Why didn't I get into Sundance? Revisited.

The Sundance Film Festival announces its slate today. I know a lot of filmmakers who submitted to the festival this year. For their sake and mine I don't really go into the nitty-gritty numbers of how few films – no matter how good – get into this most coveted of festivals. Now that most of them have heard a yes or now, however, it might actually help their spirits to know the truth. (Last year I wrote a kind of pep talk piece on this subject that you're welcome to read.)

Let's do some back-of-the-napkin calculations here. According to what a Sundance programmer told me last year when I was writing Film Festival Secrets (the book), about 8,000 titles were submitted to Sundance last year, and that number could have gone as high as nine or ten thousand this year. Let's use the conservative 9,000 for now. Checking out last year's program guide reveals that Sundance programs fewer than 200 films total, including shorts. So 200/9000 = .022. Fewer than two percent of the films submitted get into the Sundance Film Festival.

As John Cooper, Director of the Sundance Film Festival put it in a tweet earlier today: "3724 features submitted and we can only invite 113. So many tough choices. For me, a very good news-bad news day."

The numbers aren't really much better at any other large-to-medium festival, though – I estimate that acceptance rates hover between 3% and 8%. This isn't a criticism of these festivals, merely a statement of the way it is. There are more films being made and submitted than ever before, and the large, well-known festivals can't grow their programs fast enough to keep up. The selection process at a festival like Sundance isn't about finding great films – it's about figuring out which great films you want to show. As I told a client just the other day: "I think you made a film that's good enough for Sundance, but whether it's the kind of film that Sundance is in the mood for right now is the real question."

The good news is that there are now more small-to-medium sized festivals than ever before, and that the number of really great festival-worthy films hasn't kept up with that growth either. So while it may be a programmer's market at the top of the heap, there are plenty of festivals further down on the pyramid who are hungry for quality movies that haven't yet had their world or national premieres. Sure, it would be great to premiere at Sundance or AFI Fest or Berlin. The trick is to stay in the game long enough – and to keep making movies good enough – that you're in the right place when your right time comes along.

Premiere status etiquette

The subject of your film's world premiere can be a tricky one, particularly if it's a feature. Don't be too coy about your plans with the festivals to which you submit, however – the festival directors have a better grasp on premiere politics than you do. They also know all too well their own festival's relative prestige status when it comes to the decisions filmmakers make. But how should you properly use your film's premiere status as an incentive for festivals to program it? As one filmmaker recently asked me:

I don't want to be disingenuous in my application by promising the world premiere to everyone, but not having had it yet, see it as a sweetener for the cover letter. Should I hustle it until I have it?

You definitely want to use your premiere status to your own advantage, but be honest about it and clearly communicate all changes to that status. You might be tempted to refrain from notifying the other festivals, but that will only create an awkwardness if and when that other festival calls to notify you of your acceptance.

The following sentences added to your submission's cover letter will cover most situations:

As of this writing, the world premiere of "Example Movie" is still available. We have submissions out to several festivals and will keep you apprised of any premiere status changes.

When you decide to have your world premiere at a particular festival, simply send an email to the other festivals still considering you with the subject line "premiere status update for EXAMPLE MOVIE" and let them know about your film's upcoming screening(s).

Stop waiting on Sundance

There are plenty of filmmakers who rush to finish their film for Sundance, fill out the paperwork, send off the DVD, and then... stop. There's nothing wrong with waiting anxiously to hear from what is arguably the world's most famous film festival, but if you're not submitting to other festivals while you wait you could miss out on the entire Spring season. Break out your list of target festivals (see chapter one of Film Festival Secrets for more on this) and get cracking. Here's a handy (but by no means complete) list of festivals with upcoming deadlines. Check each festival's web site for their late deadlines, submission rules, etc.

Edit: I should point out that I picked these festivals for their relative prominence and for the fact that their deadlines come before the Sundance notification date (around Thanksgiving). If you're a festival director and would like to post your own upcoming deadline in the comments, please feel free.

