Cucalorus!

I had a great time at Cucalorus this year, just as I did last year. Though they were very different experiences. Last year, I was more focused on the films, and I really enjoyed myself. I didn't really care about the various social obligations attached and fully allowed myself to just indulge in some great, immersive filmmaking. This year was a different story––the films almost came as an after-thought. I don't know if cucalorus has changed at all, or it's just my level of involvement in the film department, but there was a much more obvious push from everyone around me toward the "events." I enjoyed the social aspect of the festival and wished I had gotten a bigger pass! I agree with Ally in that Cucalorus is definitely marketing an experience, rather than film screenings. I think we should do this too, though it's proving harder when we don't have as established of a reputation as Cucalorus. I'm definitely going to be reading a few marketing books over break... One thing I noticed right off the bat that Cucalorus could improve on was communication when it comes to their passes. I've been to the festival numerous times and still get confused every time how exactly to get tickets with my pass. You basically have to act like youre buying them and then last minute say you have a pass do you don't have to pay. I thought this was really disorganized and it delayed me getting tickets. This could easily be remedied with an instructions for passholders tab on their website. Also..while I preferred the programming of last year's festival, there were some great stand out films I saw. My favorite was definitely The Act of Killing. It was one of those films that you just can't stop talking about after it ends. I went home and discussed it with my roommate Jane until I had to leave to go to my next screening. It was very thought-provoking and powerful. In addition to The Act of Killing, I saw the comedy shorts, Borgman, and the secret screening. I really wanted to see Short Term 12 and had a ticket but had to do some last minute 495 filming instead :/ Oh! A note on the secret screening: I loved it, and think it's a great idea. Is this something we could do?? I thought it was great.

Work log 11/12-11/18

Planning/Researching/Posting Indiegogo Announcements: 2 hours
Visions Blogs: 1 hour
VCU/VFF thank you: 15 minutes
Meeting with Shannon: 15 minutes
Instagram/Tweet about VCU tour: 25 minutes
Meet with Jillian about Indiegogo Marketing: 45 mins
FUNDay Monday posts: 20 mins
Indiegogo class posting schedule: 1 hour
Keynote Research: 45 min.
Miscellaneous messaging/coordinating: 20 mins.
Group meetings: 2 hrs

Keynote Speaker

Okay, I was pretty sure I knew who I was going to vote for after our discussion in class but now after doing all this research, I just don't know! It's between Kiva and Sami for me. They are both so well-spoken, so articulate and have interesting backgrounds. I like that Kiva founded her own film journal--a feminist one no less. Her interview in which she discusses the founding of said film journal was so inspiring. I love that she actively encourages women to enter the world of film criticism. The film industry is significantly lacking a woman's perspective because of how male dominated every faction of the industry is, and I think what Kiva is doing is so important. Watching her interviews, it also really stands out how humble, reflective, and confident she is which I find really important in a keynote speaker. Finding someone who is reflective about what they have achieved is crucial to communicating anything worthwhile to the audience. I do think she can come across as maybe a little too serious for what we have been projecting thus far, so it depends how we want to be represented. Kiva seems to be the most accomplished of our options. I also really like Sami. Like Kiva, he is well-spoken and engaging. I like that he is on the other side of the film industry in that he's a filmmaker. Reading his twitter, he seems a bit more on edge than Kiva, in that he can be very critical/snobby but I think that may serve an undergraduate film festival and conference well. I also like that he's a reader and screenwriter, which I can see many students realistically doing after graduation, so that's cool..ahh I just can't decide! I'm definitely interested to discuss this in class tomorrow to see what everyone else is thinking. Can we have them both??

To Do

-Research other film festivals' social media campaigns, especially surrounding Call for Entries, Kickstarter, etc,. Find ways of making it more interactive and fun.

-Meet with Steven about Indiegogo announcements (Alumni page, main Visions page, etc,.)

-Post Indiegogo announcements by 9am Tuesday

-Write a few words of thanks for VCU/VFF, send to Shannon

-Upload cover photo from Kyle when he sends it to me

-Talk to Audra about FUNDay Monday Campaign

-Start contacting and compiling directory of social media contacts (people that will help announce call for entries, etc,.)

