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Organization and production of a film and video festival or series should be by or in conjunction with a media group, movie theater, museum, exhibition space, or a gay and lesbian organization -- or a group of such organizations working together. Local colleges or universities are a good possibility if they have film programs, theater space, and an active student body. It helps if the organization has name recognition, experience in public programming, and something major to contribute to the program such as money, staff time, materials, or theater space. Cooperative organizing can lead to a multiplicity of program ideas, and it provides contacts and experience that can be mutually beneficial and lots more fun!
You must raise enough money to cover all your costs, or else sponsors must pick up the deficit; it's very important to draw up a detailed budget at the time you begin to organize your event. Projected expenses include, at a minimum: theater/space, film and video rentals, staff and overhead, shipping, and all promotional materials. Projected revenues may include box-office income (multiply ticket price times number of seats and number of programs for a high estimate, then divide by two for a more realistic estimate), grants, sponsorships, private donations, and income from an opening-night benefit you may have. Remember that box-office income rarely covers all of your expenses.
At least one or two people will need to work full time on the program in order to meet with sponsors, secure funding, book the theater/space as well as the films and videos, handle all press work and press screenings and the ad campaign, answer the phone, handle advance bookings and ticket sales, coordinate speakers and equipment, and be present at all screenings to manage unanticipated problems. Because of the large volume of work within a short period of time, the staff working on a festival or series will probably need several volunteers to assist with all of this. Good communication is essential between staff and volunteers; be clear about who is responsible for what and always remember to treat volunteers with gratitude and respect -- the event would not be possible without them. Volunteers can be drawn from film studies departments at colleges, gay and lesbian organizations, and friends; they can do everything from typing lists, leafletting neighborhoods, coordinating special events, pursuing donations and moderating after-film discussions. To reward all of their hard work, you should have a guest list for volunteers, sponsors, and other people who helped with the program. A post-festival volunteer party is a good way to show appreciation and give people an opportunity to come together again a few weeks after the event.
Film and video showings can be exciting whether they are festivals that run over several consecutive days, series that run once a week over a one- to two-month period, or single-screenings such as gala premieres. Both variety and thematic continuity work when programming. For example, a festival could include dramas and documentaries, feature-length and short films, historical period pieces, and contemporary cinema. Series programs could focus on documentaries about HIV/AIDS, or new feature films focusing on gay and lesbian youth. Opening with an area premiere usually ensures a certain level of excitement. It's often difficult to balance imaginative and "risky" programming ideas with local audience expectations and community needs. Develop a clear program rationale. What are your goals and objectives, as an organization, in presenting this program? How, or to what degree, will this particular program accomplish these goals and objectives? If you plan to show experimental or particularly challenging films and videos, encourage your audience to be open-minded. Audiences accustomed to Hollywood cinema generally expect films to be accessible; if you don't prepare them they may be impatient or irritated when confronted with nontraditional or difficult representations. If they are properly prepared they can enjoy the different sorts of viewing pleasures that experimental films and videos offer. Similarly, in the case of films and videos that are not overtly gay or lesbian or have minimal, subtextual, subtle, latent gay, or lesbian content, be sure to inform the audience in your publicity. Showing a film within the context of a gay or lesbian festival/series sets up certain expectations. If the film is about a strong nonlesbian female friendship, say so; an audience waiting for a kiss that never happens will be disappointed and unable to appreciate the film's other merits. Presenting one or two older gay and lesbian-theme films can add depth to your program. These historical, and in the case of Hollywood, often "negative" portrayals are of interest inasmuch as they reflect the societal attitudes prevailing at the time of their production. With the passage of time, these cultural documents offer a valuable reminder of gay and lesbian history. Younger viewers are perhaps able to gain a sense of history from these films, and may also find them humorous in their dated homophobia, while older viewers may remember the reality around these representations quite clearly. Short films and videos are an affordable way to expand the range of your programming and complement your feature programs. There are a number of independent distributors that handle a variety of contemporary comic, dramatic, and documentary shorts by gay and lesbian film and video makers. Be sure to take into consideration the relative merits and drawbacks of film versus video programming. Depending on your theater/space you may be limited to one format or another, or you may be able to combine formats. Think through the issues of cost, availability, technical/setup, etc. When programming multiple formats in one program it's usually best to begin with the lower visual quality format and end with the higher quality format (i.e., video would precede 16mm film, which would precede 35mm film). Lastly, a word of advice and encouragement: If there's a particular title you're having trouble finding a print of, be persistent in your search. When dealing with major Hollywood studio distributors you should continue to ask questions even if they say they can't help you. Ask them to explain the situation precisely or to refer you to someone who can. You want to know: Who originally owned the rights? Who owns them now? Is there someone else who owns the cable, home video, or other rights who might have a print? Is there a vault print in their archive? Is there a print at another archive, or possibly a foreign distributor? You can also try finding the director and asking whether they own a personal print of the film.
