SPEAKER_00 0:57

What is a film festival?

SPEAKER_01 1:00

A film festival is an amazing event and opportunity to bring together storytellers, typically to showcase the film projects that they produced, worked on, performed in in some way, shape, or form. Typically, you're also going to have some type of events, some parties, some mixers, some mingles, opportunities to really network and connect with folks. And it's just a really great moment to celebrate the craft of storytelling and bringing artists together.

SPEAKER_00 1:30

And why should filmmakers put their projects in film festivals? What's the importance of that?

SPEAKER_01 1:38

Well, you you know, oftentimes film festival is one of the first opportunities to get your work in front of an audience. And so you want to get some feedback. You can see what works, what may not work, uh, especially if you are a rising creator, you may oftentimes do a short film with the aspirations of doing something larger, and your short is what gets you in the festival. Uh, it's also a great opportunity to build some great relationships with folks. And if you are, if you're operating at certain levels, the film festival may also be a um be a market for you, meaning that you may go to the festival to sell your project. That's a whole other level of festival, but that's another huge uh part of the deal flow if you're operating at that level.

SPEAKER_00 2:27

And what's the benefit of actors participating in films, short films and projects uh that that are gonna go to film festival? What do they get out of it?

SPEAKER_01 2:39

Again, a great opportunity to meet other performers, other uh filmmakers, uh, you know, it's a relationship business. Uh what I've really learned from being an actor that's on stage as well is oftentimes you have a keen ability to rock a mic or moderate a panel, and being in front of an audience, it gives you another platform for people to learn more about you and um and what you're capable of. So you may have a project in the festival or you may be a moderator or on stage in some capacity. So those are all great opportunities.

SPEAKER_00 3:12

You had mentioned that it's it's a place where you also network. So, how can actors come to the festivals and network in an effective way? Not just hanging out, going to the parties, but how can they be effective at the film festival?

SPEAKER_01 3:31

We, you know, I oftentimes talk about what is real networking. It's not just passing out business cards, connecting with folks. Uh, you know, for me, I would research who's going to be at certain events or who's speaking, what they work on, what are they talking about? Are there any synergies there? Uh, do we have any type of connection? And I know that when I'm going to a set event, uh, that I am a brand, I'm thinking of it as a business opportunity, and I want to meet with this person, this person, this person for this reason. And this is what I have to offer first before I ask. And it's not just uh here's my business card, check this out, can I follow up with you? It's no, I realize that you know it's great to meet you. Uh, I noticed that you know these are some of the things that are aligned with your current goals, and I think I can add value to that. So I would say anybody that's gonna network in any capacity that it has to be an active thing versus uh just meeting someone, taking a photo and getting a you know, shaking a hand.

SPEAKER_00 4:34

You you made a point of saying, How can I be um, what can I offer? And I think that's a really important thing because a lot of times actors don't know how to speak up. They don't know how, you know, they get nervous, they get excited, uh, they get intimidated, but they don't know how to come in and be of service. So, with that in mind, how how do you recommend actors volunteer to help at festivals? Because a lot of festivals uh need volunteers. That's how they survive, you know, because they don't make a lot of money. Um, so if you can talk on that.

SPEAKER_01 5:14

Sure. So one way that actors can really get involved uh with festivals is through volunteering, and it could be as simple as hi, my name is Troy. Um I I love your work and the festival that you have coming up. Are there any opportunities to volunteer? Uh, I can bring my camera, I can document, I can take photos, I can be a red carpet correspondent, I can check people in at the table, I can pass out layers. Because at the end of the day, it's oftentimes just about getting in the room, right? Because you if you got all the other stuff, like we take it for granted that you've done your homework and you're and you're ready to be in the room. Now it's about access. So it's just how do I get the access? Because once I'm in the room, I'm not worried about anything else. So uh if that means that I'm just checking people in at the table, that's what that means, you know, and or you can keep it even simpler than that and say, listen, I I can fit in, you know, I can get in where I fit in. What do you need? That can be a more direct opportunity because uh most festival programmers, organizers uh will have uh a list of uh responsibilities that need to be filled out, and then you can just go from there.

SPEAKER_00 6:30

How early should an actor reach out to the festival to find out what the deal is? How can they get uh um caught up in helping them?