-Install Excel to download weekly insights, then download

-Think about campaign for Indiegogo party, talk to Zoe and Ally about what they're thinking

-Get some pictures from Zoe from the VFF trip to instagram

-Get it together and start kicking ass on our social media

Work Log 11/5 - 11/11

11/5-11/11

Website Critique/Evaluation: 1 hr
Call for Entries/Programming Help: 5 hrs
VCU tour prep/meeting Wed. Night: 4 hrs
Richmond/VCU research: 1 hr
Social Media posts combined: 1 hr
VCU tour/VFF: 3 days?
Conference pictures: 20 mins
Miscellaneous messaging/coordinating (Ally, Jillian, Audra, Steven): 45 mins
Cucalorus/past Visions campaign research: 1 hr

Visions DVDs

I found it especially important for me to watch both DVDs as I am the only one in the class putting on a festival that I have never attended before. I needed to see what Visions was all about. Watching the films, I just felt like something clicked. I understand Visions a little better now, I think. And I like it. It was interesting to see slicker films next to less professional-looking work that had tremendous amounts of heart. I really like that our festival has both. I thought all of the documentaries were really well done. I also noticed that we really strayed away from typical narratives. They were all really bizarre, which I enjoyed. I think The Birds Upstairs might be my favorite. I may have gotten a little emotional...ahem. It was super exciting to show these at VCU!

Procrastination

I am a procrastinator. I procrastinate like it's my damn job sometimes. I started picking up these habits in high school and they stuck around because nothing bad ever really came from me procrastinating back then. I worked well under the pressure, and was able to turn in A+ assignments I was proud of that I did last minute. In fact, freshman year of college I would start writing papers a few hours before they were due and they would turn out better because I didn't give myself time to bog the paper down with extraneous details (which was a bad habit of mine at the time.)  However, that all changed sophomore year when I started taking multiple creative classes at once. I still remember sitting in a pile of papers and a puddle of tears, crying to anyone who would listen (aka my roommates and parents) that I wasn't going to get into the film program––that I would need to transfer schools––because I had turned in an unfinished, unedited final research paper for FST 205 that was 40% of my final grade. Procrastination had finally bitten me in the ass, when it mattered the most. I was bit a dramatic, and I ended up getting an A- in the class. (Which I just think proves that professors don't actually read through the entirety of our papers.) But it scarred me. Ever since then, not only do I try hard to avoid these situations, when they do arise, I can't pull of what I used to. A newfound anxiety started taking over, combining my hang up on small details and perfectionism, fear of evaluation, and an unhealthy dependence on adderall that led to the possibility of pulling an all-nighter and not even finishing the task. So that's where I am now. I try really hard not to procrastinate. I have a master calendar, multiple lists, and reminders set up on my computer to try to prevent procrastinating from happening. But because it really seems to be at the core of who I am sometimes, it happens. I've learned this semester, taking 18 credit hours of heavily-involved film classes, I really have no time to do much during the week except mindless busy assignments. So I try to plan the big projects that take a lot of creative energy on the weekends. When that doesn't happen, I end up doing things that I thought could be really cool in the beginning, last minute and rushed during the week. Some reasons that I still procrastinate even though I should know better now are:

Being Overextended: This is especially true of this semester. I've gone back and forth on whether what I'm doing this semester is really even humanly possible. Sometimes I really just don't have time in the week to get everything done that I need to. This is where it's been really important for me to plan everything out so it doesn't all fall on one week, or one day. Every week this semester has felt like Finals week, except with classes during the day that don't get out until 8:30 on some nights. Organization has been key this semester.

Lack of Training: This is only relevant sometimes, and for only some classes. But I can often be intimidated by the ambiguity of a project where I don't know what's expected of me. This also links to fear of evaluation. What if I just go for it, and I'm wrong? This is probably the biggest source of procrastination for me (not in that it happens the most, but I procrastinate to the highest degree when this happens) as it leads to general uneasiness and anxiety when I don't know where to start, so I don't.

Faulty assumptions: I'm never right about how long something will take me, so I've started just saying that I need to block off the whole night for this. But that's because I fail to break it down into smaller tasks. If I did that, like the article suggests, it wouldn't be one big ambiguous task, but little ones that I could do at different times, so I can manage my time better. For instance, I should download all the found footage I need for my editing project on Saturday. This will probably take around 3 hours. Then, when I'm editing it the day before it's due because I have no other time, I'll have already done all the little tasks, and I'll have a better idea of how long the polishing edit will take (which will be far less time than if I left the whole thing to the night before!)