You can usually fit at least two evening shows in during the week. Try not to start too early or too late: 7:00, 7:15, or 7:30 may be good for your first show, and perhaps 9:15, 9:30, or 9:45 (psychologically better than 10:00 which sounds much later) for your second. Remember to leave enough time between shows to get the audience in and out (preferably at least half an hour). Depending on your venue expenses, you could also try a few weekend matinees or one late-night cult movie on a Friday or Saturday. Or if you're programming on campus, you might try some short lunchtime programs.
Note that film/video makers and distributors will have to be contacted at least four to six weeks prior to your playdate to ensure availability. Film and video rental fees will have to be negotiated individually on the basis of factors such as theater size, ticket price, and the nature of your presenting organization. Follow-up with distributors should be done again two weeks prior to your screening to ensure that the films have been sent to arrive on time. Before calling distributors and film/videomakers, map out a provisional schedule with alternate dates (the film you want may not be available on the date you need it, so have an alternate date decided on when you call). Determine scheduling possibilities -- prioritizing speakers or visiting directors (be sure of all other arrangements before you commit a speaker to a date). You should also have a clear sense of what your film/video rental budget is in relation to the number of films and videos you want to present. You don't want to blow your whole budget by booking titles that you really can't afford early in the game. And don't forget to figure in your shipping and insurance costs (this is often an area where you'll find your budget slipping away from you). You may want to try getting a number of titles from the same distributor and ask for a package deal with them. You might also offer to trade ads in your catalog in exchange for the rental, or to promote their home video line, etc. Be creative and don't forget to haggle -- it never hurts to ask for a lower rental rate. In the case of feature film bookings, avoid percentage deals if you can, and try to get flat rate rentals. Also be prepared for the extra expense and hassles of overseas film bookings (the shipping is often as much or more than a domestic rental cost might be, and it can be quite complicated to deal with pro forma invoices and getting things out of customs if you've never done it before). Write everything down in one place (names, phone numbers, addresses, playdates, running times, rental and shipping costs, instructions and procedures, agreements and details to be taken care of). Be organized. Also be attentive to any special requirements around film projection formats (you will probably require special setups, often involving additional expense, to project: PAL or other foreign video formats, magnetic sound, wide-screen film formats, etc.). Be sure that your theater/space is capable of projecting what you're booking.
When shipping films and videos within the U.S. be sure to allow enough transit time. Remember that films do sometimes get delayed or lost, so use a shipper that can track and trace shipments (don't send films by regular U.S. mail). To avoid nightmares, make follow-up calls to the film/video maker or distributor to confirm when the film was sent and when it is scheduled to arrive. Allow extra time -- at least a few weeks -- for shipping films in and out of the U.S. If you do get things from overseas, you may want to insist that they send it by door-to-door courier or you might end up having to go to the airport to clear it through customs. If it's not coming door-to-door, establish a connection early in your preparations with a customs broker at your nearest airport. The customs broker will help you clear films upon entry into the U.S. from abroad. Always insure your films to protect everyone from possible losses.
