You’ve GOT

IT MADE
short film
Distribution
guide
NIGEL R SMITH
 contents
page 2 page 1

INTRODUCTION 2

YOUR FILM 3

DEVISING AN OVERALL 7
STRATEGY FOR YOUR SHORT

Delivery materials 9

THE FESTIVAL CIRCUIT 11

bo
Cry for Bo
SALES AGENTS/ 36
INTERNATIONAL DISTRIBUTORS

about the
UK & INTERNATIONAL 42
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

THEATRICAL SCREENINGS 58
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.
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
FOR PROMOTION
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
the King of Morocco.

Films he’s produced have variously screened: for a remote island community; FINAL COMMENTS 64
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.
 YOUR
page 2 page 3

INTRO- FILM
DUCTION 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
You’ve made consumers. It’s never been easier – and perhaps
same room as the producer. You’ve shown the film to friends who all love it.
a great short You’ve shown it to enemies who begrudgingly tell you that it’s pretty good.
cheaper – to make a short film and hundreds are
film – now you produced in Scotland alone each year.
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
everywhere to accomplished than others but they have all been
feasible attempt to reach as broad an audience as possible.
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
as you do! a desire to communicate this to an audience.
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
This booklet is aimed fraction of these films – and in this country, levels
become a professional filmmaker.
at those with little or of awareness outside of those connected with, or
no experience of short aspiring to work in, the industry, remain low.
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
WHAT DO YOU PLAN TO DO
WITH YOUR FILM ?
The first thing that you need to
consider is what you’d ideally like
your film to achieve.
Perhaps your goal is to connect
with the film and television
industries and you feel that
appearing at international film
festivals and winning awards is a
good way to attract attention to
your film and to yourself.
Perhaps you’d like to see some
revenue back from your film as
soon as possible and plan to sell
it yourself on DVD, bypassing the
festival circuit altogether.
You can find a sample promotional
budget supplied as an appendix to
guide (Appendix 1 – page 65).
Perhaps you’re entirely
uninterested in any prospect
of financial return or industry
involvement, and extremely keen
that the widest possible audience
be able to view your film as soon
as possible, and have an online
streaming website like YouTube in
mind as the film’s home.
The plans you construct to help
your film reach its audience can
play an important part in any
potential funder’s decision to
provide your film with a budget.
No one wants to finance a film
that, on completion, will sit
unseen on a dusty shelf.
this
page 5
WHAT IS YOUR BUDGET FOR
PROMOTING YOUR FILM
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,
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
reaches audiences.
Whatever you feel you might be able to do to promote your film will inevitably
impact on its visibility to both industry and the general public. It’s unlikely that
any producer will be able to afford to do everything that can be done, and so an
effective strategy is necessary, prioritising some activities over others.
Some short film funders now require a promotional strategy and accompanying
budget to be in place as a pre–requisite of their funding a short film and will only
allow access to this money once a film has been completed.
made over 135 film
Our Tarta n Short film Cry for Bobo has
in 33 count ries over the last five years , in
festiv al appea rance s
rance s and telev ision
addit ion to nume rous other even t appea
cost me (pers onally ) in exces s of £5,00 0
scree nings . This
the film’s life, with only aroun d
durin g the first two years of
0 retur ning in the form of festiv al award cash and sales
£4,00
agent reven ue retur ns.
first six mont hs, and an
I spent almos t a day each week for the
to help the film on its way.
even ing a week there after
in advan ce, I migh t
I have to admit , if I’d budg eted it all out
I did. That said, I believ ed
have been deter red from doing what
film’s poten tial, and seein g a relati vely small
stron gly in the
my bank accou nt each week
amou nt of mone y trickl e from
seem so bad. I’m proud of what the film has been able
didn’t
us accol ades it has
to achie ve intern ationa lly, and of the vario
recei ved along the way.
 DEVISING AN page 7
Festival premiere
OVERALL
Strategy
FOR YOUR
DVD sell–through SHORT
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:

• F estival 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
There are some crucial differences
between the feature film value chain
and the market for short films; short
films don’t tend to make money
theatrically or on the festival circuit
as the economic incentive to screen
short films theatrically in cinemas
and at festivals is largely missing.
However, the festival circuit remains
incredibly important and you’d be
unwise to ignore it. This is where
your film could win awards and reach
its most appreciative and committed
audiences. It is also one avenue
through which to secure a sales
agent, who is more likely to consider
your film if it’s a proven festival
success.
But how long can festivals demand
premier status and stipulate a film’s
absence from the web given that
they offer little by way of financial
return (prize money is the best you
can hope for)?
Festivals – particularly short film
festivals – have realised that they’re
This booklet aims to introduce you to the following areas:
• Film festivals
• Short film sales agents
• DVD inclusion
• Digital streaming and downloads
• Cast & crew/showcase/cinema screenings/other events
• Showreel usage
Whichever method (or methods) of distribution you decide to explore there
are some basic things to consider. Perhaps most important of all are your
deliverables.
in competition with DVD and online
delivery of short films. It’s a battle
they’re unlikely to win.
The days of festivals rejecting short
films because they’re available
online, on television or on DVD may
well be coming to end – though
festivals will still typically insist
that films be less than one year or
eighteen months old. Festivals won’t
want to disappear so it’s likely they’ll
have to learn to peacefully co–exist
with the other media.
What producers and producer/
directors of short films will
increasingly come to realise is that
their efforts to promote their films
might best take place across all
media simultaneously, in order to
absolutely maximise a film’s audience
and revenue generating potential.
Clearly a producer can’t physically do
all of this at once. Selecting priorities
based on the potential of individual
films will become increasingly
important.
DELIVERY
MATERIALs
When you make a short film, the film
itself is the most important outcome
of your blood, sweat and tears but it’s
by no means the only end product that
you need to consider.
Whether your film is entirely
self–financed or has been made
with money from a television
broadcaster, media workshop or other
source of funding, you will need to
gather together a variety of legal
documentation, promotional materials
and other information in order for your
film to be seen outside of your own
living room. If your film has a financier
or broadcaster on board, they will
contractually expect that the producer
The basic required delivery materials
(deliverables) usually will include
• Film print and/or video master
tape of broadcastable quality
• An English language subtitled
copy of the film print/master tape
(if not in the English language)
• For tape masters, a full stereo
sound mix on Channels 1 & 2
and an M&E mix on channels 3
& 4. M&E stands for music and
effects – necessary if your film is
to sell to television in countries
where re–voicing is preferred to
subtitling.
• Digital stills (or 35mm slides) – a
variety. Best to liaise with your
photographer before you shoot
the film so that you know what
you’re going to get.
page 9
of the film supply them with a number
of different legal and promotional
materials.
Production financing is typically
delivered to producers in cash–flowed
stages throughout production, with
the final amount of money only being
released on delivery of all the required
materials. Legally, no film festival will
be able to show your film unless you’ve
agreed to their terms and conditions,
stating that you have all the necessary
copyright clearances and permissions.
No sales agent will handle your film
until they’ve received copies of all
necessary clearances and permissions.
• Underlying rights and screenplay
agreements
• Director agreement
• Cast and crew agreements/
employment contracts/releases
• Location permissions
• Music cue sheet
• Synopses of varying lengths
• A director biography/filmography
• Full credit listing of the film
• An English language dialogue list
page 10
The Edinburgh International Film
Festival produces the Film UK Guide to
British Film, which publishes in–depth
information on all British fiction
features and short films completed
in the last year. A completed Film UK
Yearbook form is essential if you want
your film to register on the industry
radar. Visit www.filmuk.org.uk for more
info.
Your financier should supply you with
a list of expected materials, and the
technical aspects required to fulfill
delivery – film or tape specifications,
the number and type of still images
etc – but the above list is an excellent
starting point.
Even if you have no financier to satisfy,
it’s essential that you have these items
in place at the end of production if you
want your film to screen in a public
forum. If you have a specific sales
agent in mind, contact them before
you finish production on the film
to ascertain the materials that they
require.
It makes things easier if you begin
to gather together your deliverables
during production. Gathering all these
materials together at a later date will
prove costly and time–consuming.
Without them it will be difficult for you
to have your film screened at festivals
and other events, and impossible for
you to either engage a sales agent or
sell the film to television yourself.
These materials should be budgeted
for in the first instance, and it’s
advisable to set aside an amount of
money to have someone pull them all
together for you if you lack the time to
do it yourself.
Let’s assume that you have all the
required delivery materials to hand,
together with your completed film.
What do you do with it all now?
page 11
THE FESTIVAL
CIRCUIT
Despite the increasing profile afforded short films via the internet, the
international festival circuit remains a hugely productive arena for the promotion
of your short film.
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.
Awards and accolades – while nice in themselves – also have the benefit of
furthering your filmmaking career, drawing attention to your film and raising
its potential as a commercial product – and some of them look pretty fine on a
mantelpiece too!
Producers, distributors, sales agents, talent agents, development executives and
other industry personnel attend festivals in search of new talent. If your film
has been selected for the festival there’s every chance that it could be you who
catches their eye.
“Multi–award–winning director/producer/writer” certainly doesn’t look bad on a
CV, and could help convince potential financiers that they should be backing your
next project.
DECIDING WHAT YOUR FILM IS
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? What 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.
rry
The following websites ca
nal
lengthy lists of internatio
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
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
festivals and the short film section of feature film festivals – where are the festivals www.lefilmfrancais.com
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