• Slamdance - October 30
  
• Dallas International - October 30
  
• Phoenix - October 30
  
• Cleveland - November 30
  
• Gen Art - October 31
  
• South By Southwest - November 5
  
• Florida Film Festival - November 20
  

Getting an Education about Film Festivals

IDA's roundup of a pair of panels from FIND's Filmmaker Forum:

All agreed that the film festivals are going through a tough time right now. "Film festivals are losing money and they are closing," lamented Jones. "CineVegas is closing for a year. Jackson Hole [not the Wildlife Film Festival] has closed completely. Sponsors are pulling out, so festivals are dealing with budget cuts in other ways, such as taking fewer films. When the festival outlets dry up, we lose a critical distribution mechanism. I consider film festivals like art galleries--they are the only place where you can see particular films onscreen." 

Read FIND's Filmmaker Forum 2009: Getting an Education about Film Festivals.

Find out what festival screeners think

A smart move from the Festivus Film Festival; this series of YouTube videos presents volunteer screeners talking about the films they pulled from the stacks and got through to programming. It's a great way highlight the films in your festival, present yourself as an organization that keeps its filmmakers' interests in mind, and draw attention to your event in the process. There's a bunch of these on the Festivus FF Youtube channel.

Festival Tips from The Pigeon: Impossible Blog

Fellow Austinite Lucas Martell has been hitting the fest circuit with his new short, Pigeon Impossible. (You may recall that I linked to an episode of Martell's podcast a while back.) Here's what he has to say about getting to know the festival staff.

One big thing that I learned at Palm Springs: do your research. More specifically, know the names and titles of the key people working at the festival. There’s usually 3-7 people ranging from print traffickers, to the festival director, programmers, and media coordinators. If you don’t get something from the festival introducing these people beforehand, they’ll definitely be in the printed program. Be sure to glance over those names so that when you run into them at a party, you’re able to put a face to the name and say thank you for all their hard work.

Read more on The Pigeon: Impossible Blog.

Paper DVD labels: still evil (and three alternatives)

If you've read the book you know about my campaign against paper DVD labels. They are a cheap and easy way to make your burned DVD-Rs look vaguely professional, but they can severely alter video playback to the point of making a screener unwatchable. Google it up if you don't believe me. The most compelling evidence comes from the Memorex Reference Guide for Optical Media:

Paper labels are not recommended for DVD discs. The expansion and contraction of moisture in the paper and the accumulation of heat in a DVD drive can alter the flatness of a disc enough that it falls out of the tilt specification and may not be able to be read.

This advice still hasn't quite made it into the conventional wisdom – I still see plenty of paper labels on screeners – but when prompted, festival directors tell me that most of their bad screener copies are adorned with paper labels. There are, however, some alternatives that will get the job done and preserve the integrity of video playback. They are:

Hand labeling with a Sharpie marker. Low-tech and the least professional-looking option, perhaps, but reliable and very inexpensive. So long as you write legibly, don't worry about a hand-labled disc hurting your chances of acceptance; the quality of your film will determine that, not the surface of the DVD on which it arrives.

The LightScribe labeling system can create good looking "printed" disc surfaces without ink or a printer. You'll need a LightScribe-enabled DVD burner and DVD discs with LightScribe coating. Here's how it works:

The laser inside a CD/DVD disc drive with LightScribe technology focuses light energy onto a thin dye coating on the label side of the disc. Only LightScribe media has this special coating. The light from the laser causes a chemical change in the dye coating that shows up on the disc. With laser precision, the drive renders the text and images that you created for the label.

Although the cost of LightScribe discs has come down quite a bit in recent years, they are still somewhat more expensive than regular DVD-Rs, even the ones with white printable surfaces (see below). Perhaps the biggest drawback to Lightscribe is the amount of time it takes to burn an image on the coated surface; I've seen estimates of a few minutes for a simple text label to up to half an hour for a complex image.

Printed DVDs, though more time-consuming and expensive than hand-labeled DVDs, can't be beat for looks. Buying discs with a white printable surface isn't much more expensive than the plain silver-surfaced media and the printers and ink are widely available. The big drawback here is expense; inkjet cartridges are pricey and notoriously fussy. If you've got a good label design and the funds to spend, however, this is definitely the best way to get great looking DVDs.

A cheaper alternative is a thermal transfer printer like the ones made by Casio; they won't get you four-color printing but they will print on plain silver discs which are inexpensive and get you good-looking results.