Some of the considerations for selecting a space to present films include: capacity for 16mm, 35mm, and video projectors (many films and videos are only available in certain formats); price for rental; space for speaker forums; appropriate number of seats for projected audience size; location, public transportation, and access to theater; parking facilities; wheelchair accessibility; concessions; and quality of theater staff (projectionist, ushers, box-office staff, etc.). Be sure to meet or speak with the venue staff about all your anticipated program needs, be explicit about what you expect them to take care of and what you plan to be responsible for, don't assume anything.
Many weeks before your program begins you will be developing a set of materials that might include program notes, promotional flyers, posters, press packets, and advertising slicks, all with continuity of your festival/series title, style, and design. A simple and clean look works best because there is so much information to convey in print whether you're preparing for a single one-night screening, or a festival of thirty films and twenty programs over a ten-day period. It is essential that you prepare a calendar for the production of materials because deadlines become increasingly important as screening dates draw closer. If you're presenting a whole festival or series, you can produce and distribute individual flyers for upcoming screenings to your audience while they're waiting in line. If you receive a favorable review of an upcoming film, use it to create a flyer or blow it up and post it at your venue with an announcement that tickets are still available. Posters, lobby cards, photo stills, and previous reviews provided by distributors can also be used to create a display publicizing individual films at your venue. Don't forget to request as many promotional materials from the distributor as you can get; you can also research film catalogs or books for graphics or photo images. For older titles, you can find original ad graphics and reviews from bound volumes of New York Times Film Reviews at your local library; or check bound volumes of Variety (also at your local library) for original reviews. Online review sources include Movie Net, Movie Web, and the Internet Movie Database.
Depending on the size of your event you may want to produce a catalog or small program with descriptions, photos, dates, times, locations, ticket prices, and other information. Look at other film festival/series programs and publicity materials to get ideas. Design options include: a one-page insert in your local gay and lesbian newspaper (you can ask for an overrun so that you'll have extra copies for mailing and for giving to audiences at the venue); a small photocopied flyer or poster with your schedule on it; a fully designed and printed catalog. As always, think about your budget; and think about how you want your program to be distributed to reach your audience. Potential sponsors will want to know how widely distributed your program will be. Take some space in your program to thank all the people who helped with the event.
Mailings can be an extremely effective means of promotion. They are more cost effective than ads, and more reliable than news stories (because you are in control of your message). The goals of a mailing four to six weeks in advance of a program are: 1) general promotion and 2) advance ticket sales. Determining target-audiences can be a highly creative task. Send about half of your flyers to specially targeted gay and lesbian groups. You might target such groups as: gay and lesbian studies programs, student organizations, or HIV/AIDS support organizations. Depending on your festival/series program, the second half of the mailing can go to media groups such as local film societies, film studies departments at colleges, and museums and galleries with an interest in identity-based art or media presentation. Your mailing may be done by mailing houses or by volunteers after you have compiled or obtained the list you will use. Ask your post office about procedures for bulk mail permits (and try to use a nonprofit bulk mail permit to decrease your costs!). If this is your first time, give yourself time to learn what is involved.
The decision to take out paid display advertising will probably be based on your overall budget and should only be done to supplement your overall public relations campaign. You may first want to see if you can arrange an ad swap or a sponsorship arrangement to ensure maximum exposure. Quarter-page ads in the gay and lesbian press or alternative weeklies are good ideas; half-page ads in other local film festival catalogs are even better because you reach a more targeted movie-going audience. Specific ad placement on the upper-right-hand side of the page either in the entertainment section or toward the front of the paper is best. And don't forget about television and radio promotion (see below under Press Releases and Public Service Announcements (PSAs).