Perfectionism/Fear of Evaluation: These two are combined for me, but a huge reason why I procrastinate, or at least why tasks take me a lot longer than they should. I have always cared what people and teachers thought of me. Not in the weird insecure sense that reeks of middle schoolers seeking validation, but in the sense that I wanted them to see me how I saw me--who I believed I really was. If they didn't like it, that was fine. But I wanted the idea to be accurate, or at least what I thought was accurate. Even in the third grade, I remember taking a test to evaluate our intelligence. The teacher kept saying not to stress out, that this was not for a grade. I cared sooo much more about the evaluation of my intelligence than some lousy grade. Obviously now I've learned that bad papers/projects happen and not every one has to be a test of my character. When the project really matters to me, though, especially in things like writing, my inherent need to be perfect kicks in which is a deadly combination with my obsessive attention to detail. My need for perfection growing up led me to be really bossy at times. I was always the person that would just take over the group project because I thought my standards were higher than others, but what I later learned was that the collaboration was often more important than the project itself. Learning from your peers can have some really cool outcomes, and I need to start realizing that the standards I hold myself to can be highly unrealistic at times. It's more important to get the task done.

Avoidance of negative experience: These are what I have started doing on the weekends. I get them out of the way and feel such a sense of relief for the rest of the week!

VCU Film Programs

Wow. This program feels so close to what I would design as the perfect film program. I spent a lot of my time first researching the Film and Photography program, and loved the emphasis on the art side of film. That's definitely what I wish UNCW had a little more of. One's schedule is so regimented, and I'm not sure how I feel about that, but I do like all the art classes they are required to take. I imagine it serves as a great foundation for all future work students do. I also thought it was interesting that one of the classes was to put on a film festival but it was only worth one credit hour! Say whaaa?! hahah

In terms if the Cinema program, I LOVED the requirement for another major. I think this is so important to film, and I try to take as many classes in other subjects I can for this very reason. What is going to serve as inspiration for your films if you have no background in other subjects? Well, okay...life experience is a good one, I guess. I just think subjects like psychology, anthropology, english, history, etc,. add so much depth to film. And then you could also be practical and go the economics route, too!

In terms of how this affects our pitch, maybe it's just the website...but these kids sound like they know what they're doing. We should definitely prepare ourselves for a "few" people raising their hands when we ask them if they've entered in festivals...

Reading Responses

Sorry for my delay in responding to these readings--I was trying to think of something thoughtful before class to say on them, but nothing came to me. And I think it's because (like we mentioned in class) we're already doing what the readings called for. So they seemed pretty straight-forward. I only have a very basic understanding of budgets including what Andre briefly went over in 495 for our projects, so I appreciate the step-by-step format of this reading. While not really offering many new ideas, it was a good introduction into what we all some day will need to be able to do. I also appreciated the picture of the cat to break up the mind-numbingness of number talk. With my little experience of budgeting, I have noticed one of the most important things is to really think about the many different costs you will need to account for. It's easy to think of the big-picture items, but what about the smaller things? It's really important for someone with an attention to detail to look over any budget, as they add up quickly. The event management was also very straight-foward, but they did go over some key points that apply to Visions. I thought it was important when they mentioned hiring speakers for the event, which is something that Visions does. The article said to make sure they are able to captivate an audience, which I think is so important. We need to find people that not only have interesting backgrounds and are very knowledgeable, but that are articulate, charming, and good at public speaking, as well. Everything and everyone at our event represents Visions, and may impact who attends the following year. I liked the point about viewing the event from the perspective of an audience member. Not only just in regard to a run through of the event, but also keeping in mind what we have to offer the audience. I know film festivals vary in terms of whether they're an "audience" festival or a "filmmakers" festival, but I think we can be a bit of both. It seems that we mostly cater toward filmmakers and giving them an introduction to the professional film world, but we also need to keep our audience members in mind that aren't contributing filmmakers. What keeps them coming year after year?

Small Group Management

Social Media Coordinator

What is the project supposed to achieve?
Social Media is so important in many respects. First, in creating a "brand" for Visions. I have to work with PR as well as the rest of the class to determine an appropriate voice and personality of our brand, and then use that for all future posts/tweets/instagrams, etc,. When I met with Beth, she emphasized how important it was to not just keep sharing, over and over, "come to visions," but to create a brand that people want to follow online. This involves sharing other things that may interest our audience base. For instance, though unrelated to Visions entirely, Free People (a clothing store I follow online) has created a brand that doesn't just revolve around the clothes they sell. They have a blog where they post DIY projects, new art that they're inspired by, etc,. all working towards the same goal of creating their image and brand. While we are not a clothing store, obviously, I think this a good example of what it takes to create a cohesive image, and it's what I'd like to do with Visions social media this year.

