In part one of this guide, filmmaker Sophie Black explained exactly what you get when you pay your 95 Euros to submit your short to Le Court Métrage at the Cannes Film Festival. Today she takes us through what happens in practice and what you can do to promote your film while attending the festival. Over to you, Sophie…
From the start, as soon as your submission goes through successfully, you are part of the SFC [Short Film Corner] mailing list, and the regular emails not only give you lists of lectures and contact details for the short film buyers, but give you temporary access to Cinando (an online database/catalogue where you can contact many industry professionals who will be useful to your career) along with other tips for a successful Cannes, so use all of these to your advantage if you can. Cannes will also share your details with other related parties, many of whom have clearly paid them to do so, which will result in a little spam.
Amongst this spam are emails from various PR companies wanting to promote your film. But it is a costly £400+ for these services, many of which just involve promoting the film through social networks, and emailing people to tell them to go and watch your film, which you can easily do yourself (although it may sound better coming from a PR firm).
Due to PR costs, the majority of SFC applicants ignore said emails and choose a DIY approach to marketing their films. This way, however much or little you do is up to you – the minimum being just putting up a poster and hoping people will be inspired to go and watch your film (if your poster is still up and not covered by other peoples’ by the second day). It also means that every time you go to the Corner, you are met by a flurry of bright-eyed young things, all of whom think their film is great and who want you to go and see it.
The real challenge is to branch out into other areas of the festival, and persuade people with money and power to leave their ritzy pavilion (and free drinks all-day-round, for bearers of certain passes) and come and queue in a hot room underground to view your film. But if you impress them enough, and network well, it can happen, and the results of this will be much more helpful to you in the long run.
It’s also important to think outside the box to get you and your film noticed at Cannes. I hammer on about this all the time, but you really can’t go with the flow. During the much-treasured Jane Campion lecture at the SFC, she encouraged us all to write down a question for her on pieces of paper, and put these into a hat. One clever girl wrote her question on the back of a postcard-sized poster of her film, and handed this in. Cue Jane Campion noticing the poster amongst all the blank white paper, and taking the time to study it. This small gesture is one of the cleverest things I saw at Cannes this year, and it left me with the irritating feeling of “I wish I’d thought of that!”
Although I did promote my film Ashes, and inspired a few people to go and watch it, my main reason for going down to the Corner was to meet with the people who might actually want to distribute it. I learnt something from all of these meetings although they ranged from genuine interest to an actual no-show. (Rule number one about arranging meetings: make sure you actually make contact with the person you’re meeting beforehand, even via email, and not just with their assistant – who isn’t even in Cannes this year!)
The designated meeting rooms looked a bit like the lobby in an accountant’s office, complete with random film-noir blinds, and the blank walls everywhere left room for your creativity to shine if you let it. During my meetings I not only had mini Ashes posters left, but also a set of promotional stills in my press kit, so I laid all these out before one distributor had arrived, and it gave him a full presentation of the film straight away. I definitely recommend doing this for your meetings if you’re left waiting for any length of time beforehand; what’s even more important is to make sure you have a copy of the film and trailer on you – if you don’t have a tablet or laptop, you should at least have it on your phone! Basically, these people are buyers, and you need to prove that you have a product to sell, and that you’re not just “all talk”.
With my mind clearly fixed on meetings and networking, I chose not to book out the screening room, although I did attend a good screening and recommend you do the same (if nothing else, you get to see what the screening rooms look like, and see if it’s somewhere you’d like to have your films played). The on-demand service gives your film more chances to actually be seen. You also get daily statistics emails saying how many times your film has been watched – along with contact details for who watched them, so you can chase these up for feedback and to create potential collaborations/work. Although, with thousands of other films out there, even having your film played 20 times on the system is not as good as having one screening and shoving 30 people in there (although I suppose it does depend on the viewer).
Also, a big thing to remember whilst you’re soaking in the sights and the sun, is that you’re not just representing yourself out there. Photos and souvenir mementos aren’t just things to make your parents proud – with your film you carry the name of everyone who worked on it with you, and you can’t help but think how much a screening of the film at Cannes would mean to your cast and crew. But, at the same time, a successful distribution deal or further festival acceptances will probably mean a great deal more. In the end, you have to do what is best for your own film, and plan your Cannes strategy around personalised rules, using everyone else’s experiences as your guidelines.