Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Welcome !

Enjoy the best of both worlds: Film & Festival News, exploring the best of the film festivals community.  

Launched in 1995, relentlessly connecting films to festivals, documenting and promoting festivals worldwide.

A brand new website will soon be available. Covid-19 is not helping, stay safe meanwhile.

For collaboration, editorial contributions, or publicity, please send us an email here

User login

|FRENCH VERSION|

RSS Feeds 

Martin Scorsese Masterclass in Cannes

 

 

Presenting the website

 

American Film Market Dailies


 AFM 2021 Online

Filmfestivals.com will be covering AFM 2021 running online November 1 -5  November, 2021 and hosting brainstorming networking  on film festival strategy at the AFM  Pavilion: networking from 10am   

Every Fall, the Global Film Industry Converges in Santa Monica: Filmmakers, producers, directors and writers from around the world come to AFM to gain exposure, discover new projects and make deals. The American Film Market & Conferences is the largest motion picture trade fair in the world. 

2021: November 1-5  I  2022: November 1 – 6  I  2023: October 31 - November 5  I  2024: November 5 – 10

Circulation of our newsletter 165 000 subscribers I Facebook AFM Photo Gallery I Twitter I Youtube videos

Our AFM Newsletters run each day with three bumper pre roll editions and a wrap edition:  

 

 


feed

AFM Distribution Conference Quotes: ‘Working with Sales Agents’

Douglas Mankoff, Producer and CEO Echo Lake Entertainment, David Lancaster, Producer and CEO of Rumble Films, Clay Epstein, President of Film Mode Entertainment, and Kathy Morgan, President of KMI Films

The AFM hosted the Distribution Conference, with topics entitled: ‘Working with Sales Agents’, and ‘The Future of VOD’.

Clay Epstein

David Lancaster

Producer, Rumble Films

David Lancaster, Producer and CEO of Rumble Films, and Douglas Mankoff

“The emotional connection and enthusiasm that you have for a property has to outweigh any sales agent - or anyone else - who will tell you that you can’t make it.”

“If you study each sales agent, you can arrive at a decision about who would be on your top list that you might chose for a particular project – sales agents have a certain brand to their work that would make them more susceptible to your project. Each one of them will then give you what they can perceive to be the value equation that you need to pursue and how you might want to put that together.”

 

“A lot of it is finding the material, and making sure you spend at least as much time looking for directors. The buyers are so much more sophisticated now than they used to be. They really do depend on the vision of what you’re going to do with the script. Having the right director that can sell the vision of the movie is critical not only for your sales agent but for your casting process.”

 

Douglas Mankoff

Producer, Echo Lake Entertainment

“Selling a completed film is harder than selling a film that’s not completed. And it’s a matter of finding who connects with the material.”

 

“[On Netflix and the global platforms] One possible lesson is to not pre-sale your movie so much. Another possible learning is to try to have a deal with some of your buyers where you can buy back the movie for some premium. But the buyers never want to hear that. So it’s a conundrum.”

 

Kathy Morgan

President, KMI Films

“Local product around the world is getting pretty darn good. People are making movies in their own countries for their own people. My business – the pre-sales business – it’s fun to sit there and convince someone that it’s going to be great. But the value of the film is execution dependent.”

 

“We like the pre-sale business. We like to get in early so we can influence the package in order to do our job. We look at 5 elements: I feel like in a way we are poker players. We show up and deal a hand. The first hand is the script genre – some work better than others internationally. It needs to be a script that will travel. Second card, very important, is the director. If you have that card and it’s an Ace, you don’t need any other card. Third card, which becomes challenging, the cast card. Internationally they are a little behind from what is hot here. But if you have an Ace, again, then you can get away with it being a different genre. Fourth card is the producer, the business card budget. The last card, which is a scary card, is U.S. distribution - what is the U.S. distribution plan. It has become such an issue recently with the day and date distribution.”

 

Links

The Bulletin Board

> The Bulletin Board Blog
> Partner festivals calling now
> Call for Entry Channel
> Film Showcase
>
 The Best for Fests

Meet our Fest Partners 

Following News

Interview with AFM Director

 

Interview with Cannes Marche du Film Director 

 

Interview with the Parasite director

Brad Pitt and Leonard Maltin Interviewed

Filmfestivals.com dailies live coverage from


> Live from India
> Live from LA
> IFFI Goa
> Beyond Borders
> Lost World Film Festival
> Locarno
> Toronto
> Venice
> San Sebastian
> BFI London

> Film Festival Days
> AFM
> Tallinn Black Nights 
> Red Sea International Film Festival

> Palm Springs Film Festival
> Kustendorf
> Rotterdam
> Sundance
Santa Barbara Film Festival SBIFF
> Berlin 
> Fantasporto
Amdocs
Houston WorldFest 
Cannes / Marche du film online

Useful links for the indies:

Big files transfer
> Celebrities / Headlines / News / Gossip
> Clients References
> Crowd Funding
> Deals

> Festivals Trailers Park
> Film Commissions 
> Film Schools
> Financing
> Independent Filmmaking
> Motion Picture Companies and Studios
> Movie Sites
> Movie Theatre Programs
> Music/Soundtracks 
> Posters and Collectibles
> Professional Resources
> Screenwriting
> Search Engines
> Self Distribution
> Search sites – Entertainment
> Short film
> Streaming Solutions
> Submit to festivals
> Videos, DVDs
> Web Magazines and TV

A question for Jennifer Aniston from Richard Hobert winner at SBIFF 2020 :

> Other resources

+ SUBSCRIBE to the weekly Newsletter
+ Connecting film to fest: Marketing & Promotion
Special offers and discounts
Festival Waiver service
 

User images

About American Film Market Dailies

WOLF Jonathan
(IFTA)

The AFM is not a festival - it is the largest motion picture market in the world. 8,000 industry attendees, including producers, distributors, directors, agents, writers, lawyers & bankers. Over 540 films screened, most world or U.S. premieres.

$US3 Billion spent annually by participants to produce films
8,000+ industry professionals
2,000+ new films and projects
1,000+ production companies
400+ distributors
540+ films screened
100+ world premiers 
70+ countries represented
50+ thought leaders speaking
7 days of networking activities
1 beachfront campus that covers it all

Our AFM Newsletters run each day with three bumper pre roll editions and a wrap edition:  

2019 Complete Coverage

2018 FULL HIT STORY TOLD IN 8 EPISODES

Pre roll newsletter N° 1 
Pre roll newsletter N° 2  
Opening Newsletter N°3 
N°4 (November 2) 
N°5 (November 3)

N°6 (November 4)  
N°7 (November 6) 
N°8 (November 8) Closing

AFM 2017 Wrap & global  I N°8 I N°7 I N°6 I N°5 I N°4 I  OPENING N°3 I  Preview N°2 I N°1

AFM 2016Pre roll N° 1 I Pre roll N° 2 Opening Newsletter N°3 I N°4 N°5 I N°6 Focus on ANIMATION  I N°7 I Final wrap
AFM 2015:   Newsletters N° 1 I N°2 I N°3 I N°4 I N°5 I N°6  N°7 I N°8N°9 I N°10
AFM 2014:   Newsletters  N°1 N°2 N°3 N°4 N°5 N°6 N°7 N°8

 


Santa Monica

United States



View my profile
Send me a message
gersbach.net