FORGE: A Feature Film by 500 Cuts

Check it out.

Sorry for the hiatus from the blog, but not much new has happened on the project. I hope to start working on the behind-the-scenes shorts in the next few weeks so the site will be a little more active then.

But the REAL announcement is that FORGE has been selected for the International Film Festival Ireland. The festival is in its second year and had nearly 200 films last year. That’s pretty sweet. I’m psyched about the potential for exposure at any level. I’m definitely going. Maybe Jason can scrounge up a few bucks and go with me.

We were rejected from the Another Hole in the Head sci-fi fest in San Francisco. Since the IFFI is the first festival acceptance, I’m feeling better about the movie’s prospects.  I’m not looking for any kind of sale, just exposure and networking.  I met a lot of great people at festivals in the past. If I can be frank for a moment, allow me to give you an observation that I’ve made over the past couple years…  Festivals need to be two-way scenarios.  If a festival is only in it to draw some attention to some dirt town in the middle of Arkansas, then you’re not really helping yourself by going.  If you really want to make some connections, make sure the festival you’re submitting to draws industry people.  Or at the very least, draws people!  See if you can find out what the attendance numbers were the previous years.  Ok, that was a lead-in, not the observation, most people know that part already.  The observation is that since everyone can get their hands on quality gear and make an inexpensive film (as we did), the festival scene has become a beast that feeds on itself.

It’s a two-headed monster…  Head One)  The small- to mid-level festival scene is attended by dozens of sickening mirror images of myself; doughy white guys with a penchant for the latest Apple products and software workflows who all own an Ex-1, HVX, and/or a DSLR and have ten below average screenplays on their laptop.  This kinda bums me out because there’s nothing new in the sauce.  It’s like an infinite loop of people who will never get past this stage of filmmaking.  Everyone will trade quotes from Soderberg, Aronofsky, Rodriguez, and Tarantino, and talk about Brick, Paranormal Activity, Moon, and other inexpensive overnight successes.  I can already picture it:  ”What did you shoot on?”  ”Edit on Final Cut?”  ”Where did you get the money?”  Ugh.  There’s a strange irony to people who desperately want to be part of a group while they dream about being the next big thing.  That is exactly me, except that I don’t really want to fit in, and I’m not that crazy about Apple products.

Head Two)  There is no better place to meet people than a festival.  Yes, you are subject to people who are just like you, looking for the same things as you, and trying to figure out what you can do for them.  But there is always the chance that you’ll make a real friend who you stay in touch with and commiserate over the disease that is cinema.  On top of that, financing can be found at almost any festival.  All it takes is one wealthy benefactor to say, “How much do you need for your next one?”  So despite all the griping and grumping about film festivals, I will go.  It’ s a love/hate relationship, but I will go because more often than not, you meet good people, and any opportunity to play your project is a good one.

It only takes one person to pluck you from the swamp of mediocrity and give you a chance, but you won’t find that person if you’re living in a vacuum.

So now that what I consider to be the filmmaker’s highest obligation has been fulfilled (screening the movie for everyone who worked on it and supported it), what’s next?

I’ve sent copies to a few places including Traction Media, Protozoa Pictures, and Portland’s own Seth Sonstein who has a Midas touch when it comes to finding distribution for projects.  If a distributor or rep company put a few more bucks into finishing, the movie could do ok at festivals.  I’m extremely proud of what we’ve accomplished, but it’s important to be realistic about what it takes to get a movie played out there.

So, a few months of rest to get my teaching chops back on par, and then spend the rest of the year getting FORGE out there.  Oh, and maybe I’ll try writing a novel… a lot cheaper and nobody waiting for it to get done!

Here’s what one of these looks like:

Dear Jason,

I have the unfortunate task of letting you know that we will not be able to include Forge at the Sundance Film Festival this year. You will be receiving the official notification soon but I wanted to personally let you know in advance since I truly admired your film and sincerely thank you for allowing us to consider it for our program.  This is always a difficult time because we see so many strong films but have so few slots to fill.

I wish you all the success for the future of Forge, and do hope you will come back to us with any future projects.

Best

Trevor Groth
Director of Programming
Sundance Film Festival

While I expected this the whole time, I had a little nag in the back of my head that said if we got in, we’d need a ton of money to properly polish the film in under two months.  Most festivals notify you three or four months in advance so you have time to get the movie into shape.  So a little positive mixed with the rejection.

It’s nice to think that maybe he actually did admire our film, but something tells me we got the PR dept’s form letter.  I love festivals, but filmmakers should keep in mind that they are for-profit operations and bulk of the money comes from the thousands of people who submit…. So letters like these are kinda like the stripper who tells you you’re different than the other guys.  Keeps you coming back.

I realize the above smacks of sour grapes, and I knew I was basically throwing my $75 entry fee in a hole, but it’s part of the process!  A rejection from Sundance is proof positive that we made a movie.  It’s like a verification document.

The next step is to finish the movie and screen it for cast and crew, family and friends.  Once that’s done, I’ll get back to festival submissions.  Feeling good!

I sent off a WIP copy of the movie to Sundance last Friday.  They should get it tomorrow.  I’m also prepping a copy of the film to send to Cinetic, a rep company.  We’ll see how that goes.  I’m not optimistic about getting into Sundance… not because the movie isn’t good, but because they don’t really handle small pictures anymore.  A film like Primer from 2004 only got in because the guy paid a rep company to hit the review board hard with PR.  I don’t know if that’ll work  for me because A) I don’t have any money to pay a rep company.  And B) It’s difficult to find a rep company that isn’t out to swindle you.

Despite full anticipation of rejection, I’m feeling a huge weight off now that the movie has been sent out at least once.  So now I can work on it without feeling that pressure all the time.

Which is nice.