DEVELOPING A FESTIVAL STRATEGY

whether submitting your film to festivals which are non–competitive is a
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
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.
Milano (Italy) – www.milanofilmfestival.it
Encounters (UK) – www.encounters–festival.org.uk Plan on entering both, but
bear in mind you stand a much
better chance of acceptance at
North America: a dedicated short film festival,
Palm Springs (USA) – www.psfilmfest.org/festival which obviously allots all of its
Aspen Shortsfest (USA) – www.aspenfilm.org programming time to the form.
CFC Worldwide Short Film Festival (Canada) – www.worldwideshortfilmfest.com
You must think and act well
Rest of world: ahead of the festival itself, since
Message to Man (Russia) – www.message–to–man.spb.ru typically submission deadlines
Sao Paolo International Short Film Festival (Brazil) – www.kinoforum.org are three or four months before
the actual event – some much
That’s by no means a comprehensive list of the major short film festivals – longer. You have to be aware of
there are a huge number of other festivals, which are very worthwhile. Have upcoming festivals and submit
a look at Scottish Screen’s website for a more extensive list of international in plenty of time. For some
festivals and markets (www.scottishscreen.com/festivals). festivals, the earlier you submit,
the cheaper their entry fee.
The UK has a smaller circuit and lower profile than France, Germany, Italy, the
USA and Canada. Despite the large number of short films being produced It’s worth subscribing to
here, we don’t have the same culture for short film viewing – festivals for short e–roughcuts, Scottish Screen’s
films in the UK, while excellent, are few in number and television screenings weekly newsletter (email
restricted to occasional slots. roughcuts@scottishscreen.
com) or Brit Films (email film.
department@britishcouncil.org),
the British Council’s monthly
round up, to keep up to date
with all upcoming festivals and
submission dates.
Visit the individual festival’s
website, and ALWAYS read the
page 17
rules and regulations for each festival
BEFORE you spend time filling in their
form and mailing off your materials.
It’s worthwhile taking a look at what sort
of films have screened at the festival in
previous years, and what sort of films have
received awards there.
Also look at how many short films are
actually screened during the festival
– some festivals, like Cannes, Berlin
and Marrakech, only show 15 films in
competition each year. What chance does
your film have of being accepted, given
that major festivals deal with anything
between 500 and 2,000 film submissions
each and every year?
Almost all festivals require you to fill in
an entry form, either online or on paper,
and send a preview DVD copy of your film
together with additional materials. So,
make your application, sit back and wait
– there’s no point in continually hassling
the festival as to the progress of your
submission.
Film accepted? The festival should contact
you regarding the screening format they
require to discuss shipping details and
so on at least a month before the festival
dates.
page 18
When they contact you, you should:
Check whether the festival has print/
tape insurance – so that if your film or
tape is lost whilst in their possession,
they’ll bear the brunt of replacement
costs. Confirm that they’ll pay the cost
of shipping your film or tape to the
onward destination of your choice in a
timely manner – most will. Ask them to
provide you with a festival programme
and any relevant press quotes or
reviews. You’re unlikely to get the latter
from larger festivals, but some of the
smaller events can be quite obliging.
A word of warning: although festivals
accepting your film are quick to get
in touch with you, those who decide
that they don’t want your film are
frequently slow to tell you, some you’ll
submit to and never hear from again.
If you’ve not heard from a festival
six weeks before the event starts, it’s
worthwhile checking their website
for programme details – and if these
haven’t been announced, send the
festival a chaser email asking what’s
happening with your film. If your
film has won any awards or had any
significant screenings since you
submitted to the festival, tell them –
make them feel guilty should they turn
down a successful film!
Keep a record of everything you’ve
sent to each festival so that if your
film is accepted, you already know
what preview format you sent
(DVD usually) and whether your
submission included a CD with
supporting documentation and
promotional materials.
If your film is doing well, check that
you have enough screening copies
to go around. You should keep a
high quality master in reserve so
you can strike another screening
copy. If another 35mm print is
required, get in touch with your
lab and pay the price – and if you
can’t afford another film print, why
did you enter so many ‘35mm only’
festivals? Remember that festivals
will typically forward your film
from their festival to anywhere you
specify instead of returning the
film to you and you should allow at
least a week for this to happen.
After about six months on
the festival circuit, assess how
successful your film has been
before spending more money into
sending it out.
page 19
ately half of the
Cry for Bobo was acce pted by appr oxim
vals it was subm itted to – extre mely good going . At one
festi
35m m print s doing the roun ds, and six
point there were eight
Beta SP tape s.
by arou nd 30% of
The Retu rn of Peg Leg Pete was acce pted good going for
h it was subm itted – very
the festi vals to whic but my strat egy
net -
a film that was also availa ble on the inter ’s stiff
majo r festi vals whe re there
for this film avoid ed
comp etitio n for scre ening place s.
If your film is being accepted by
less than 10% of the festivals you’re
submitting it to then consider whether
it’s worth changing your strategy to
focus more on the type of festivals,
or perhaps the countries, that have
been accepting the film – or whether
it might be an idea to abandon festival
promotion altogether and cut your
losses.
Losses? Submitting to film festivals and
promoting your short film is certainly
not free, and there’s obviously no
guarantee that any prize money the film
might be lucky enough to win will cover
your costs!
page 20
ONLINE SUBMISSION SERVICES
The onerous form–filling of the festival
submission process has become much
easier in recent years with the arrival
of online services such as Withoutabox
(www.withoutabox.com), where you
enter your film details and samples of
stills, and so on. Once on their website,
you can submit to an increasing
number of festivals associated with
them at the click of a button and a
pinch of the credit card. An added
advantage is that submission fees via
Withoutabox can be slightly reduced.
However it’s primarily aimed at the
feature market.
Two major European short film festivals
(Clermont Ferrand – www.clermont–
filmfest.com and Oberhausen – www.