Build your mailing list the old-fashioned way

One way to take advantage of the enthusiasm of an audience present at a screening is to gather their email addresses right on the spot. Bring a clipboard (or several) loaded with signup sheets that you print beforehand. Gather whatever information you think is relevant, but an email address is probably the contact info that audience members will be most likely to hand over. At screenings of The Yes Men Fix the World at South by Southwest, the filmmakers did just that and left the festival with dozens if not hundreds of points of contact to poll later about their political activities, later screenings, and eventual DVD release.

Of course not every film inspires the same level of "give me more" interest as that of a pair of humorous activists with an axe to grind. In every well-attended screening, however, there will be a group of folks who want to know when the film comes out on DVD or how to recommend the film to a friend. Capitalize on that immediate interest by letting those people take action in the moment.

Be careful about adding such addresses to your mailing list service in bulk. Your provider may ask you to use the "invite" feature instead of simply adding the addresses to ensure that the recipients really do want the mail you intend to send. Stay within the bounds of their service guidelines, however, and the clipboard-to-email method is a great way of adding new members to your list.

(Photo by Richardstowey/ / CC BY 2.0)

The World As We Know It Is Over? 10 Insights on the Movie Biz - indieWIRE

I would say that only three of the ten "insights" are ideas that haven't been flogged to death in the indie film press over the last couple of years, but there are a couple of interesting quotes in there if you can wade through the redundant muck.

Every town has a film festival, there are film festivals of every possible genre, every possible niche that you can think of. And so now we’re kind of entering this world where nontraditional distribution platforms are starting to emerge and film festivals are definitely coping with and struggling with that new world. There’s real fear, I think, of obliteration. People think that technology will obliterate anything that came before it and I don’t believe that at all. I do think that film fess have to recalibrate, reboot, what their role is and why they’re important beyond simply promoting a sponsor’s product or beyond being a good junket for a few celebrities prior to the theatrical release of a big film. - Christian Gaines, Withoutabox

Read The World As We Know It Is Over? 10 Insights on the Movie Biz - indieWIRE.

Festival Exercise: Define Your Film, Define Yourself

Getting your film "out there" – whether that means out to the festival circuit or to a distributor or directly to your audience – is a sales job. A crucial part of any sales job is to figure out exactly what it is you're selling and thereby determining who might want to buy it. In this exercise you will define your film and yourself in a number of different ways. While this may seem obvious and redundant, forcing yourself to formally document these things about your film can be extremely helpful in later stages of your film's life.

Defining your film

•  Start with the basics: Is your film a narrative or a documentary? (It doesn't quite fit into either category? Maybe it's experimental.) Documentary filmmakers have a variety of doc-only options in the festival arena; it's kind of a consolation prize for the fact that theatrical distribution is a rarity for documentaries.
  
  
•  Short or feature? A lot of people misuse the word "feature" when they really mean "narrative." The word feature refers to the film's length, generally over an hour. Anything else is a short. As in the documentary world, there are festivals that focus exclusively on shorts.
  
  
• Is there something about the film's format that makes it stand out? There are festivals that focus heavily/exclusively on formats. Animated films, movies shot on celluloid, hi-def video – sometimes the medium is what matters.
  
  
• Subject matter - this one's a biggie, and your film may qualify for any number of special-interest festivals based simply on what's in it. Go through your film carefully and really think about the people represented in it. What they do, what they like, where they go to shop and eat and have fun. All of these things affect the kinds of festivals and audiences that will be interested in your film. There are festivals for extreme sports, for individual ethnicities, and for films of particular genres. There's even a film festival for movies that feature bicycles. Find your niche and exploit it.
  
  
• Location, location, location. Festivals love to play movies that feature hometown talent and settings. It's best if your film features recognizable landmarks around town, of course, but sometimes you can even get credit if someone in your cast or crew happens to be from a town with a festival. Exploit the "local filmmakers made good" factor by mentioning relevant facts in your submission cover letter.
  
  
• Cast and crew. It's something of a truism that recognizable faces will help your film get into festivals – fests need sure-bet movies with household names to pack a few showings. (If your film isn't one of those, try not to be resentful of the movies that do have stars. Without those tent-pole flicks to guarantee ticket sales, the festivals wouldn't have the ability to program films like yours.)
  
  Look beyond the faces in your picture to the crew around you – do any of them have alum status at film festivals? Those connections can help your film too. Don't be shy about it.
  
  

Define yourself

You're not just selling your movie. You're selling yourself, too, and there are things about you that can help spur an audience's interest in your film regardless of what appears on screen. Take a minute to think about the things that define you and how that will affect the list of festivals to which you will apply.