Secondly, obviously, to get the word out––about the event itself, fundraising projects, etc,. Ultimately, I want to spread awareness about Visions. I want people talking about it, attending the event, and spreading the word like wildfire.

Are the results straight-forward?
Sort of. I have a clear goal of reaching 1000 likes on facebook, though have yet to set a twitter/instagram goal, as those have smaller followings and are sort of secondary. The goals will be similar, however, in that I want to reach a certain amount of followers. However, that only serves as quantitative results. And I think the most important would be the qualitative results. In that sense, the results are not so straight-forward. How do you measure creating an idea in someone's head? That's what I have to do––what we all have to do. What associations with Visions do we want people to make? Those associations are the most important results, in my opinion.

Are deliverables easily measured?
"likes," followers, etc,. but also attendance at events we promote. So for the most part, yes.

How much effort is required?
I can't even....so much. so. much. If we want to have a successful social media campaign, we need to be active on facebook, twitter, instragram, Beth suggests Vine, etc,. We need to keep up with all of it on a frequent, regular basis, and the posts can't mimic each other. When we are working to promote an event, etc,. obviously they should all be talking about it, but we need to create a reason to follow us on multiple accounts. Perhaps instagram is a bit more informal and laid back, etc,. to keep public interest. They need to differ from each other in interesting ways, though with a coherent voice throughout. An assistant would be much appreciated!

How many people or skills are needed?
In determining a coherent voice and brand, that's where PR, and really the whole class come in. In terms of keeping up with our social media sites, I'd say me and another person. (see above plea for assistant)

How complex is the project?
Complex, but exciting. There are just so many more levels to social media than I even thought. We're essentially creating a personality--a character––that has to be interesting, informative, creative, witty, relevant, etc,.

The Pre-Interview

After contacting just about everybody at the SIFF office, I finally heard back from Jason Dittmer, the director of marketing and communications. I will be interviewing him sometime early this week, though we're still working on a time. This is what I could gather from outside research in terms of the interview questions:

1. How many entries did they get this year? For films make sure to ask them to distinguish between features and shorts. 
• They receive over 3500 films each year.
2. How many films do they aim to screen each year? How many papers/presentations do they accept? Again, for films make sure to ask them to distinguish between features and shorts. 
• This year, SIFF screened 447 films: 272 features (plus 4 secret films) and 175 shorts.
3. What is their pre-screening process? 
4. How many pre-screeners do they have each year? 
5. Who is typically chosen as a pre-screener? 
6. How do they score entries? Do they use a scoring template/rubric? Are there scoring guidelines? 
7. Do you have a jury after the pre-screening process has ended? 
8. How far in advance do they send out their call for entries? How do entries typically roll in? Early?
   Late? In waves? 
9. How many paid employees do they have each year? How many volunteers? 
• Over 800 volunteers per year. Unable to find precise number of paid employees, though there are 22 positions listed, and then a board of 23. (Not including honorary board)
10. Do you use specific programming, trafficking, budgeting software? Do you like it? 
11. What community outreach do you do outside of your festival season to keep your event on the
    public's radar and/or to raise funds? (Workshops, mini-festivals, fundraiser dinners, etc.) 
• Now that SIFF is more than just a festival, there are plenty of year-round ways to get involved. SIFF cinema screens cult favorites and new films daily, as well as hosting many mini festivals and events. On October 4th, they are launching a 9 day "Seattle South Asian Film Festival, " while also screening other films. On Tuesdays, they host "Totally 80s Tuesdays," and many other film series. They are currently doing a Fritz Lang Classic Restored series. They offer numerous options for film fanatics every night of the week! For the month of October, they're hosting a "psychotronic cinema" series, for instance. The lists go on. They also host screenplay swap dinners (where you get a chance at having your screenplay read aloud by professional actors, and can receive feedback by professionals.) They also have education programs and events for every age. Kids programs have them moving from a film concept to a film screening within a day, but the adult programs really move away from "summer camp" ideas and welcome one to the professional world. They offer "first draft" which similar to the screenplay swap, allows beginning screenwriters to have their work read and acted by professionals who then give feedback. There is a method acting class taught by David Lee Strasberg, a digital cinema course, and a monthly film and lecture series. There's a bit of everything for everyone at SIFF! They also offer fundraising galas throughout the year.
12. Do you give out swag bags to visiting filmmakers? Presenters? Guests? If so, what type of items
    do you include in those bags? 
• Everything that I can find about gift bags have to do with their galas and parties. There seems to be a range of gift bags, based on tickets purchased and who is expected to attend different events. This is the pitch for their premium ticket for the opening night gala of the festival: "With the Red Carpet Experience, your SIFF 2013 Opening Night includes valet parking, a walk on the Red Capet, a private pre-film reception at the Red Carpet Lounge, reserved seating for our Gala screening of Much Ado About Nothing, a premium gift bag, and open bar at Seattle's biggest party!"
13. Do presenter/filmmaker pay registration to attend? 
14. Are you able to provide presenters/filmmakers with funds to cover travel or lodging? 
15. What "perks" do your filmmakers/scholars enjoy at your festival/conference? What else do you encourage them to do while they're in town? m(Free dinners, tours, exclusive activities...in Wilm, we'd try to take them to the beach, Screen Gems tour, etc.)                                SIFF is typically known as an "audience festival," and from what I can find, focuses more on the audience experience. However, I will ask more about treatment of filmmakers in my interview. I'd say the main pull for filmmakers to play their films at SIFF is the large volume of films that play at SIFF that are then picked up for distribution.
16. Do you have special donor perks during the event? Or how do you thank them? Their donor perks are connected to the individual memberships, which I mentioned earlier. 
17. What do they wish they had done differently or better when they were first starting out? What do
    you wish you knew then that you know now? 
18. If it’s a festival or conference that no longer is in existence...why did it end? 
19. Any other ideas or advice that we haven’t thought to ask about? 