kurzfilmtage.de) now offer a very
similar service to Withoutabox,
specifically tailored for the short film
festival circuit – seemingly in direct
competition with each other, and
each claiming the allegiance of other
major short film festivals. It’s not
clear yet whether one or other will
triumph for the hearts and minds of
short filmmakers. But they are worth
checking out, and could, in time, make
Withoutabox redundant in the short
film arena.
Be wary of uploading a high–quality
digital version of your film to such
sites – you can never be sure where the
copy might end up. If you do upload
a digital version of the film, make sure
there’s something on the screen clearly
identifying it as a preview version.
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.
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
sponsors their festival, free of charge, for unlimited screenings as
this can well have a detrimental effect on any later TV sales.
Some festival rules and regulations contain clauses that allow
them to put the entirety of your film online – often well past
the festival dates, and there’s the potential that viewers could
download the film free. You might be perfectly happy with this – if
you own all the rights and haven’t licensed them to a sales agent
you can make these decisions yourself.
BUT, if your film is lucky enough to have secured a sales agent,
they’re likely to take a dim view of your offering the film up for
nothing. You may be in breach of your contract with them, and
legal proceedings could follow. More about the role of sales
agents later on (see page 36).
One final word of note: ALWAYS READ THE FESTIVAL RULES AND
REGULATIONS BEFORE YOU SUBMIT A FILM. Understand what
you’re agreeing to before you sign any agreement.
page 22
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:
• 35mm film
• 16mm film
• Super 8mm (very few small festivals left)
• Digibeta (PAL & NTSC)
• BetaSP (PAL & NTSC)
• DV (very few, non–specific)
• MiniDV (PAL & NTSC)
• DVD (PAL & NTSC)
• VHS (PAL & NTSC)
• Upload to Server
When setting out to participate in the
international festival circuit, it’s wise
to decide in advance the formats on
which your film will be available. This
will, of course, depend on what format
the film was originated on, how much
you can afford and where you’re keen
for your film to screen. In an ideal
world you’d have a number of different
formats available for every possible
situation.
Major festivals such as Cannes, Berlin
and some smaller French, Italian and
Spanish festivals still demand 35mm
screening copies, and won’t accept
anything less.
It’s probably best to restrict yourself to
three or four formats, the most popular
being BetaSP (PAL & NTSC), MiniDV
(PAL & NTSC), DVD and Download
to Server. For maximum festival
penetration, having at least one 35mm
print is advisable, but it’s still possible
to hit a huge number of important
festivals with tape formats.
Producing tape formats is an
expensive business; asking duplication
houses to prepare extra copies can
cost up to £100 for a single tape
standard conversion from BetaSP PAL
to BetaSP NTSC. Even MiniDV can cost
£75 for a single standard conversion
from PAL to NTSC. The more copies
you can persuade a post–production
house to supply you with when you’ve
completed your online layback, the
better.
page 23
The number of copies you can
afford to make partially determines
your ability to access the festival
circuit – there’s no point in making 30 festival submissions each month if you only
have one screening copy – what happens if the film gets into every festival you
submit it to?
SUBMISSION NUMBER OF COPIES
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
wide as possible (and can afford to) a good rule of thumb is:
Approx 350 multi–region DVD copies. From this, you can give some to cast and
crew (which you should do anyway, particularly if they’ve worked for food!).
Approx 30 VHS copies – 20 PAL and 10 NTSC should suffice.
You might want to restrict yourself to sending out DVD screeners only, to save on
VHS duplication costs, since the balance has shifted between DVD and VHS, with
ever fewer festivals accepting the latter. Be aware that you have to provide copies
capable of being viewed on PAL and NTSC screens.
You can cut costs by burning individual DVD copies at home (or at someone else’s
home), but this is time–consuming. Best to get them all done at once to take
advantage of economies of scale if you can afford it.
Chose a copy house from which you can also order DVD boxes, packing boxes and
DVD/tape labels.
You’ll also need a convenient and cheap method of gathering together all the
supporting materials that festivals ask for – CD is the best format for this.
page 24
SUBMISSION
supporting materials
In addition to the screener
copy, there will likely be
additional information
required by the festival. It
is worthwhile gathering all
this information together
and keeping it updated so
it is ready to go out. For a
suggested list of additional
information festivals may
require, see Appendix 2
(page 66).
Obviously, not every
festival requires all of this
information. Nevertheless,
if you have to address each
festival individually and
print all their requirements
out on paper every time the
cost of printer toner and
postage will be enormous.
So, send each festival a
CD containing ALL the
information and let them
pick and chose what they
need.
Keep a folder containing all these
materials on your computer so
that you can drag and drop to
quickly burn a CD. Since software
compatibility is an issue, store the
text files as both .pdf and .rtf format.
And make sure that the file titles are
clearly understandable. For example,
FilmSynopses.pdf is much better than
Blurbs.pdf. You might like to send
a list of the disc’s contents together
with it.
Alternatively, you might like to
construct a promotional website or
webpages for your film, on which
you place as many of the above as
you can in a downloadable format.
If you’re regularly using an online
submission service like Withoutabox,
you should be able to upload all your
materials to them.
page 25
Details to include on Tape Labels
Festival programmers are dismayed by the number of entries they receive where
the screeners aren’t immediately identifiable – and are therefore more likely to be
lost or overlooked.
If it’s tape, then the spine label should have: Film Title, PAL/NTSC, Director’s name.
The top label should have: Film Title, Director’s Name, Running Time, Colour/B/W,
Aspect Ratio, Screening Formats available, Sound Format, Production company
return address, contact phone and/or email.
If it’s DVD, provide basic details on the actual DVD, and everything else on the
DVD case or paper sleeve.
For a sample letter, see
Appendix 3 (page 68).
COVERING LETTERS
These should be on no more than one page of a letterheaded sheet, word–
processed. Keep a master copy on file and make individual letters based on it;
update as required.
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