To ensure a solid financial base for your event you may want to pursue some business or corporate sponsorships. You might try for a "presenting sponsor" who would receive a very high profile in your materials in exchange for a cash or in-kind donation (this sponsor could be a newspaper that would print and distribute your festival catalogs, a liquor company that would offer a cash donation and provide free drinks for your opening party, or any company that wants to reach the gay and lesbian community). Other sponsor levels can be created in exchange for other donations: an individual "program sponsor" might sponsor a single screening for a smaller cash, food, or service donation; a number of "major sponsors" could be solicited underneath the "presenting sponsor." Be creative, and keep in mind what kind of image you want to convey about your festival -- too much corporate sponsorship can have a negative impact on the feel of your program. Be appreciative of your sponsors and acknowledge them publicly in your prefilm introductions. If you're showing any foreign films and videos you can also try approaching cultural consulates for sponsorships or assistance with film shipping.
This form of free promotion can be extremely effective. To benefit you must provide your press release and other information to organizations in time for the deadlines of their monthly or quarterly mailings. Suggested targets for newsletter promotion include gay and lesbian, HIV/AIDS, women's, and arts organizations.
Press releases and PSAs usually go out about three weeks prior to your opening to give you time for a follow-up call. Compile an accurate and up-to-date list of people working in the local media. Don't forget to include the alternative press and the major dailies, as well as your local public radio affiliate and public access cable channel. Press releases are preferred if they're typed on organizational letterhead with contact persons and phone numbers clearly visible at the top of the page. Brevity and clarity are essential. Develop contacts with specific arts writers at lesbian/gay and alternative newspapers. Be nice to them. Invite them to be on your festival guest list for screenings. Give them as much promotional material as possible (stills, press kits, posters).
Personalized letters to special interest organizations are another method of promotion and are often a good way to encourage advance group ticket sales to particular programs. The possibilities for community outreach parallel the issues raised in your individual films and videos: women's groups, senior centers, youth groups, HIV/AIDS service providers, lesbian and gay parenting groups, etc. With smaller groups, a phone call may be as effective as a letter.
Another way to ensure community involvement is to ask a specific group to "copresent" an individual film or video screening that is related to their constituency or area of interest. In exchange for lending their name to the program, the group will have an opportunity to distribute their literature at the screening and you may want to give them a few tickets for their staff or volunteers. You may also want to ask one of their staff to help introduce the program or participate in a postscreening discussion.
Media and Press: One week after you have sent out your press releases you will telephone to a) find out if they have received the mailing; b) explain again briefly the what, where, and when of your event; c) invite them to a press screening or ask them to view a preview videotape; d) ask if you can provide further materials such as press packets or photo stills; and e) ask for referrals to others who may be interested in covering the story. Community Groups: Likewise you will telephone to a) find out if they've received your letter; b) explain briefly the details of the event; c) ask if they're interested in advance-sale tickets at a discount for their group; and d) ask for referrals to others who may be interested. Theater/Space: In the week prior to your opening you will call to confirm all arrangements and verify the time and date of your screening, equipment needs, staffing, etc. Volunteers: Following up with volunteers is especially important. If a volunteer is supposed to be doing something at a certain time and place (taking tickets at the opening-night screening, helping cater the reception, flyering at an event, picking up a filmmaker from the airport, etc.) call to remind them the night before.
Determine from local theaters the usual hours and locations for press screenings in your community. Your screening, held sometime between two weeks and two days prior to your opening, is primarily for film critics and feature story writers, but it's common to also invite a few community leaders, possible speakers, and others who will generate "word of mouth" promotion through their networks. Try inviting the owner of your local gay bookstore, café or bar! Provide all critics and writers with a press packet that includes a summary, credit sheet, and past reviews of the specific film you are screening and of the other films in your series. It also helps to have photo stills available along with information about your organization. If the filmmaker is available for interviews (in person or by telephone) include this information in your press release and press packet, and also announce it when you introduce the press screening. Be sure to introduce yourself to all of the film critics and journalists who attend, impress upon them your appreciation of their coverage and your availability if they need any assistance or further information. Let them know any anecdotal information about the film or about the festival itself that might help add another angle to their coverage. Thank them for coming.