• Demographics: Gender, ethnicity, religion, sexuality. All of these things have festivals of their own. There are over a dozen festivals now that focus exclusively on the work of women filmmakers. There are few major metro areas left without a gay/lesbian/transgender film festival of their own. African-American festivals abound, sometimes under the code-word "urban." It may seem superficial at first but these are all audiences that hunger to see themselves (and the work of their fellows) on screen.
  
  
• Your alum status. Festivals love to nurture the careers of filmmakers they "discovered," so be sure to stay in touch with all of the programmers who discovered you. When your film is complete, shoot each on an email and offer to send over a screener. Get that dialogue going and you will likely find yourself with a waived submission fee at the very least.
  
  
• Your location. It may not help get your film into these festivals, but it's always a smart idea to submit to the festivals within easy driving distance. If you can't make a play for being a local filmmaker, at least you'll be able to attend the festival if you get in.
  
  
• Places where your friends and family live. Anywhere it will be easier/cheaper for you to stay is a good candidate for festival submissions.
  
  
• Where would you like to go? Submitting to festivals in towns you've always wanted to visit can increase your incentive to attend those festivals once you get in. Even if the festival experience itself proves lackluster, you will at least have the fun of sightseeing in your chosen destination.
  
  
• Government assistance programs for which you qualify. Some national and local governments have filmmaking grants that can help you travel to or apply for particular festivals. Get in touch with your local film commission and see which grants are available to you, and what festivals they support.
  

Armed with this information you should be able to start your festival strategy. There's lots more to be done (you have to actually find those festivals), but this is a good first step.

---

Photo credits: Christian Razukas and sleepy sparrow.

Pigeon Impossible Podcast #12 - Pimpin' It

Lucas Martell's podcast is a companion to the launch of his short animated film, Pigeon Impossible. Each episode is entertaining in its own way (check out episode 2, "Writing is Rewriting") and most of them focus on the animation process, but episode 12 speaks directly to the festival circuit. In particular listen to Martell's advice about output formats and why the extra expense of converting your short to 35mm film might give you a leg up on the competition. Now that's what I call a film festival secret.

Web Series: 4 Things to Ask Yourself Before Starting

From the blog of Felicia Day. Apart from being adorable and talented, Felicia is pretty smart. She's been around the block a few times with the whole "original web series" thing which, at the end of the day, is the same as independent filmmaking. All four of these questions apply just as much to your indie doc feature as they do to her web series about online role-playing gamers.

The internet isn’t TV: It’s 20 million channels rather than 200. If you can’t sit down and easily identify what kind of person will like your show and name 5 places that person might go to on the internet, you will have a hard time getting the word out, no matter how good it is.

Read Web Series: 4 Things to Ask Yourself Before Starting on Felicia Day's blog.

Frank advice from Heidi van Lier

Lately I've had the privilege of sitting on a couple of panels with Heidi van Lier, filmmaker and author of The Indie Film Rule Book. Heidi's advice is no-nonsense, funny, and wastes no time. If you're not reading her blog at the Film Independent web site, you should be. There she dispenses similar wisdom; I've linked to a few recent samples below.

• Why am I not treated like a rock star at festivals?
  
• Do I suck at panel etiquette?
  
• Why are panels valuable, anyway?
  
• Are little festivals even worth it?

Audio: IFF Boston Audience Building Panel

Brian Chirls was kind enough to record our panel at the Independent Film Festival of Boston entitled Followers: How Filmmakers are Building Their Audiences Online in the 21st Century. To blatantly copy and subtly edit his blog entry on the subject:

The other panelists were:

Scott Kirsner (moderator) is a journalist and all-around smart guy. He’s the author of two books, Inventing the Movies and Fans, Friends & Followers. He also writes the blog Cinematech.
Brian Chirls is an audience/online guru who works on a number of independent film projects.
Sean Flynn producer and cinematographer at Principle Pictures.
We discussed a range of topics, including:

• Benefits and pitfalls of social networking (Facebook, MySpace, Twitter, etc.)
  
• Strategies for reaching audiences before, during and after production
  
• Crowdsourcing to build audiences as well as help production
  
• How much of your content to post online for free
  
• Ad revenue models
  
• Distribution formats (DVD, download, streaming, theatrical, etc.)
  
