The Loud Whisper Takeover
Featuring interviews with actors, stunts, dancers, filmmakers, action movie directors, athletes, Krav Maga teachers, acting coaches, thriller cinema experts, and more.
Epic tales of changemakers, authentic personal stories, and top tips about the industry, the podcast is a treasure of knowledge helping storytellers of all kinds on their own journeys, and inspiring people to take action upon their own dreams.
Ever heard your inner voice getting louder and louder, urging you towards a new path? When our inner guidance starts to become so loud, we can no longer ignore it, and we MUST take action... This is often a time when life changes direction drastically. We are literally being called to take that leap of faith, make that phone call, write that script, make that film in other words, time to embrace our wildest dreams, shift gear, and grow exponentially.
Let's dive into the art of listening courageously to our inner compass. Because every one of us is destined to live a grand story and adventure while walking on planet Earth!
Headphones on, notebooks out, and buckle up!
Hosted by Cindy Claes (action actress, filmmaker, public speaker)
The Loud Whisper Takeover
31: How to Network at Film Festivals - A Survival Guide
Cindy Claes shares her strategy on how to build a network when attending film festivals. She is a Podcast host, Action Actress and Filmmaker.
She tried out different approaches recently, and went to four different film festivals. After some failures and successful connections, she shares her experience in details and offers practical top tips for making meaningful industry connections.
Don't just attend film festivals crossing fingers hoping to meet someone who will change your career - go with a clear strategy!
- How to select festivals?
- When to get your accreditation?
- How to navigate industry networking events?
- Business cards or Instagram?
- How to follow up after initial meeting?
- Creating value
- The Belgian Independent Film Network and WhatsApp group
- Networking as an actor versus as a filmmaker/director, differences?
- What are the do's and donts?
A special shout out to the BIFFF, International Toledo Action Film Festival, BSFF and BRIFF film festivals!
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Welcome to the Loud Whisper Takeover podcast. My name is Cindy Klaas, the host of this podcast. I'm an action actress, I'm a writer, I'm a filmmaker. I love telling stories in and through movement, because I've done some martial arts, I've done some combat sports, I have a dance background, so I want to tell stories that are in movement. But I also move the heart, the soul. I'm a storyteller that loves having her audience at the edge of their seats. So action movies, thrillers, sci-fis, you name it. This is my world.
Speaker 1:So today I want to talk about film festivals. Now, how do we navigate a film festival as an actor or as a writer-director that wants to make new contacts? I will not talk about having your film in the film festival circuit and attending the screening of your own film. I think that's a different topic and it's a very interesting topic because I'm going through that as well. But I just want to talk about those film festivals that we want to attend to expand our network, to expand our understanding of the industry, to make new contacts and to eventually make our next project happening. Often we just go to those film festivals especially in the beginning, you don't fully know how to navigate it unless you have an actual project that is being screened. You don't really know how long in advance you should be. You know booking your ticket, your accreditation, all the events that you should be attending and, especially when it's networking time, how the flip do you actually network? So I just went to four film festivals with a very different purpose, with a very different strategy, and I want to share with you the mistakes I made and also the little things I did that were incredibly successful, that were incredibly successful and that gave me way more confidence in taking the next steps for my next short film, feature film and series that I have in development at the moment.
Speaker 1:So let's start and let's dive in. First of all, how do we select which festival we would be going to and why would we go to that particular festival instead of another? Going to a film festival is a commitment. Now, this can be a commitment in regards to time and effort, because if you really really want to dive into it and make the most of it, you will need to spend a lot of time there and put a lot of energy in those networking events or other events that they have going on for industry people, or it can even require a financial investment. Let's say you want to go to Cannes. Well, it's going to cost a lot of money, so you better go with some sort of strategy, with some sort of purpose, and not just with your fingers crossed hoping that you will meet someone that will change your career right. So how do we select the festivals we're going to?
Speaker 1:I went to four festivals that I specifically selected for different reasons. Number one at the moment, even though I have lived in many different countries throughout my life, at the moment I'm based in Belgium life. At the moment I'm based in Belgium, near Brussels. So I thought Belgium and some key film festivals in Belgium have to be on my career map. Why? Because my next film, my next application for a grant, my next move in regards to finding some sort of fundings to make it happen will be in Belgium. So I really need to make contacts here locally.
Speaker 1:So I looked at Belgian festivals and there were three festivals that I decided to attend. So number one there was the BIF. B-i-f-f-f is the Brussels International Fantastic Film Festival. So it is a festival. There are feature films that are being screened, short films that are being screened. It's an international programming and it's really focused on horror movies, sci-fis, fantasy thrillers, horror movies, sci-fis, fantasy thrillers so it's really specifically for this kind of movies. In French they call it cinéma de genre, so it englobes all of these genres of movies.