OMOTI ON
I N G A FILM PR
KEEP
EXPENSES SHEET

PRIOR AGREEMENT BETWEEN

PRINCIPAL PARTIE
S

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:
• Tape/DVD duplication
• Tape/DVD stickers
• VHS/DVD covers (optional)
• Information CDs
Stills and slides
•
• Festival submission fees
• Submission postage & packing
• Screening copy postage &
packing
• Travel expenses to festival or
event
• Paper and printing costs
• Promotional items – postcards,
posters, other appropriate
items
Why bother keeping this?
• What film or tape formats you make the film available in?
• Who will take overall responsibility for submissions?
• What percentage of total costs will each person be responsible for?
• Where will this money come from?
• How any revenue made by the film will be divided?
• What about award money, trophies, certificates etc?
• What to do if award monies are intended for writer, cinematographer or
composer?
• Who will attend festivals/events if a festival offers to pay travel and
accommodation? Alternate between director and producer?
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
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.

eet, see
expenses sh
For a sample e 69 ).
(pag
Appendix 4
page 28 page 29

WHO CAN HELP YOU MEET THE COSTS

OF FESTIVAL SUBM
ISSION

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
a Scottish Screen–associated
scheme an amount of money will
have been allocated to your film’s
budget specifically for promotional
purposes. Try not to spend this on the
production itself! They also have the
Markets and Festivals Fund to support
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.
scottishscreen.com/investment).
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They can assist with shipping costs
to foreign festivals (but you have to
get the materials to them in London
first). They can sometimes help with
the travel costs of producer or director
attending a foreign festival – though
they’ll only do this for each individual
film ONCE.
SALES AGENTS/ FESTIVALS
Festivals will usually cover your return
DISTRIBUTORS shipping costs and can sometimes be
attend any They may take your film to festivals like
ul d not afford to s. persuaded to waive their entry fee,
Cairns an d I co and hotel cost Clermont Ferrand in France – which
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you. You might also win some prize
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festivals on your behalf, since this isn’t
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page 30
YOUR
KEEP A RECORD OF
FILM'S APPEARANCES AND AWARDS
As your film travels the festival circuit, you should keep a record of where and
when it’s played. Adopt the following categories for your list:
• Awards won and commendations received
• Film festival appearances
• Confirmed upcoming film festival appearances
• Theatrical runs and non–festival appearances in support of feature films
• Other event appearances
Also keep a note of any anecdotes you receive from the screening – audience
numbers, reactions and stories.
NET SEARCHING
It’s worthwhile doing a Google/Yahoo search on your film title every two or
three months – if it’s out on the festival circuit you may be surprised by some
of the hits you find – local newspaper reviews and entries on blogs run by film
fans are potentially things that you can add to your file of press quotes and
recommendations.
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
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
and more importantly is to promote yourself and your future work.
(Okay, there’s a third reason for attending a film festival: to relax and watch as
many films as possible!)
Audiences at film festivals will hopefully be interested in seeing your work
screened, and in offering their responses to it. So far, so good.
Film industry figures at the festival may also be interested in viewing your work
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
already been made.
Assuming that your film has screened successfully, industry personnel will be
(a lot) more interested in what you plan to do next – projects that they can
potentially be involved with. So, whilst it’s important that you pay attention to
audiences at film festivals, as a filmmaker your attention should focus elsewhere
– on the industry members present.
How might you handle your presence as a filmmaker at a film festival?
page 32 page 33

BEFORE THE FESTIVAL
If your film is accepted into a festival
it’s always worth contacting the festival
well in advance to let them know
that someone from the film could be
available to attend their screening/s (if
that’s the case). Some festivals are able
to offer accommodation for visiting
filmmakers either free or at a reduced
hotel rate. Some are even able to offer
basic travel expenses.
You might also like to let Scottish
Screen know that you plan to attend a
festival – it’s possible that they might
have a presence there and might be
able to offer advice, assistance and
networking opportunities.
Be prepared and pack business
cards. You are likely to meet people
of interest to you at screenings, in
Delegate Centres and bars and you
YOUR SCREENING
Before your screening, let the festival staff know that you’re in attendance –
they might like to introduce you to their audience. Be prepared to stand up
in an audience to be identified, or even to step on stage – and if you do, have
something interesting to say about your film. Jump at any opportunity to
participate in a Q&A session on your film after a screening or take part in a panel
discussion. The more you can do to create a ‘buzz’ around your film the better.
Given the opportunity, let the audience know that you’ll be available after
your screening and would be happy to meet them (most often in a bar or cafe
attached to the cinema) to talk about your work.