• Applying all the above to other media such as music and art

Independent Film Festival Boston: Audience Building Panel by brianchirls

Steal this idea: use your vacation email message to market your film/event

I got this excellent email "out of office" autoresponder from a festival contact recently:

Absence Alert! I'm out of the office and returning Monday, April 13.

I'll be warm and dry playing outside dressed in my Patagonia Cold Track jacket, Polartec fleece, OR hat and gloves and New Balance Shoes. I'll use my Deuter pack to carry extra gear and supplies from Gore-Tex, Mountain Hardwear, OR, Petzl and Mountain Equipment Co-op. You can find me in the beautiful pristince Yellowstone to Yukon region, making tracks at Mount Engadine Lodge, or skiing one of the fantastic areas of Resorts of the Canadian Rockies. Following a great day outdoors I'll relax with a Big Rock ale or a glass of Redwood Creek wine and enjoy reading about travel, exploration and adventure in National Geographic Adventure magazine. I may fantasize about tripping away with World Expeditions or Canadian Mountain Holidays.

I will check and reply to email only sporadicaly. If you need immediate assistance please contact [snipped for privacy].

Laurie Harvey
Manager, Strategic Partnerships
Mountain Culture, The Banff Centre

Laurie not only turned her everyday vacation message into something funny, she also mentioned her strategic partners (aka "sponsors"), guaranteeing that existing sponsors would smile and that prospective partners would get the message: even when Laurie is on vacation, she's doing her job.

If you're a filmmaker, you can use vacation auto-responders to send messages in a similar way. Set one up to cover your email while you're away at a festival, and be sure to include the screening times of all of your upcoming festivals while you're at it. Add a link to your trailer so that everyone who emails you will get a chance to check out your film -- even if they're just trying to sell you "mal3 en#anc3ment" products.

Watch this: Doc short on managing your expectations on the festival circuit

Seven excellent minutes from filmmaker Zak Forsman on why you want to show up at festivals and what you should work to get out of them. This video starts a "virtual panel session" from filmmakers in the Workbook Project.

Does a grant program like Cinereach have something for you?

indieWIRE posted this article about the Cinereach awards, about which I hadn't heard before. The Reach Film Fellowship looks like an intense program for nascent filmmakers, and Cinereach supports filmmakers in a variety of other ways, including "up to $400,000 in grants and awards to documentary and narrative films."

Last night’s event was the conclusion of the intensive six-month Reach Film Fellowship program in which McQueen, Russell and two other filmmakers - Jules Monteyne and Dena Greenbaum - were paired with mentors and advisors who helped them take their short films from script or treatment through completion.  In addition to Kim and Bishop, this year’s mentors were Producer Jeremy Kipp Walker (“Half Nelson”) and Writer/Director Nicole Kassell (“The Woodsman”). All four fellows received a grant of $5,000 at the start of the program, in addition to donated materials and services from sponsors like Kodak, Postworks and Showbiz Software.

There are a lot of filmmakers out there struggling in isolation (away from film-active cities like New York, Los Angeles, and Austin, where film programs abound) who probably don't think to explore their options when it comes to such aid. There's a lot of money -- not to mention services and expertise -- to be had just for the asking. Get googling and see what you can find.

Read Cinereach Presents 2009 Awards - indieWIRE.

Cinevegas interview with Scott Kirsner

Scott Kirsner, creator of the Cinematech blog, answers questions about the (much-speculated-upon) forthcoming revolution in DIY film distribution. It's inspirational stuff if you're disheartened by the lack of opportunity in traditional distribution right now.

Look, I do think that if you can do what Joss and Radiohead do, which is leverage the power of established media companies and their distribution channels while also doing some DIY experimentation, that’s not a bad thing. But I also believe there is incredible opportunity for total unknowns right now. You have access to the tools to make what you want, inexpensively. And you have access to all these distribution channels – DVD production, CD production, book production, digital downloads – that were really locked up just five or ten years ago. What can you do to overcome the power imbalance? You start by making really remarkable stuff that no one else is making, focus on a niche audience, and then experiment with different ways to grow that small initial audience.

Kirsner just published a book called Fans, Friends, and Followers -- check out a sample on Scott's web site.