Festival Quiz

1. What I found most interesting while comparing the festival research was the range of focus they all had. I believe it was the Dallas Video Fest that focused on the medium itself, rather than its simple story-telling abilities. I thought that was really cool and experimental. Comparing that to a more conventional film festival like SIFF was really interesting. It really showed how endless the possibilities of film festivals are, and gets me more inspired to start coming up with ideas for Visions, rather than just following the typical mold.

2. I thought most people sort of dealt with the Sponsor Question in the same way. Not many specific leads, but there was a big emphasis on staying local. I know I emphasized that point in my own blog, but also remember Zoe saying something a long those lines, and I think it was Steven who proposed news organizations? I think that would be a good direction to go in, as it might also help with PR!

SIFF Website evaluation

23. Is the layout easy to navigate? What makes it easy?
      I found the SIFF website very easy to navigate. They have an aesthetically pleasing menu at the top of the webpage, with categories based on your intended purpose. For instance, they have: Box office, Membership, Donate, Sponsor, Volunteer, Shop, Press, About SIFF, and Getting Here. This made it very easy to find information, and was visitor-oriented, as the festival is itself. If I was looking for sponsorship information, I'd obviously click "sponsor", or if I wanted the mission statement, I would go to "about SIFF."
24. Is the layout difficult to navigate? What makes it difficult?
I didn't find it all that difficult to navigate, though the one aspect that made it a little confusing at times was the fact that SIFF has now become more than a film festival, but a whole organization, or company. There is SIFF Cinema, as well as their education efforts. This got a little confusing when I just wanted to find film festival info, but it wasn't too hard. They have links for "festival" "cinema" and "education," so I would just have to make sure I clicked "festival."
25. Can you find the information you are looking for on the homepage or via a link on the homepage? 
Yes :)
26. Aesthetically, what catches your eye? What's cool about it?
The SIFF website reminds me of a local news site. They have a looped 'top stories' type deal taking up a large part of the home page, telling you about cool films they're playing at SIFF cinema currently, or they also have a SIFF suggests story that pops up, as well as a SIFF education story, letting you know about a featured class offering, etc,.  I really liked this approach--it gave me a taste of SIFF before even venturing further into their website.
27. Aesthetically, what doesn't fit in? What makes it look bad?
There are a lot of different colors in individual boxes, but just a white background to encompass all of it, which I think clashes. I get that they're going after a news-type site, and it does have that appeal and aesthetic, but I think some of the colors could work in better groupings. I would also consider a colored background, but I would experiment with it--it may look too busy.
28. Should there be more information? Is the page too bare?
No
29. Should there be less information? Is the page too busy?
I like the way the information is organized, though they do have a few weekly events on the right hand side that I think could just be another link, "weekly events." only because they take up too much space. I would appreciate not having to scroll down so much on the home page, and this would reduce the volume.
30. What would you do differently if you were to redesign this website?
I would try to find what I think is absolutely essential, and try to fit it on a home page that doesn't have to scroll down to see essential information. I would also re-organize so the "siff essentials" i.e. twitter, facebook, etc,. links are closer to the top, and some of the sponsor/weekly events info could be nearer the bottom, if not separate links all together.
31. What would you keep the same if you were to redesign this website? 
Most definitely the Menu on the top. I am actually in awe of that organization. It's so user-friendly, and organized based on visitor identity. I also really like the "top stories" emphasis.

