the resident extrovert.

If you chose option A, don’t be so shocked when your conversations last mere seconds (if anyone approaches you at all). If you choose option B, that’s OK. But couldn’t you do that back home? Option C at least makes you look approachable or interested in having a good time (both a plus if you don’t want to be walking to the rest of the festival events alone).

Other filmmakers are not your enemy. So mix, mingle, and have a good time with them. You at least have one thing in common with everyone in the room: you completed the hairy task of making it through, yet another, production. If it helps, bring someone with you who likes to meet new people and knows enough about your film to have a slightly intelligent conversation about it if need be. Otherwise, have a few drinks, loosen up and celebrate. The hardest part is already over!

1. Festivals are the best places to meet people who will be lifers.

lif·er: lasting a lifetime; lifelong

When you attend a festival with the intention of finding people you can genuinely connect with (rather than finding the next victim to push your film on) it’s obvious. It won’t happen every festival, but you will eventually find someone who “gets”  you. I mean, really gets you. I promise you … nothing will be more refreshing.

For us, one of our favorite people in the industry came out of a weekend in Boulder while we were screening at the Boulder International Film Festival. If you are ever chosen to screen there, you better find a way to get there. You’ll have the best weekend of your life and be in fabulous company. In our segment alone, there were 3 Oscar nominated films. (No need to pack your ego, you won’t be needing it on this trip. You’re just lucky to be there. But do bring a coat, it gets chilly!)

When we met our new BFF in Boulder, we hadn’t seen his film yet (nor had he seen ours). In fact, we all mentioned before the screening that it would be a total buzz kill if we hated each other’s work. I sat in-between the two filmmakers during the screening and clenched my teeth throughout both films. When it was finished, I watched as both guys sighed in relief that the friendship wasn’t doomed to failure due to poor taste and lack of talent. (You can check out what they’re doing at Druid Films here and here … The Academy did and decided to hook them up with a nomination this year.)

2. It’s easy to promote someone else’s projects when you really like them as a person and love their work

We talk about what these guys are up to every chance we get because we believe in what they’re doing as filmmakers.

And that’s what happens when you’re more intentional about building meaningful relationships than whoring out your film. You find people you can really connect with that give you just the amount of hope you need to keep going in this industry. Festivals are the place to make those connections. If you don’t take advantage of that caveat, you’re really missing out on an opportunity to find the lifers you’ve been looking for.

You don’t have to take my word for it. These folks have been around the block more times than I and even they would conquer:

Chris Gore’s Ultimate Film Festival Survival Guide http://www.amazon.com/Ultimate-Film-Festival-Survival-Guide/dp/1580650570

Sharon Badal’s Swimming Upstream: A Lifesaving Guide to Short Film Distribution http://www.amazon.com/Swimming-Upstream-Lifesaving-Guide-Distribution/dp/0240809556/ref=sr_1_2?s=books&ie=UTF8&qid=1283971248&sr=1-2

* Tune in next week for practical tips on how to make the most of your conversations during festival weekends!

As our festival run comes to a close, we decided now would be a great time to let everyone watch it from the comfort of their computers, living rooms, or mobile devices at any time they wish.

Watch it, comment on it, forward it, tweet it and tell your friends! We want everyone everywhere to see this film!

www.officialselectionmovie.com