5 reasons the recession is good for your filmmaking career

With each week's report on the world economy looking grimmer than the last, there are a lot of reasons to be depressed. Layoffs are rampant, credit has dried up, and just the simple act of listening to NPR on the way home from work makes me want to hole up in my house with a shotgun, some Pop-Tarts, and my Roku player. For indie filmmakers used to making something out of nothing, however, it's business as usual -- and it may even be a better environment for those who know how to operate on the cheap.

Last week Erin Donovan posted an article listing some reasons that the current "financial collapse" would be good for documentary film; here are some additional ways that the recession could be a good thing for you.

1. In a down economy, barter is easier. This goes for everything from equipment rental to props to editing; when money is tight, service providers are more likely to trade services or alternative forms of payment. Equipment sitting on the shelf doesn't help anyone, so this is the time to go to the local rental house with a discount proposition. Maybe you can offer them prominent credit placement on your popular series of webisodes -- exposure which is more valuable during a recession. Some businesses will help you out in the hopes that when the economy does improve they can convert you into a paying customer.

2. Partnerships are easier to forge. Similar to #1, other filmmakers can be easier to approach when funds dry up and everyone is looking for ways to cut costs. Maybe you own a camera and they've got the lighting setup -- ordinarily you might rent or buy the setup yourself, but a bit of belt-tightening can encourage you to reach out into the local film community to find what you need in trade. You don't have to sing a John Lennon song while you shoot, but a little bit of cooperation between fellow filmmakers is good for the soul. Craigslist is a great resource for finding production buddies.

3. Consumers spend more on smaller pleasures instead of extravagant expenses. Erin's third point ("audiences still pay to see movies") was that people are still going out to the movies, even when they don't spend money on other things. A more encouraging thought is that when people deny themselves the larger pleasures of a fancy dinner out or a vacation trip, they're more likely to indulge in additional small entertainments. They might even take some risks when it comes to their choice of entertainment. A night out to see your indie film at the local art house costs way less than a night at the symphony, and when the blockbusters run out your film will be there to provide something a bit different. Step up your marketing efforts to reach those stay-at-home vacationers who want something interesting to do on a Saturday night.

4. There could be more opportunity to build your portfolio of commercial work. This is not to say that you should actively campaign to take work from other working professionals, but in an environment when everyone is looking to cut costs, local businesses will be more willing to take a chance on a low-budget filmmaker when it comes time to make the latest commercial for late night cable. You can also offer yourself as an unpaid intern to that local professional who now prefers to pay his grips and assistant editors in training instead of cash.

5. Restrictions encourage creativity. Every aspiring filmmaker knows the story of Jaws and the fact that Stephen Spielberg's malfunctioning mechanical sharks forced him to shoot the film in a more suspenseful way. Similarly your empty wallet will force you to focus on finding inventive ways to tell the story you want to tell while working within your means. Even in a booming economy, the filmmaker who can work with a smaller budget is always in demand.

Send your methods for taking advantage of the recession to chris at filmfestivalsecrets dot com.

Photo by JDAC.

Battling Boston Film Fests

Boston.com (the online arm of the Boston Globe) presents us with the tale of two film festivals who just couldn't get along. The festivals in question are the Independent Film Festival Boston (by far the largest and most well-regarded fest in town) and the Boston International Film Festival, which changed the dates of its festival this year now overlaps its more successful cousin by a few days.

The Boston International Film Festival, which used to be held in June, has changed its dates to April, conveniently coinciding with the more popular and slickly produced Independent Film Festival Boston. We're told the switch has caused considerable confusion for filmmakers, some of whom thought they were submitting movies to the Independent Film Fest only to learn later they entered the International Film Fest. Organizers of the Independent Fest told us yesterday they've heard from at least three moviemakers who made such a mistake and are trying to move their film to the Independent Film Fest.

It's difficult to believe that any film festival would intentionally overlap with another indie film event if it weren't trying to capitalize on the larger event's buzz. Media attention and audience attendance is hard enough to come by without going head-to-head with another event with the exact same purpose. Despite BIFF founder Patrick Jerome's protestations that he doesn't want "bad feelings," his organization has stirred them up both with filmmakers and with the staff of the larger event.

Bottom line for filmmakers: pay attention when submitting your film that you know the difference between various regional festivals. Organizations are extremely aware of (and even competitive with) similar events in their area. If you confuse them you run the risk of irritating the one in which you really want to participate.

Read Battling Boston Film Fests on Boston.com.

Photo by Eric Hill.