SIFF questions

1. What time is your interview scheduled and who will you be talking with when you call/skype?
   I do not yet have a scheduled interview time. I have contacted Carl, Mary, Jessica Marx (head of the press office) and the SIFF press office. Carl has been in Toronto, though he also apparently has a reputation for rarely responding to emails and voicemail. This is why I decided to go through his press office, though I have still heard nothing. My plans are to call on Monday when the SIFF office is open, and to ask who may answer some questions I have. I get the feeling that asking Carl some of these questions may be similar to asking President Obama how the electoral college works, and I think I can get these answers from someone a little lower on the totem pole. I have also found 2 other local Seattle film festivals that may be more beneficial to Visions, as one of them is a youth festival, and the other is very local and edgy. They are NFFTY and Local Sightings. 
2. Who started it and who runs it?
     SIFF was co-founded by Dan Ireland and Darryl MacDonald in 1976, and it's now run by Carl    Spence and Mary Barcarella (co-directors.)
   

   
   

3. What is the mission of the festival/conference? (copy and paste the first paragraph)
   
   

   SIFF's mission is to create experiences that bring people together to discover extraordinary films from around the world. It is through the art of cinema that we foster a community that is more informed, aware, and alive.

   
   
4. How does this compare with their actual programming choices from the past two years? Be specific in describing what they program (mode, categories within mode, niche, Political? Global? Local? Gender? Sexuality? Race? Any themes that you see? etc...)
   
   

   SIFF offeres a wide array of films, whether they differ by country, topic, medium, etc,. which is true to their mission. It truly is an international festival, with last year's festival showing numerous films from 6 continents. (Antarctica really needs to get their shit together.) While the website lists many 'genres' that within themselves include social issues, there is a social issues genre that reaches 100 films--tackling just about anything. (The first film listed deals with the possible suicide of over 100 women in the Iraqi Kurdistan if they are not presented with eligible suitors) I think in this sense, their mission statement is well-informed and accurate. Though I do think SIFF has a definite tendency to only focus on 'slick' films from around the world, and could be missing the freshness and perspective that may come from graduate-level student films.

   
   
5. Where is the event?
   In Seattle, hosted in theaters around the city. More recently, they have started reaching out to a few theaters in some of the surrounding suburbs, as well.
   
6. When is the event? (Give dates from last year if not current)
   May 15th- June 8th, 2014.
   
7. How do you submit? Snail mail, online, withoutabox, through their site, etc...
   Snail Mail or withoutabox. 
8. When are the deadlines to enter? Early? Reg? Late?
   

   Early: October 7th, 2013

   Regular: November 4th, 2013.

   Final: January 6th, 2014. 

9. How much does it cost to enter?
      The entry fees vary by date of submission, and film duration. Entry fees start at $30 for shorts   submitted early, and go up to $95 for a feature film submitted late. The submission fee is waived for films that have 50% or more of their film footage shot in Washington state.
10. Who’s eligible, what are the guidelines to enter?
    As far as I can find, everyone is eligible to enter. Some of the guidelines are as follows:
    

    Completion Date:Films must have been completed no earlier than January 2013.

    Presentation:

    Selected films must be made available for Festival presentation in DCP, 35mm, or HDCAM. Filmmakers whose films are selected must deliver their film in an acceptable final presentation format, please let us know if you do not have one of these formats. Failure to provide the film in an acceptable format may result in the film being dropped from the Festival. No exceptions.Language:Foreign language films must be made available with the original language soundtrack and English subtitles. 

    Prior Screenings:Entries may not publicly screen in Washington State or be televised anywhere in the US before June 30, 2014. Theatrical runs following presentation at SIFF may be excepted from this.

    
    

    Prior Submissions:If you wish to resubmit a film previously submitted to SIFF, you must reapply paying the full fee.FutureWave Submissions:The FutureWave Youth Shorts competition accepts short films made by youth 18 years of age or younger at the time of submission.

    
    

    A different entry form is required. 

    Submission Regulations: 

    Deadline:

    All film submissions must be shipped prepaid and packed in proper containers to arrive at the SIFF offices by the posted deadlines.

