Backstage has partnered with the Tribeca Film Festival to showcase the work and advice of those working in film today. For the festival’s 20th anniversary, Backstage is highlighting 20 filmmakers chosen for the 2021 festival to share their process and experience casting on Backstage and making their films.
Entry into a film festival can be a game-changer for your project and your career. It’s not just getting your work seen, it’s getting facetime with industry pros and other creators. Here, this year’s Tribeca Filmmakers share what opportunities exist when you go the film festival route, whether it’s their first go or they’re back at the festival for a repeat experience, and the best way to get your film to stand out to be chosen.
How to Make an Indie Film Tribeca provides you with a PR person who will get your film out there. When my films showcase at a film festival, I not only like to talk to industry executives and other filmmakers, I also like communicating with the audience. These are the people we are making our films for and to actually be able to have that one-on-one contact with someone who is a full-fledged moviegoer is priceless. I think it’s important to research film festivals so that you can find the proper home for your film. Look for festivals that have showcased films like yours in the past. It’s also great to get to know programmers. In my experience, they are very approachable and helpful. Most of all, perseverance is key. —Lin Que Ayoung, “Cracked”
We view Tribeca as a festival to get to know more of the artists and executives who live in New York. We live in Los Angeles and may never get to know a lot of these people unless we meet them at a film festival like Tribeca. The other important thing to us is getting to go see some other films while there and supporting those projects as well. —Karan Soni, “7 Days”
The Creators Market was an enormous draw for us. Creators Market is a one-of-a-kind, private industry pitch market with a diverse array of companies and influential industry leaders. It takes place virtually this year over 2 days. We are trying to take advantage of every opportunity at the festival. Whether it’s advice from the festival staff on pitching our series, or meeting industry people we might not otherwise have access to, or the opportunity to see the work of other creators and talk with some of those filmmakers. It is an invaluable and exciting opportunity and we are very grateful to be a part of it. —Jennifer Morris, “If I’m Alive Next Week”
“I not only like to talk to industry executives and other filmmakers, I also like communicating with the audience. These are the people we are making our films for and to actually be able to have that one-on-one contact with someone who is a full-fledged moviegoer is priceless.”
Talk with people you admire. Don’t worry about them occupying a similar space as you if you made similar films. If you made something similar, you might be able to work together on a project later. If they made something completely different from you, that’s cool, too.
Don’t wait for people to come to you. Nobody knows how to talk to strangers right now. We haven’t done it in a year. Be the brave one to talk first and see what happens.
Don’t give someone a critique of their film. For some reason, people do this. I promise if you think that providing insight into what a person did wrong is going to prove your bonafides, I assure you, it does not. —Michael Goldberg, “Egg”
It’s so important to take advantage of every opportunity to watch the other films in the festival and really get a sense of the diversity of content and perspective being shared. There is so much wonderful work to absorb, so zooming out and making sure you’re not just there to think about your own project is important. With that said, it is also paramount to speak with as many people about your own work as well. It’s a chance to discuss why you’re an artist, essentially, which is not something you get to do every day. Show up and share your vision! —Emily Kron, “Deceased Ones”
At a world-renowned festival like Tribeca, the networking opportunities are endless. Managers, agents, and other filmmakers from around the world all attend a festival like Tribeca. When you get to the festival, be prepared to put yourself out there and don’t shy away from introducing yourself to someone. You never know who that person might be or what they could do for you, and in turn, what you can do for them. Just know who you are, what you are working on, and what your future goals are in the business. —Scott Aharoni, “Leylak”
Behind the Tribeca Film Festival: Everything You Need to Know
I think the most basic ingredients for a film to be chosen are quality audio and acting. I think if these two components are off, it can really take an audience out of your film and could prevent it from being screened. Apart from that, my ethos has always been to do the hard thing. The craft has always been important to me and making sure the craft of the filmmaking and story are in harmony. For me, this typically involves locations, lighting, blocking, length of takes, and performance. I think it’s vital to watch a lot of films, then at first just try to just copy the things you like. As you make more work, over time, your aesthetic and the stories you gravitate to will naturally evolve into your own style. I think this unique personality and voice that only you have are the most important factors in producing interesting work. —Jefferson Stein, “Burros”
Do your research about festivals. Who are their audiences? Where is it based? Are there certain themes or topics that they are covering at the festival? Many festivals focus on a specific audience, topic, or point of view. Once you have a sense of the type of films that get in, it is a good idea to think about whether your film may be a fit based on what you've researched. Creating a well-researched list of festivals will help you determine where you might be a good fit. Film festivals are less about what is good or bad in terms of filmmaking, but what their audience may like and what topics they want to explore with a subset of films. —Ria Tobaccowala, “Shadows”
If you can’t go in the front door, go to the back door. If that is closed, try the window. Climb down the chimney if you have to, but never give up on your dream! —Daniel Sollinger, “Clean”
Having a sales agent with a history at the festival attached to your film prior to submitting will exponentially increase your chances of being noticed by the programmers and chosen. —Alan Pierson, producer, “Honeydew”
“Be ready for some rejection and take it with a grain of salt. Like casting, there are a million different reasons films get programmed or not and it’s not necessarily a reflection of the quality of your film.”
Make sure you’ve used a great script with a fresh take on storytelling before you even shoot. If you lock that in, you’ll attract the best people to shoot and bring your story to life, and the quality of story and craftsmanship in the work will be obvious with the finished project when you submit it. —Jon Huertas, “Two Jacked”
The best advice we received from a festival programmer was “Keep it short (15 mins and under)”. The shorter it is, the easier it is to program. Short films are typically programmed in blocks of other shorts so the longer it is, the harder it is to fit. Also, cut out the swearing, festivals are open to general admission, so it becomes harder to program films that are R-rated. That being said, if it’s needed then it's f*ckin’ needed. Just be mindful. —Austin Hall and Zach Visvikis, “Molly Robber”
I would advise filmmakers to make films they want to see and work hard. There’s no guarantee that your film will be selected for any festival so you have to be happy with your work first and foremost. That being said, it helps if you know what film festivals are looking for. Research each festival you want to apply to, look at past films they’ve programmed and see what their taste or niche is. Not getting programmed doesn’t mean your film is bad, you may not be submitting to a festival that programs films like yours, so always do your research and be prepared! —Elizabeth Phillipson-Weiner, “Gets Good Light”
Be confident about your perspective and what drew you to the core of your story. It’s imperative you stand behind the story you created. —Emily Kron, “Deceased Ones”
Research the festivals before you submit. Look for what they’ve programmed before and if your film makes sense among those. Submit early if you can to save money and afford yourself more submissions because not even the greatest films get programmed everywhere. Be ready for some rejection and take it with a grain of salt. Like casting, there are a million different reasons films get programmed or not and it’s not necessarily a reflection of the quality of your film. —Justin Fair, “Sloan Hearts Neckface”
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