MEETINGS WITH INDUSTRY MEMBERS

Ask the festival if there’s an industry
presence and if there is a Delegate
Guide that your contact details and
details of your film can be included in.
If there is such a guide, try to get hold
of a copy in advance of the festival
(some festivals place their guides
online) so that you can identify anyone
of interest to you and arrange to meet
them.
Make sure that the festival lets you
know the screening dates and times of
your film as far in advance as possible.
It would be less than ideal to discover
that the dates you’re at a festival don’t
coincide with the screening/s of your
film, or that your film is set to win
an award and you won’t be there to
receive it.
should aim to make a professional
impression at all times. You might also
take DVD copies of your film to hand
out to industry personnel.
Resist the temptation to take copies
of screenplays that you’re working
on to hand to industry personnel
you might meet. Inevitably, they’ll
more than likely end up (unread) in
a hotel room bin at the end of the
festival. A single page document or
brief treatment for each project would
be more appropriate, something that
you can use to accompany the verbal
project pitches you’ve prepared and
rehearsed.
BEFORE THE FESTIVAL
Some film festivals have a strong
industry presence and publish a guide
of delegates present. As previously
mentioned, try to get hold of this
guide before the festival and scan it
for companies and individuals who
could be of interest to your future
endeavours.
Conduct some research on the
individual you’d like to meet, and
the company they work for – what
production credits does the company
have, and how close a ‘fit’ is there
between the films they handle and the
project/s you’re seeking interest in?
If you feel that a company could
be interested in your work, send a
brief, friendly email to the individual
representing them at the festival,
requesting a short meeting with them,
letting them know who you are and
why you’d like to meet them, and
passing on your festival contact details
(mobile number and email address).
Prepare brief verbal pitches for your
projects, optionally backed up by
single page pitch documents you can
leave behind with the person you’re
meeting as a memory jogger.
Arrange somewhere convenient
to meet during the festival, and be
mindful of other commitments the
person might have – don’t expect to
monopolise their time.
Decide what, ideally, you want to
achieve during a meeting – would
you like your screenplay to be
considered? Are you interested in
being considered for directing work
on the company’s projects? Plan a
meeting strategy to achieve your
aims.
If you can’t get a message to
someone you’d like to meet before
the festival, ask the festival how you
might best contact someone. Some
festivals have alphabetised message
boxes for delegate use, but be aware
that not all delegates regularly check
them.
page 34
THE MEETING
When meeting someone, be
professional in your approach. Turn
up at the agreed meeting place at
or before the agreed time, and be
ready to fully engage. For this reason,
arranging meetings early in the
morning is best avoided, particularly
later on in a lengthy festival!
Festivals can be frenetic hives of
activity, and delegates are frequently
on–the–go from dawn ‘til dusk (and
beyond), often in hot and stuffy
environments.
Ask how long the person can spare
you, and try not to overrun an agreed
slot. Offer up your business card
so that the person you’re meeting
definitely knows your name!
Before you leap in to pitch your
project/s, engage the person by asking
them what they’re currently looking
for – your research into a company is
unlikely to apprise you of gaps in their
project slate that they’re looking to
fill, or new opportunities that they’re
interested in pursuing.
This new knowledge may result in you
realising that the one or more of the
projects you’ve planned to pitch are
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
you don’t currently have a suitable
project for the company – you can still
appear keen to work with them, and
agree to send new material to them.
Be prepared to answer any questions
the person might have about you
or your work – and don’t agree to
something which you can’t realistically
deliver (saying that you have a
draft screenplay or full treatment
of a project ready to mail them the
week after the festival, when all
you currently have are some rough
thoughts jotted down on the back of a
napkin, for example).
As your meeting draws to a close,
thank the person for sparing time
for you, and make sure that you
both know what the outcome of the
meeting is, and what’s required to
follow it up after the festival.
page 35
AFTER THE MEETING
Within two weeks of the festival’s end, send any materials you’ve agreed to,
requesting a quick response confirming their receipt.
You may have to wait some time for a full response to your material – UK
companies typically take anything between a week and two months to reply.
Hopefully the person you’ve sent material to will let you know roughly how long
a response will take.
Don’t be downhearted if the eventual response to the material you submit isn’t
positive. At least you have made a new contact, who will hopefully be receptive
to your work in the future.
INDUSTRY SIDEBAR
Some festivals incorporate a series of industry–related events –
interviews, workshops, seminars, open pitching sessions.
Attend as many of these as you can, even if you have no immediate
interest in a session’s subject. New and useful information and
inspiration can often come from unexpected sources – and you
never know who else might be in the room.
FESTIVAL CHECKLIST
Here’s a quick reminder of basic materials that, as a
filmmaker, you should take with you to a festival:
• Business cards
• DVD copies of your film
• Page pitches
page 36
SALES AGENTS/
INTERNATIONAL
DISTRIBUTORS
A sales agent is a company or
individual that you, as the holder of
all necessary rights to your film, enter
into a time–limited legally binding
agreement with, to allow them to try
to sell your film as widely as possible
to their network of contacts across the
globe.
Sales agents attend selected film
festivals (Clermont Ferrand and
Sundance are favourites) in search
of new, saleable short films to add to
their catalogue. If you’ve a short film
in a festival, check the Delegate Guide
and make sure that any attending
agents are made aware of your film.
You may be approached at a festival
by a sales agent who’s seen your film
and is interested in representing it – or,
failing that, you may decide to contact
them directly.
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.
The good news is that agents have a
broad range of contacts and expertise
that you don’t. Selling short films is
their business.
Traditionally, sales agents have
primarily done business with broadcast
television and cable companies, selling
short films either singly or in packages
from their catalogues. However, the
increasing availability of short films on
the internet has made many broadcast
and cable companies reluctant to pay
for short film content.
Sales agents continue to search for
and adopt new business models to
help them exploit their catalogues,
with most efforts going into online
streaming or download distribution –
more on that later.
page 37
SALES AGENTS
Atom Films – www.atomfilms.com
Big Film Shorts – www.bigfilmshorts.com
La Big Family – www.labigfamily.com
British Film Institute – www.bfi.org.uk
Dazzle Films – www.dazzlefilms.co.uk
Future Shorts – www.futureshorts.com
Microcinema International – www.microcinema.com
Network Ireland Television – www.network–irl–tv.com
OneDotZero – www.onedotzero.com
Shorts International – www.shortsinternational.com
SND Films – www.sndfilms.com
HOW SALES AGENTS DO BUSINESS
Films are currently licensed and sub–licensed under international copyright law
using three basic variables:
1. TIME – how long is the license for? (and how many screenings are allowed
during this time)
2. TERRITORY – what countries does the license cover?
3. MEDIA – what media are included (theatrical, television, DVD, web distribution
etc..)?
If a sales agent is interested in representing your film, they’ll want to license it
from you for the longest period of time in as many territories as possible and
across as many media as possible in order to then sub–license it to their buyers
and perhaps display it on their own website.
They will want to be the only company able to represent your film – to have the
EXCLUSIVE rights to sell it.
So, what might you expect from a sales agent deal?
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.
S AGENTS
REVENUE FROM SALE
MEDIA Sales agents don’t work for free. sub–licensed by them to a third party
This is the main area for negotiation They’ll aim to sell your film to website (itunes.com for example), then
Many festivals are reluctant to screen
when making a deal with a sales television stations across the globe, revenue models vary greatly between
short films which are being streamed
agent, and many ask for exclusive either individually or as part of a sales agents.
(downloadable or not) from a website
rights in all media. You might want to package of shorts.
which can be accessed from anywhere
consider arguing that their DVD rights There appear to be two basic online
in the globe. They want their festivals
should be non–exclusive so that you But for doing so they’ll take a distribution models though:
to show films that can’t be seen
can attempt to sell the film on DVD commission on each sale and may also
elsewhere by their audiences. And
yourself. Certainly, agents will aim levy a charge for the costs involved The first involves the sales agent
they want to be able to show them
to place the film on as many DVD in making the sale (such as their placing an advertisement in front
first.
compilations as they can, granting attendance at festivals and markets, of your film. Every time your film
a non–exclusive sub–license in each supplying copies of deliverables to is viewed, a tiny proportion of the
In the world of feature film, cash
case. As DVD and online rights broadcasters and so on). advertising revenue received by the
advances based on expected revenues
become increasingly important to sales agent is attributed to your film’s
from films can be involved, with sales
agents’ business models, you will find You might typically expect a sales account.
agents guaranteeing payment up
non–exclusivity increasingly difficult agent to keep between 35% and 50%
front. Unfortunately, in the case of
to argue for. of each sale amount, though models The second involves the sales agent
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
If you grant a sales agent the license becoming more complex, particularly downloading of your short film, and
from a sales agent.
to sell or display the film as web in relation to online content. Similar you receiving a small percentage of
content, you can ask for a holdback principles should be in operation when this amount.
On reaching an agreement with a sales
– a time period that the sales agent an agent succeeds in placing your film
agent, you’ll have to supply them with
must honour, within which they can’t on a DVD compilation. Other models may emerge over time;
their required list of deliverables (see
exploit the film in any agreed areas – this is still a new and largely unproven
page 9). So, what kind of revenue can
to be placed on this right, particularly If your film is available from a area of business for the short film form.
you expect from a sales agent?
if you plan to ‘hit’ the festival circuit. sales agent’s website or has been
page 40
CHOOSING
A SALES AGENT
How can you be sure that you’re choosing
the right sales agent for your film? You
should research your sales agent and
find out what other short films do they
represent? Are they similar to your film?
Ask them what they’ve been able to do
for films similar to yours. How much
revenue typically returns to the producer/
rights holder? And when? How often do
they send out statements of account?
Contact the producers of films in the sales
agent’s catalogue and ask them what
their experiences of the sales agent have
been. How well do they think their film
has been selling? Have they seen any
money, heard about any sales? Received
regular download or online viewing
figures?
Don’t be nervous about aiming
to negotiate points on a contract
the sales agent offers. Often, short
filmmakers lack in–depth legal
knowledge, but if you bear in mind
the three basic variables of TIME,
TERRITORY and MEDIA, you’re off
to a good start.
A WARNING
Sales agents typically demand
exclusivity; they want to be the only
company through which your film can
be seen (other than on the festival
circuit).
You might find that simply by entering
a short film competition or festival
that you’re expected to grant the
festival or organisation the right to
freely screen your film on a cable
channel or over the web. There are
even US festivals that ask for the right
to include any films submitted to them
on a compilation DVD showcasing the
festival – a DVD which is available for
commercial sale!
Watch out for this in festival
submission guidelines and in the
Terms & Conditions of the agreement
you sign with a film festival as such
clauses are typically ‘hidden’ in the
small print.
If you allow this to happen, your sales
agent will feel justifiably annoyed
page 41
unless they’ve agreed to your doing so
beforehand.
A sales agent is a great thing for your
film to have in terms of reaching
audiences worldwide, and in terms
of prestige (someone in the industry
thinks it’s marketable) – but not
necessarily in terms of financial return
– it remains to be seen just how much
can be made by a filmmaker from their
film’s online presence.
A sales agent should be able to
make sales and help your film reach
audiences in a way you couldn’t under
your own steam but be realistic about
the likely returns from any sales; they
are likely to be modest.
That said, few producers set out to
make a short film with the specific
intent of making a profit from it.
So what might you be able to do as
an individual trying to sell your film?
page 42 page 43