    Format:

    All films must be submitted on DVD (NTSC preferred, PAL accepted), or via a secure online link, such as Vimeo. Do not put multiple works on the same DVD.

    Premieres:

    Please be aware that in all categories, World, North American and US Premieres are preferred. However, a Washington State Premiere is required; films must not have previously screened in Washington State.

    DVD Labeling & Shipping:

    Preview DVDs must be clearly labeled with the film title, running

    time, and contact information (including name, address, and phone number). International shipments must be accompanied by a commercial invoice (containing the film’s title, running time, format [color or b&w], value of shipment, and sender’s name and address). SIFF will not handle any customs clearances. All preview DVDs shipping from outside the U.S. must be sent with the following declaration: “Free entry claimed under #724.12 (960.60). U.S. Tariff Act. No commercial value, for Festival use only.”  

11. Is there a Student category?
    SIFF offers what they call FutureWave which features films by youths under the age of 19.
12. What formats do they except for jurying? DVD, Vimeo, Flash drives?
    DVD or vimeo.
13. What formats do they except for exhibition/screening?
    DCP, 35mm, or HDCAM
14. How many films screened at the festival last year?
    455 (74 countries represented)
15. How long is a typical shorts block or paper presentation block at their event?
    ~90 mins
16. How many films or papers do they program per block?
    It depends on the duration of the films, but it ranges from around 7 to 14.
17. How do people register to attend? Is there a cost to attend as a guest?
    There are numerous membership opportunities that provide you with a certain number of free tickets, but the biggest emphasis is on passes much like Cucalorus. The biggest pass (at full price) is $2850 (discounted down to 1700 if you buy before January!) They also offer ticket packages (Cinematic 6-pack), as well as day of tickets (though they tend to sell out.)
18. Look at sponsorship page and see what businesses, grants and private entities give money to the
    event. Figure out how many of each kind and note any leads that might be useful to us.
    SIFF has hundreds of sponsors that they break into categories like hospitality, media, community, etc,. Some of these include Starbucks, HBO, CityArts, Scarecrow Video, the Stranger, Seattle Times, etc,. They definitely focus on local organizations, which we can take into consideration for Visions. I don't think there are many leads we can get from these SIFF sponsors, though I do think their emphasis on local companies will lead us in the right direction here in Wilmington.
19. What are their sponsorship levels and incentives for each level? 
    Title Sponsor (350,000+ with 3 year commitment)
    Presenting Sponsor ($100,000+)
    Premiere Sponsor ($50,000+)
    Producing Sponsor (25,000+)
    Supporting Sponsor (15,000+)
     The incentives are endless, ranging from different levels of on-site promotion, media&online, exclusive access to events, etc,. The incentives even include a dedicated facebook mention for all but the supporting sponsors. The Title Sponsor has a 30 second pre-film brand advertisement, and is the exclusive special event and festival award sponsor, as well as has logo inclusion in SIFF television advertisements.
    
20. Did they have a kickstarter or indiegogo? What incentives did they have for each level of donor?
    SIFF does not have a kickstarter or indiegogo that I could find, though numerous films hoping to play at SIFF do. SIFF offers "memberships," which work similarly to donors. The levels range from "Enthusiast" ($55) to to Premiere ($10,000+) Benefits for premiere include:

    • Two Platinum Festival passes OR one Platinum Plus Pass
    • Two year-round passes to SIFF Cinema 
    • Lifetime membership to IndieFlix 
    • Invitation for two to the SIFF Awards Brunch
    • Access to the Festival Hospitality Suite for one evening
    • Private tour of SIFF Cinema
    • Invitations to private receptions
    • Upgrades to Platinum Plus Festival Pass ($500)                                                         Benefits for an Advocate membership (in the middle, at $500) include:

    • Two three month SIFF Cinema Passes 
    • Six Festival tickets
    • Priority invitations to free screenings
    • Discounted tickets at SIFF Cinema and the Festival
    • Recognition in the Festival catalog
    • Complimentary Festival catalog
    • Complimentary Festival poster
    • Popcorn punch card
    • One Year subscription to Seattle Met

21. What kind of non-traditional film/video events have they had before? Things like Installations,
    'Visual Soundwalls,' VJing etc.
    SIFF offeres a range of events in which they expand film screenings, panels, and presentations, though there isn't much that I can find in terms of instillations and VJing. 
22. Are there ways in which they have expanded the typical film screening event? How have they
    branched out from sitting in a dark room in front of a screen? 
    This is where SIFF really excels. They often mix screenings with galas and after parties, they have musical tributes, a "secret film festival" where you pay for a ticket without knowing what you're going to see (and you can't tell anyone about it after,) they play silent films with an accompanying band to play, they even have a flyfilm event, which is similar to our video race, though it's specifically for filmmakers, and they have a week instead of an hour. They also offer numerous panels on different topics.

