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5 Tips for Filmmakers Applying to SXSW from the Festival’s Programmers

5 Tips for Filmmakers Applying to SXSW from the Festival's Programmers

The Programmers and Organizers of the SXSW Film Conference & Festival in Austin, which takes place next March, took to Reddit yesterday to answer questions in a Reddit AMA (Ask Me Anything). The SXSW team shared tips about what filmmakers should and shouldn’t do when applying to SWSX and provided insight into what sorts of films they accept.

Here are their top 5 tips for filmmakers:

1. Don’t apply until you’re ready.

“During the submission process filmmakers often rush to get us an early
cut instead of taking the time to make sure they are happy with their
picture lock, since we will only watch the first submitted cut it is
important to be sure you are happy with your edit, we continue taking
submission until November 14th and every film gets watched so take your
time and be happy with your edit!” – Blake Kammerdiener, Film Submissions & Production Coordinator 

2. Premiere status matters.

“It really is all about the work! We’re looking for original and/or
strong work to premiere. So premiere status is a factor, and is quality.
A lot of times we turn down films for being too ‘formulaic’ and that
can ring true at an indie DIY level, as much as more conventional,
commercial fare.” – Janet Pierson, Head of SXSW Film

3. You can submit to Sundance and SXSW.

“You should submit to both!
There are certainly areas where our tastes intersect, but plenty of
room for films that work better for us versus them, and vice versa.
While we are primarily a premiere festival, we have an entire ‘Festival
Favorites’ section dedicated to films we love that have premiered
elsewhere, so just because a film plays Sundance it doesn’t necessarily
preclude playing with us.

“Ultimately, you should know your film and who it is for. Our
audiences are movie-crazed and excited for films that have a fresh spark
to them – be it an edgy comedy, zeitgeisty doc or out-of-its-mind
animated short. We get to be a little rougher around the edges here, and
we love it.” – Rebecca Feferman, Head of Media Relations and Programmer

4. Shaky camerawork is okay, but bad sound is a ‘deal breaker.’

“Bad sound is a deal-breaker. Other than that, the style should support
the content. Sometimes shaky camera (‘Blair Witch Project’) IS the
point. But you can’t come back from bad sound.” – Janet Pierson

5. Ultimately, it’s all about the quality of the work.

like original voices, and work that moves us, whether to tears (‘Short
Term 12’), laughter (‘GIRLS)’, screams (‘Cheap Thrills’), intellectual
engagement (‘William and the Windmill’) for example.”

take pride in a diversified program – one that skews more towards
entertainment and cultural zeitgeist but the bottom line is for work to
move us – some kind of transformative experience by the viewer.” – Janet Pierson

This Article is related to: Filmmaker Toolkit and tagged , , ,



sorry but you can not view to read comments made about you bimbows either nasty or unheard of in your area.


In other words, a festival which doesn't pay film-makers for screenings and is not contractually required to provide publicity, a favorable time slot, a comfortable screening venue or consistent projection standards (poor projection sound is not uncommon, btw), insists that your film can't have been shown anywhere else, unless you're willing to accept one of the also-ran sidebars.

So much for the non-commercial, "indie" spirit. "Transformative experiences" are also likely to be hard to come by, when festivals insist on premieres, even for films with no commercial prospects.

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