UK AND
INTERNATIONAL
TELEVISION
SALES
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
are slipping and they are no longer Factor in the likelihood of a
offering as much, if anything. With 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
COMPILATION DVD
Compilation DVDs are a relatively
new method of distributing the short
film form – attempts to market VHS
compilations didn’t catch on, but with
the increased versatility of the DVD
format, and menus allowing rapid
access to individual films, business
has blossomed. The ever–increasing
number of compilation DVDs suggest
that it can be a profitable enterprise.
Here’s how your film could appear on
a compilation DVD:
• By invitation from a Film Festival
(Milano, Hamburg, Raindance)
• By submitting to or invitation from
a company creating compilations
(Cinema 16, Short Cinema Journal
etc)
• By invitation from a public body for
inclusion on a showcase DVD (UK
Film Council, Scottish Screen)
• By invitation from a film school
(definitely no payment involved!!)
If you’re a shrewd negotiator, it’s
possible that you may be able to
secure payment for use of the film
on DVD, particularly if it’s going to be
released for profit (although typically
you shouldn’t expect more than a
couple of hundred pounds). The
figure will depend hugely on how
many territories the DVD publisher
plans to make the DVD available in.
You may even be able to negotiate a
percentage of each copy sold over a
certain number. Realistically, though,
don’t expect to see any money past
an initial advance.
Once you’ve supplied the DVD
publisher with their required
deliverables, it’s up to them to do
all the hard work of manufacturing,
distributing and selling the DVD. They
should send you a few free copies for
your archive.
page 47
SELLING DVDs
INDEPENDENTLY
This is a far more tricky and speculative venture. Essentially, you take all the
financial risk and responsibility with little guarantee of what returns (if any) you’ll
be able to make.
Things to Consider:
• You can either place a single short film on your DVD, or collect together a
number of works, either produced by your company or by a specific filmmaker
you work with.
• You have to be sure that you have the right to use all the materials you plan to
on the DVD.
• You have to think of DVD extras which will add value to the product – a
documentary ‘making of’, commentary tracks, director’s notes, picture galleries
and so on – and budget how much these will cost to prepare.
• You have to investigate the design, manufacture, distribution, advertising and
sale of your DVD yourself.
It’s becoming common for companies in the UK to offer one–stop shops for
design and mastering, packaging and multiple copying of DVDs and the
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
kage,
on DVD in a booklet pac
The format was a single film the sho rt film BAFTA a few
film wo n
with minimal extras. The rist with
blished comedian and sati
years ago, and is by an esta USP.
that’s a fairly strong
a proven track record – so
rp Films,
duced the DVD was Wa
The company which pro nic mu sic rec ord label
d ele ctro
the film arm of establishe sales, both
access nationwide DVD
Warp, who were able to h dist ribution
website and throug
through their mail order
to CD shops nationwide. Ashvin Kumar’s DVD, Adventures in
hin a year. Shorts: A Filmmakers Journey to
£7.99, which fell to £5 wit
The DVD had an RRP of act ure d too ma ny and
(Possibly a sign that the
y’d manuf
ulate cash flow.)
Hollywood
the m qui ckly to stim
needed to offload
mercial
perhaps the highest com
Nevertheless, this DVD had DV D – the Cinema 16 ertised on the Shooting
People
visibility of any individual film ma ker
pilations. This DVD was initially adv .org ) in the UK.
profile, but these are com message board (sh oot ing peo ple
DVDs have had a higher
Ladakh
two short films Road to
Kumar has compiled his two ‘ma kin g of’
eth er wit h
a DVD by Austrian experimental and Little Terrorist tog you
itional documentary, Can
documentaries and an add effo rts to promoting
filmmaker Virgil Widrich um ent s his tea m’s
Cannes? that doc
er projects at the Cannes
these films and their oth
Film Fes tiva l.
This DVD compiles three International
short films and an early D,
film from Austrian avant– feature experiential ‘how to’ DV
Widrich, whose short film
garde producer/director
Virgil Pitched very much as an irat ional Shooting
s Fast Film and Copy Sho rke ted to the asp
p have this has been ma ough a
won numerous awards de available for sale thr
circuit.
on the international film
festival People network, and ma On –De ma nd DVD
CustomFlix
US website portal called ce – ww w.c reatespace.
Cre ate Spa
The films are all experim Publishing (now called
ental narratives using new com).
animation techniques –
a USP of sorts.
The DVD is for sale throug
h his website, from the
websites of a number of
international film festival
it was also for sale at a tab s, and
le during the Hamburg
Film Festival, together wit Short
h a few other independe
produced short film DV ntly
Ds and compilations.
Widrich has sought – and
found – a method of get
his DVD into outlets tha ting
t should be sympathetic
work. to his
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
DIGITAL
DISTRIBUTION
– ONLINE
DOWNLOADS
AND
STREAMING
The early proliferation of companies
attempting to distribute and screen
short films on the web led to several
high–profile ventures either going
bust or drastically scaled down their
operations as there simply wasn’t the
market for it at the time.
However, there’s a second wave now
gaining steam, with what – at this
point in time – appear to be solid
commercial models for streamed
watching online or for downloading to
a variety of personal viewing devices.
Digital distribution is very appealing
to short filmmakers: digitise your
film, register with and upload it to an
increasing number of websites, and
potentially millions of people around
the globe have to opportunity to
watch it streamed, or download it to
watch later at their convenience.
In some cases filmmakers will be able
to make money from this method of
distribution and there are currently
two revenue–generating models for
online downloadable and streaming
content.
page 53
Advertising income–based royalty
A website licenses your film, puts adverts before it and after it, then places it on
their website for streaming or download. The site will then offer you a percentage
of their advertising revenue income for each view or download.
Percentage of a download fee
A website charges a fee for the streaming or download of your short film and
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
fast–changing to identify them all – are offering short film content.
Short films content online
• www.bliptv.com
• www.brightcove.com
• www.cruxy.com
• www.one.revver.com/revver
• www.stage6.divx.com
• www.iTunes.com
• www.wamclips.com
• www.amazon.com
• www.youtube.com
• www.bbc.co.uk/dna/filmnetwork
For mobile phone users:
• www.bango.com
• 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