Time Management and Public Speaking

The time management tutorial was the one that spoke to me on a personal level the most, as I have always struggled not with the concept itself, but with the execution. As quite the procrastinator, I often state the anthem of the lazy––"I work my best under pressure, and there's no pressure yet." Often I feel overwhelmed by everything I have to do, and therefore just put it off until I'm pulling multiple all nighters in a row. Clearly in need of some time management. What helps me the most is breaking things down into smaller sections. This makes everything a more manageable bite, and I'm less overwhelmed. It's also very important to write everything down so I can visually see everything that needs to get done. These two concepts work simultaneously to create a useful time management system for me. What the tutorial focused on that I thought was useful was the 80/20 theory. This seemed like another way of prioritizing. Often I get bogged down with the "80%" and therefore don't do the best I can do on the "20%," only fueling my hatred of busy work. So I thought what the speaker said about prioritizing was useful. I also liked the idea of the red/yellow/green marking. It pseudo-inspired me to walk around with a red square on my forehead whenever I'm up and walking before 10 in the morning. I also like what he said about one's "einstein hour." I definitely think mine is in the evening, between 7 and 9pm.

The biggest thing I took away from the public speaking tutorial was the array of cold openings she used. For some reason public speaking (as long as I'm the one giving the presentation) has never been a major issue for me, but I do tend to start it a little awkwardly. What started as a tool to make me seem relatable and laid-back, has now become a hindrance because I can't stop it. I always start sort of awkwardly--I never learned another way! I like the options she teaches, as they do seem casual (in a good way) yet bold, and confident. 

Festivals of Their Own

I found the history of film festivals to be really interesting. I had never thought about their origins, and even the differences among them. Growing up with SIFF as the biggest influence in terms of what I thought a film festival was, anything smaller felt like a mere imitation. However, I thought this article did a great job at highlighting some of the blessings that come with smaller film festivals. For one, the sense of community. I thought the idea of giving audience feedback on index cards to some of the winning filmmakers was great, and added such a personal touch. Also in terms of programming, while festivals such as Sundance are now focusing more on the mainstream, I love that other festivals are showcasing films that may otherwise never be seen. I love that Visions does this for shorts. It is our job to make them feel special and showcase their work, where at some other festivals they may be slighted as there is more attention on feature-length films. What I have also always loved about film festivals besides the great array of films you're exposed to, is the social aspect of it. Like I mentioned earlier, the sense of community. Before I was able to fully appreciate it, I was attending opening night galas, after parties, Q&A's with directors, etc, with my dad at SIFF. I think those are half the festival--bringing filmmakers and film fanatics together in a pseudo-casual setting, where we can all learn from one another. And I think that is the true spirit that transcends all film festivals.

About Me

Hey everyone, I'm Maddi, or Madeleine. I know the former sort of looks like a stripper spelling of the name, but alas, it was my attempt at being 'different' in the 7th grade, and now I'm more or less stuck with it. You can call me whichever name you like, I really do go by both. I've been writing so many 'about me''s lately, that it feels hard to maintain any originality (I really only do have a few standard jokes), but here are some of the basics about me that I guess you should know. My sense of humor is very deadpan-sarcastic, and I think I'm much funnier than I probably am. I also tend to over-analyze everything. Like seriously, everything. I'm pretty much a textbook introvert, though with a strong narcissist streak that makes my inner monologue resemble a Woody Allen film much too often. I'm double majoring in film and creative writing because as you can tell, I love to be practical. I'm still not sure what I want to do with either, but right now art direction has my biggest interest. As long as I have a career that lets me travel, I'll be okay. I spent my last semester studying abroad in South Africa and as cliche as it sounds it was possibly the best 6 months of my life. I got to combine my love of travel with my love of community service by tutoring at a township, and it was amazing. If we're doing favorites a couple of my favorite directors would be Sofia Coppola and Baz Luhrmann. I am so excited to be a part of the Visions team this year, as I have always loved a good film festival. After graduating, I would love to intern at the Seattle International Film Festival, so I'm excited for the experience this will give me. And when times get tough, which I know they're bound to, we can all turn to what is perhaps the most inspiring clip in cinematic history:

http://www.youtube.com/watch?v=joA1dZ2_5Zs