After the mailing goes out, your festival flyers and posters can be distributed and posted in visible places where your target audience regularly congregates such as: gay and lesbian and women's bookstores, gay and lesbian bars, cafés, restaurants, women's studies and gay and lesbian studies departments, etc.
You may want to make one person responsible for liaison with the media and possible interviews. It's critical that you know what you want to convey (and have practiced making it concise) before you sit down with your interviewer because more often than not the interviewer will not ask you the questions you're hoping for. Mention your concept, some individual films and videos by name and content, information about your organization, the date, time and place, and a telephone number where people can call to get more information. Handle the interview by expanding on the questions asked, or by asking and answering your own questions! If possible, try to arrange for press interviews with individual film/videomakers in addition to an interview with you about the program.
Ticket prices should generally reflect the comparable rates in your community. Consider selling a series pass at a discount and offering discounts for groups, seniors, and students. If you are selling advance tickets, mail-order forms should be available four weeks prior to your opening so that you have time to mail the tickets back to the buyer. For credit card orders that come in during the week prior to the opening tell the buyer the tickets will be held in their name at the box office. Phone reservations are NOT recommended as there is an unusually high percentage of no-shows for film screenings. Complimentary tickets are common for the press, speakers, and their guests, and a few others determined in advance at the sponsors' discretion.
Speakers can add an illuminating and entertaining element to your presentation. If a dialogue with the audience takes place you will have an especially dynamic and exciting event. Draw on local film/video makers and film critics or professors, gay and lesbian community leaders, and activists, as well as experts or academics in fields of interest touched by the film or video. The degree of formality may vary-a single speaker with handheld microphone is quite different from a panel discussion with chairs and a table. The most stimulating and enlightening dialogues take place when "controversial" personalities are invited to participate in forums. Or you may want to have a "question and answer" session between the audience and the film/video maker after your screening. Don't forget to make sure that your microphones, chairs, and stage lights are all in good working condition prior to your opening.
This is an optional event that can range from a small, quiet wine and cheese reception at a nearby home before the screening, to desserts and liqueurs at a neighborhood restaurant after the screening, to a light buffet in the theater lobby during intermission. Determine your budget, staff/volunteer support, and goals in order to shape the event. Do you want to create a small intimate setting to thank patrons, or a large bash in order to fund-raise and generate good public relations? Do you have the budget to design, print, and mail invitations, to order food and beverages, to pay for musicians? Do you have volunteers or friends who can solicit sponsor donations of wine and champagne, food and eating utensils, and flowers from local vendors? Who will prepare and clean up after the event? These are all things to consider before undertaking what can be an exciting way to open your event.
Evaluation of your program should incorporate audience feedback along with staff and volunteer analysis. You might want to have audience ballots available for people to offer their opinions on the films and videos and on the festival/series itself. Everyone who worked on the event should participate in a meeting to talk about any problems and issues that arose during the event. Putting on an event like this involves a lot of work; congratulate your staff and volunteers on their accomplishments, ask for their feedback, and incorporate it into your next event. What could be done differently next time? What went well this time? What improvements can be made in what areas? Cultivate your relationships with film/video makers and distributors by sending follow-up letters thanking them for their participation. Enclose a copy of your catalog or program as well as any reviews or mentions of their film or video. FYI: While many of the films listed here are available on video from your local video store, these videos are licensed for home use only. You may not legally screen them in a public venue under any circumstances (except for classroom use, in some cases). Even if you actually own a tape, you do not own public performance rights. And even if you don't charge admission, you may not legally exhibit a tape without public performance rights.
Information you should get for your files and for film ordering and publicity:
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