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

BUILD YOUR OWN WEBSITE
By placing your short film in its entirety
up on your own website people will be
able to view it but you’re unlikely to be
able to make any financial return in the
process. If all you want is for people see
your film – with the tantalising thought
that a major industry figure will see it
and snap you up – then go ahead.
It’s important, however, to bear in mind
that as soon as your film is available
on the web it becomes of less interest
to film festivals, sales agents and DVD
compilers.
By all means, if you’re able to do it
cheaply and have the time to do so,
set up a website to promote your film
and the personnel involved or include
promotion for your film on your broader
company website. Some film festivals
do ask if the film has a weblink, and will
publish this link in their catalogue.
When setting up a website it’s important
to consider who’s going to visit the
website, and why? What should this
website contain?
If you envisage film festivals
looking at your website, you could
include, in downloadable form,
everything that a film festival
might ask for in terms of publicity
materials (see Appendix 2, page 66)
but this may not stop the festival
from requiring that you ship them
these materials anyway.
If your website targets curious
members of the general public
who’ve seen the film at a festival
and have read the festival
catalogue and found the web
address, what more can you offer
them that would enrich their
experience of the film?
If you are intent on making sales of
your film on DVD, provide payment
options (including shipping costs),
and for best effectiveness offer a
PayPal link.
OTHER WEBSITES
Should you place your film on a third
party website for viewing and perhaps
even downloading?
It depends how old the film is and if
you have a sales agent. A sales agent
would be rightly annoyed if a short
film they were trying to sub–license
to television stations or for inclusion
on DVDs or even stream online were
to be freely available elsewhere (ie
not via their website) to anyone who
wanted it.
There are now many websites which
freely offer short film content (see
above) so take a close look at the
legal agreements that you enter into
when posting your content onto each
one – in effect, you’re granting them a
non–exclusive license to do whatever
they want with your film. Are you
happy with that? What happens if you
then try to engage a sales agent? Can
you withdraw the film from websites
you’ve placed it on?
The BBC Film Network now carries
hundreds of UK short films, and is a
great resource for filmmakers and
film fans alike. But they won’t pay
you for your content either unless
it is selected to be offered for free
download (as it does with a few
shorts every month).
Unless you have no other options
open to you – or unless you are
ideologically disposed towards the
free availability of your work – don’t
put the entire film on any website
yourself for either streaming or
download until you’ve explored
all other possible avenues for
promotion.
Incidentally, check out www.
nightisday.com for an interesting
business model. It’s a Scottish–based
website set–up by independent
filmmakers to promote their six–part
short film series about a Glaswegian
superhero. You could watch the first
part free online, then pay £1 per
episode to see the next five online
for a limited time period. If you
bought them all, they sent you the
DVD of the complete series when it
came out.
page 56
VIRAL MARKETING
If you decide to place your entire
short film for online viewing or
download from your own website,
how are members of the public going
to stumble across your unadvertised
website? You could engage in a
spot of ‘viral’ marketing. This is an
important tool at your disposal,
particularly if, like the makers of Night
Is Day, your ambitions outweigh your
resources and traditional forms of
advertising and publicity are either too
expensive or not possible for you.
The internet has led to the creation of
an extraordinary number of special
interest websites, newsgroups,
chatrooms, and so on, so consider who
might your film appeal to. Look at the
central themes and issue and seek out
groups that exist to discuss them.
Drum up interest in your film by
providing clickable links that lead
them to your film or place clips
from the film on YouTube and other
websites directing the viewer to
somewhere that the film – or further
content related to the film – is
available.
To increase the chance of making
revenue from your film – having
gotten a number of people to your
website – it makes sense to have
something that they can buy there.
If you’re offering a DVD for sale,
for example, then make it easy to
purchase with a PayPal link or similar
payment system. Convenience is
crucial!
If you do attract visitors to your
website, try to get some simple
feedback from them – did they like
or dislike the film? And, above all,
try to get a contact email address.
These website visitors could be your
customers in the future, perhaps
buying the next film that you produce
or even possibly helping to finance
your next film if you have the brass
neck to ask.
EMAILING LI
ST
Construct an emailing list for your
short film – include cast, crew,
relatives, industry representatives,
contacts, festivals the film has been to
– and do an occasional mass mail–out
bulletin to them updating them
on the progress of the film. Useful
information such as what festivals it’s
been to, where it’s going next, what
awards it’s won and any amusing
anecdotes collected along the way.
You might even include projects
that the team who made the film are
currently involved in.
This costs next to nothing – just a
little bit of your time – and can do
a lot to maintain awareness of your
film. Remember to offer people the
page 57
option of unsubscribing from your
mailing list. Once your film has done
its promotional rounds, stop sending
your bulletins and be aware that you
can’t sell or pass on the email list to
anyone else without permission from
each address. (For more information
read about Data Protection: www.
ico.gov.uk/Home/for_organisations/
data_protection_guide.)
The internet is a superb resource and
potential ‘shop–front’ for your activities
and your film, and it’s developing all
the time.
Let’s turn our attention to another
avenue for promoting your short film.
page 58 page 59

THEATRICAL
SCREENINGS
PUB CLUB SCREENIN
GS

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

SHOWCASE
CAST AND CREW OR
procedure to follow or are hand–
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?

Cinemas will only be interested in hosting a screening outside of their normal

Examples include:
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?