SPEAKER_01 6:42

So there's no one way to do it, no one singular blueprint, but I would say if you're at the festival right now, you should be talking to somebody right now, talking to them right now, because in most cases, even when you have all your uh your I's dotted and T's crossed, there's chaos, there's organized chaos, and there are opportunities at times to jump right in the mix because there may be something you can do right there on the spot. You don't have to force it, you know, because you got to give people their space. But who knows, there may be a table that needs to be moved a chair, and you can just help right then and there, but that's when you really that's when you really learn people is when you're working with them. So I would say you should be talking to them right there in the moment with the caveat that you'll probably need to do some type of follow-up because it can be difficult to have the level of conversation you want to have with somebody right there on the spot. You know, typically you want to give the folks that are organized some time to uh decompress and then follow up, but at minimum, I think you should be planting the seed right there at the beginning, exchanging information, and then you know, asking them when can I follow up? Again, I can always assume I'm gonna follow up and you know as soon as possible and then give it some time, but you can also ask, you know, when would be a great would be a good time to follow up. Another thing I would say is really important is um oftentimes the individual you think you should be talking to, it may not be that person, it may be somebody else on the team that will actually help you move a lot further. So this is where your research comes into place. I need to know who's on the team, who's the individual I should really be talking to right now, and maybe that's the way to at least start developing the relationship. But the when it to me is always right now, and then you judge that by the flow of things, like you know, and sometimes they'll tell you, like, give me a month before I can really uh check back in, and you respect that.

SPEAKER_00 8:50

Let's talk about the don'ts, what actors should not do, because you made a comment that they should have already done their homework. A lot of times actors don't do their homework, they just are excited. So let's go through things actors should not do, either volunteering or wanting to volunteer, or when they go to a film festival. What are uh faux pas that they really need to stay away from?

SPEAKER_01 9:19

I would say, and it probably covers several things, but I would say we mentioned not being prepared, but forgetting that the individuals that you're talking to are human beings. I think that's the probably the biggest faux pas. You're forgetting that this is a human being. Um, you know, they breathe, they eat, they sleep, everything like you. And so oftentimes um you can be so excited that we forget to connect with just interpersonal communication. We forget that. And uh and that could throw off the whole conversation, uh, versus uh just introducing yourself, understanding uh timing is key. Oftentimes, whoever you want to talk to, a lot of people want to talk to. And when that person is done speaking on stage, whether if they're on panel or if they're just present, they may have a line, they may have people crowding around them, and you're just trying to figure out how to get in that crowd. And so I think it's also important to pay attention, you know. Like if you've noticed that that individual just talked to 20 people, it unfortunately it may be harder to engage with them in that moment, and it's nothing personal, they they just may be tired, you know, and so I think it's important to um know what tools to pull out when you need to pull them out. So I think the biggest thing is uh not being observant of the moment because you know, there may be a moment where you don't have to say much to them, you know, you might see them in passing, and maybe that seed opens the door to a future conversation. Uh, one of the things that I knew worked for me, not saying that it worked for a lot that for everybody, but I would, hey, if if the setting was some type of panel discussion, I would try my best to get uh in the front row as much as possible so that there's some type of eye contact, right? 93% of communication is not auditory. So I'm I'm trying to I want to make sure my presence is there. Then I would pay attention to what's being said, do my research, and try my best, if there was a QA opportunity with the audience, to at least raise my hand or try to try to become one of the five folks that may get an opportunity. And I keep it simple, you know, keep it a simple question because I know the conversation that I really want to have is after this moment. So all I'm trying to do right now is ride the wave, make sure that a connection is felt or made, and then hopefully later on I can have a more thorough conversation versus trying to do everything at the same time in that 90-second, two-minute window, and it may be information overload and burn out, and now that opportunity is missed because it was counterproductive. So I think that that's one of the biggest things is just not being observant of the moment.

SPEAKER_00 12:29

So I'm looking on Instagram, I see XL Festival is getting ready to come up. How would I do my homework for the festival? What should I look for? What should I be, what kind of questions should I be asking myself when I'm doing the research?

SPEAKER_01 12:49

If you're an actor, uh and that if the question is, you know, pertaining to an actor, I would certainly research to see if there were any producers or directors of projects that I previously worked on or had some type of connection with, or maybe auditioned for. I would look to see uh who those uh who the moderators are, anyone that is in some type of uh position to help move the festival along, or whether there was an institution or organization. I know that there are plenty of performers that have brands, and so they're meaning like there's a product that they sell, and that's also a great opportunity because festivals are always looking for sponsors, they're looking for vendors, they're looking for all these other ways. And again, like I said from the beginning, if you've if you've taken care of everything else, it's really about access. So maybe you are a filmmaker, and I'm just using this as an example because I just got off the call with the vendor that has an ice cream company, and uh we have an outdoor event. So this individual reached out and said, Hey, I've got a new flavor coming out in uh this summer, and I'd like to pass out samples. Next thing you know, they're a vendor for the festival, and then they told me they have a short film, and now their short film is screening. You know, like they're just different opportunities, and I think that when you do the research, you can find out what tools do I have that I can pull out. Maybe I'm not presenting myself initially as an actor, maybe that's just a part of it that comes with it. Uh, you know, maybe what what voids do you have that I can fill or what um value can I add uh to help, and that opens the door for these other opportunities.