Abhorrent Submission

I just mailed out 4 more submissions to film festivals. That puts my total at 71 since December. Not all of these are ACCIDENTAL ART, some are RELATIONSHIP CARD going to the same festival, or sometimes even REFRACTORY, and in this rare care, it’s also UNCLE PETE’S PLAY TIME and HOW TO DEAL WITH TELEMARKETERS since this is for a comedy festival, but sending more than one movie increases the odds of getting something in the festivals.

I figured since I’m doing so many festival submissions, I thought I would share some basic tips, as I’m not an expert, so I can only give rudimentary advice, which I’m sure will piss off someone else in the local film community, but since when will it further my career to care about a high school mentality? My mindset is on a bigger playing field and I’m only interested in furthering my own career without having to step on anyone else to get there.

Why submit to film festivals? Most people have the dream of getting distribution for their feature film when a scout for a company that can release your film on DVD or even more rare in theaters sees it and cuts a deal, or even better you get a 3 picture deal at Columbia. This is the fantasy that CLERKS, SLACKER, RESERVIOR DOGS, ROGER & ME, EL MARIACHI, and BLAIR WITCH did to inspire the entire indie film movement. We all desire this, but the odds are stacked against us. It doesn’t look good. For me, I have a short film, so I’m merely hoping to get enough interest to help fund a low budget feature film continuing the story. The more laurel leaves I rack up, the more proof I have to investors that I am making something people want to see.

Most film festivals in Europe, Africa, and Asia are free to submit to. No entry fees to rack up, and knowing your movie has appeal in other cultures is a good thing. If I get into any of these foreign film festivals, I will use that as evidence to investors that the movies I write and direct have a universal appeal. Any OFFICIAL SELECTIONS I get from other countries just validate the cause. And they are free. A major secret tip, make sure on the CUSTOMS forms, you state that the value is $0 and that it is an “Artistic Sample of No Commercial Value” because in most countries, they charge a tax based on the value you wrote, so the film festival gets hit with charges if they accept the package. They tend NOT to, so your movie and submission will linger in postal hell in a foreign country.

Filmmakers on a different playing field use film festivals to network and market. It has replaced in some ways the limited theatrical runs at art house theaters that were booming in the 1990’s. Virtually every city has a few film festivals going at various times of year and the opportunities to get your movie seen on the big screen are increasing.

I include a nice mini-press kit. Color and Black & White stills from the movie, a 1 page filmmaker bio, and sometimes even press clippings; anything to set you apart from the herd. Of course it comes down to content, meaning a good movie, but even now there are a lot of good movies out there to compete with. The frills do add a special touch.



I’m not necessarily out to “win” anything, as in I am anti-competition. It’s more than enough to be an OFFICIAL SELECTION and get my movie played. The politics in winning awards and prizes bore me. I feel I can sell the idea of the movie without the wins and just the prestige of getting in. Someone else needs or wants the prizes, so they can have at it without ever worrying about me.

I submitted ACCIDENTAL ART to 3 of the top ten film festivals. I will walk on egg shells until mid-February to see if it got in to any of those. I have a festival strategy, but again my end goal is just in getting fuller financing for the feature length film, nothing more nothing less. If I don’t get in, that’s okay, as I have submitted to enough festivals I can expect more than a few to say yes.

I do feel this is a notable short film. If it does do well on the festival circuit, I wonder if some of these people who criticize me will finally let go of their prejudices or perhaps it will cause more jealousy. It is never my motivation, but it will be fascinating to see how it unfolds. Sadly, I believe more of my enemies read this blog than my friend

To my acolytes and enemies alike, I bid you adieu,
Peter John Ross

Leaving the Bastian of Festivities

I got a side freelance gig this week, which was nice because our work has slowed some. Of course, inside of 12 hours, I have spent a great deal of this money already. I have been submitting the new short Accidental Art to several film festivals, even some big ones.

Here’s a big secret admission. I have never submitted one of my movies to the big festivals ever before. I think I submitted Bitter Old Man to Sundance in 2001, but that was it. As much as I like many of the movies I’ve made, I never thought they were good enough to be accepted to the top ten festivals (or even top twenty fests for that matter). Even the most recent material like Uncle Pete’s Playtime and Relationship Card, I didn’t think would warrant attention on the big film festival circuit. Now with Accidental Art, I have a little more faith. It looks like a real movie, not just because of the RED ONE camera, but Greg Sabo’s skill as a DP.

First, I made 30 DVD’s of Accidental Art Wednesday. Then I compiled a list of free film festivals, most of which have deadlines within the next 2 weeks. I weighed out the odds and decided to submit to several of the top ten film fests with this movie. It’s about time I at least tried. It cost money at a time where I have other things and future projects would be better spent, but there is a method to this thought process. I had to burn another 2 discs to meet all the submissions.



Getting accepted and even playing at the big festivals is an award in and of itself. I’m not into the competitions or winning awards, but I never dislike it when it does happen, but it is NOT a motivating factor. I drive myself with my own needs to improve and be a more effective filmmaker. Being allegedly “better” than someone else doesn’t do anything for me, nor does less experienced or subjectively more talented than me cause me to want to kick your ass metaphorically with a movie. These things seem so petty, small, and uninteresting to me. I can’t get motivated by that. Some people do and there’s nothing wrong in that… FOR THEM. If a driving force for making a movie is to cause envy in others, then I feel greatly sad for you. It’s somewhat pathetic and belies emotional and mental issues that need addressing.



I am motivated by telling stories. Most people who speak with me get that dull look in their eyes as I start to spin a story that goes on endlessly, BUT they know I love to tell stories. I make a trip to the grocery store seem like Lawrence of Arabia, even though no one else agrees with my belief in its epic nature. I enter film festivals and try to get press not to feed the ego, but because it’s business. In order to tell bigger, more ambitious movies, that takes $ Money. In order to warrant getting money, you have to play in the bureaucratic sandbox to work and play well with others (that have money).
I want to make movies, but I am anchored by a sense of honor in that I don’t want to lose someone else’s money to do so. So many filmmakers are selfish and want to make their movie so bad that they cut corners or solely want to make an artistic expression, which is fine if they are paying for it themselves. When you work with other people’s money, there is a moral and ethical obligation to do whatever you can to help get return on the investment.

That means a business state of mind. Making a movie is art. The creation is birth to a unique artistic expression. Once it’s done though, you have a product to sell. In this age of digital filmmaking, EVERYONE’s a filmmaker and there are millions, soon to be billions of movies out there. How do you make your movies stand out?



Film Festivals are a great way to show that unbiased 3rd parties selected your film and decided to put it in front of a paying audience. That means it is indicative of how some people believed enough in your vision to add a monetary value. The more festivals that accept and play it demonstrate a potential that you have a movie that crosses market places, and is potentially more suitable to audiences preferences. That’s not rocket science to figure out.