THEATRICAL RUNS
Back in the heydey of cinemas a night
out at the pictures involved a whole
programme of films and shorts before
the main feature – but it’s very unusual
for this to happen in the UK nowadays.
A friendly independent cinema might
be open to the idea of screening a
short before a feature, but you must be
prepared to offer your film for free and
do so for the sheer joy of seeing your
work on the big screen.
Recently there has been a new
initiative between Mini UK (the car
manufacturer) and Future Shorts to
screen shorts before features across
the UK but only a few titles have been
selected and this deal has now ended.
Keep your eyes open for similar
page 61
OTHER
OPPORTUNITIES
FOR
PROMOTION
OTHER EVENTS
Occasionally you might hear of an event – local or national – which might suit
your film – and if you do, don’t hesitate to get in touch with the organisers. The
opportunity could come from almost anywhere....
opportunities in future however. (Read
more about the initiative here: http://
tinyurl.com/6dyesq.)
The British Council constructs cinema
programmes for screening at showcase
events abroad, so if they’re aware of
your film, they may request it. Scottish Cry for Bobo has screened a few times at The Stand Comedy
Screen is also occasionally asked to put Club in Edinburg h. It’s also screened in the film tents at
together short film recommendations Glastonb ury and T In The Park festivals .
for overseas events and festivals. Make
sure you are in the Film UK guide as
The Return of Peg Leg Pete made an appearan ce at a
they will refer to it when looking for
titles. conferen ce for vocation al guidance counsello rs in America
following an approach I received from a conferen ce
organise r who’d seen the film in a US festival and thought it
appropri ate.
page 62 page 63

SHOWREEL PURPOSES

EDUCATIONAL INSTITUTIONS
This stands alone because, as soon as
your film is completed, you can use it
as all or part of a personal or company
I don’t recommend that you speculatively send your film out to schools, further showreel on DVD.
education institutions and film schools, but do consider whether your film
might be thematically strong enough to be of educational interest. You can include your entire film, or
restrict yourself to clips from it, but
If you can persuade an educational body to incorporate your short film as part you should consider who else you
of their teaching materials, you could very well see a small financial return for its might allow to use your film on their
use in this context. showreel – presumably you don’t want
a production runner claiming a more
significant involvement in your film?
The following cast and crew members
make significant creative contributions
to the film:
going to send this to?
This depends largely on what you do –
producer, director, cinematographer –
but in almost all cases a reel is likely to
be going to companies and individuals
who might potentially employ you in a
professional capacity at some point in
the future.
This might include larger production
companies, advertising agencies,
corporate video production
companies, post–production houses,
sound studios, production companies
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? What 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
FINAL
COMMENTS
The short film form is generally
under–promoted and under–valued,
and the blame for this can at least
partially be laid at the door of
producers who are reluctant to
devote their time and money to
promoting their films.
Producers are always looking for
their next project, and so they should
be – but if they’ve spent time, effort,
money and heartache putting a film
together, why not make sure that it’s
seen by as many people as possible?
APPENDICES
SAMPLE PROMOTIONAL BUDGET
Ultimately, producers – and
producing directors – should take
responsibility for promoting their own
work. If they can’t be bothered to
make the effort to promote their own
films – and by extension, themselves –
why should anyone else bother?
The opportunities are certainly out
there – it’s up to you to grasp them
firmly.
page 65
Appendix 1
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
Festival submissions 88.00 99.00
Marketing materials transport 60.00 70.00
Duplication carriage charges 30.00 40.00
Print/tape transport 30.00 40.00
Total 208.00 249.00
FESTIVAL ATTENDANCE
Travel 99.00 99.00
Accommodation 99.00 99.00
Subsistence 70.00 50.00
Hospitality/receptions 60.00 99.00
Total 328.00 347.00
GRAND TOTAL 1024.00 1066.00
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
together with 1/10 BRITISH COUNCIL - requested, postage £ 0.44
Please find enclosed entry materials for your festival - a DVD preview copy, appearances and 1/10 BERLIN FILM FESTIVAL - postage £ 2.10
a completed application form (with credit card payment), a list of prior that you’ve 1/10 OSLO FILM FESTIVAL - postage £ 2.10
awards and a CD containing all the photographs, synopsis, biographies etc... 1/10 BERMUDA FILM FESTIVAL - postage £ 3.36
asked for. 5/10 BRITSPOTTING - postage £ 1.56
Screen’s award-
CRY FOR BOBO was produced in August 2001 for BBC Scotland/Scottish in the past - the 12/10 BUENOS AIRES FILM FESTIVAL - postage £ 3.36
winning Tartan Shorts scheme, and is quite unlike anything they’ve handled and very 5/11 unspecified postage £ 1.91
film is proving itself a real crowd-pleaser with audiences of all ages, fast-paced
. 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
s, the film has
In addition to numerous international festival and UK theatrical screening Award; the TAPS
5/11 OBERHAUSEN SHORT FILM FESTIVAL - postage £ 2.10
won three major UK awards; a Royal Television Society Programm e 6/11 POST OFFICE - POSTPACKS FOR FESTS £ 9.50
Award for Best
Writer of The Year Award for ‘Best Completed Short’; and the Jim Poole 7/11 BRADFORD FILM FESTIVAL - postage £ 1.00
Scottish Short. 7/11 BUFF MALMO FESTIVAL - postage £ 1.65
Short at
Amongst its international accolades, CRY FOR BOBO has won Best Narrative European Fantasy
7/11 SANTA BARBARA FILM FESTIVAL - postage £ 3.19
the Athens (Ohio) Independent Film Festival; a Méliès D’Argent for BestÉvora International
7/11 SANTA BARBARA FILM FESTIVAL -c/c $45 entry fee £ 32.85
Film from Sitges International Film Festival; Best Fiction from FIKE Awards from
7/11 ASPEN SHORTSFEST - postage £ 3.53
Short Film Festival; the FICE Award from Napoli Film Festival, and Audience nal Film
7/11 ASPEN SHORTSFEST - IMO entry fee £ 29.77
Brussels International Festival of Fantasy Films and the Down Under Internatio 7/11 unspecified postage £ 0.95
Festival. 8/11 SAN FRANCISCO FESTIVAL - postage £ 2.51
on every level, as
“Cry for Bobo is beautifully written, directed and produced and worksvisually 8/11 SAN FRANCISCO FESTIVAL - c/c 55usd entry fee £ 40.15
sumptuous,
knockabout silliness, as a serious satire on racial intolerance, and as a MJSIMPSON.
8/11 NEW ZEALAND FILM FESTIVALS - postage £ 3.62
technically perfect short film. This is an absolute must-see.” - Review from 9/11 NASHVILLE FILM FESTIVAL - postage £ 3.36
CO.UK 9/11 NASHVILLE FILM FESTIVAL - c/c 30usd entry fee £ 21.54
r 2008 9/11 Hazel - postage £ 0.19
I do hope that you’ll love the film and will want to include it in your Decembe 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
3IG
Nigel R. Smith, 35A Brittania Row, Glasgow, G2
SCOTTISH SCREEN
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Glasgow
SCOTLAND G2 4QE

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