Speaker 1:I decided to go there because, number one, it was a local festival, was a big festival, and also I had a role as an actress in a feature film, which also was kind of important in regards to my career path because it was nominated at the International Festival of Toronto. So the feature film is called Daniela Forever and I had a role. I had the role of Dr Van Brandt in this film and it was the first time that this movie was going to be screened in Belgium. So I thought that's an important event to go to. And also, number three, the third reason is this is a festival that is literally by and for people that are in the world of cinema that I love, which is thrillers, sci-fis, fantasies and so forth. Then the second festival that I decided to attend was the BSFF Brussels Short Film Festival. So that is a really big festival in Brussels and it's all about short films. So I thought, well, at the moment I'm making short films, I will probably make more of those, so let's go there. And also they had a huge amount of industry events happening.
Speaker 1:And then the third one in Brussels that I decided to attend was the BRIFF B-R-I-F-F Brussels International Film Festival, which is a festival that only selects feature films, also an international programming. All three have an international programming, but this one is really focused on feature films and that was a very different experience. Okay, and I will tell you about the different experiences I had, how I networked, how I failed, how I succeeded in all three, because I believe each festival really needs a different approach, and I will tell you why in a second. And then the fourth festival that I attended was near Madrid and that is called the International Toledo Expo Film Fest and that is a smaller film festival but it is specifically for action movies. So a lot of people, you know, decide to go to Cannes, which was kind of happening at the same time. For me, at the moment, I decide not to invest in an adventure to go to Cannes because, from all the feedback that I've heard, it's a very expensive adventure and it's very cutthroat, or, at least from what I hear, like people want to buy, sell, but the conversations need to be super productive and it's like a huge machine and I thought no, I am in the world of action movies, that's my passion, that's where my heart is, and it is a small festival in Madrid, but it's going to be so worthwhile because it is for and by action movie filmmakers and it was the best decision I ever made, and I will tell you why in a second as well.
Speaker 1:Film festivals in general especially if you go, you know, to advance your career, to expand your network, film festivals can be intimidating, and that had been my experience before is that I would go to film festivals without a strategy, just crossing my fingers, hoping that I would cross paths with someone, and then just like feeling very awkward and not being able to actually engage conversation, conversation or at least not with, you know, key people, with decision makers. Going solo is definitely harder than if you know at least one person. If you know at least one person, then things are way smoother. But even though you can still, you know, get over it. We will talk about what kind of things you can say, what kind of questions you can ask to get the ball rolling. But definitely, you know, bringing a close friend that is also in the industry, from the industry, can basically, you know, kick off the fire. You have fire in your belly, they have fire in their belly, and then all of a sudden you fuel each other with energy and the snowball effect can start.
Speaker 1:Let's talk about my first experience. So I went to the BEEF Brussels International Fantastic Film Festival, where I was an actress in a feature film that was being screened. Now it was a big festival I had never been. I heard a lot of positive things about it and I know why. Now the vibe at the festival is freaking phenomenal. A friend of mine, kind of you know, made me understand the difference between festivals that are really about audience development and festivals that are really about industry, and you know industry connections, and I would put this particular festival, the first one, in the category of audience development. And I'm not saying there were no industry events, I was just not aware of it and I didn't attend them because I had such a bad strategy going in. But it's definitely a festival that is all about bringing new films to an audience that already love it and that will celebrate it, no matter what Like.
Speaker 1:For example, there were a lot of thrillers, horror movies, and so there was a special code between audience members that whenever there is something that is happening, they scream so it almost feels like you are at a hip hop theater show, when you're actually in a dark room in a massive, you know movie theater watching a film. So, for example, when a door opens and in a very squeaky, a massive you know movie theater watching a film. So, for example, when a door opens and in a very squeaky way because something is about to happen, like people would say ooh, and then if there is blood, they would make another sound and everybody's ah, and so it's. It was like so much fun to just attend the screenings and go to it because there is like a vibe, it's really for the audience. So I believe, like if you probably are a filmmaker that want to build a fan base around your movie or your art form and your craft, this is the place to be, and there are probably festivals that are very similar to this.
Speaker 1:So I went in thinking, well, I'm an actress in a feature film with, you know, a well-known director, and I'm playing a nice role facing like a famous other actor, and this film won already like some awards and was nominated at the Toronto Film Festival. That's it. That's how I'm going in. Well, nothing happened, absolutely freaking nothing. I went to see the screening but obviously then when you get out it's not like everybody recognizes you because you really look different on screen and in real life, and then obviously people that are not at that screening, then the rest of the festival, nobody would know that I'm in it.
Speaker 1:I had absolutely no strategy. I didn't take the accreditation because I couldn't figure out if it would be helpful or not. The accreditation was expensive because I looked at it too late. So that's a very important point to get your accreditation for a festival, do it in advance, don't leave it at the last minute. You will pay way more. So if you want to get your accreditation and you should for the film festivals that you will select to go to and invest time and money in, do the accreditation in advance. The earlier you take your accreditation, the cheaper it is. I looked into the Beef Festival way too late.
Speaker 1:And then there was the second thing, which is oh my God, I'm alone. I'm too scared to go to the VIP bar alone. And, yeah, stupidly that stopped me. But that's okay, you know, notes taken, nobody recognized me. And so also another big thing is even though I was an actress in the movie, I had not been invited to see this movie. I had not been invited to see this movie, which I think it's a freaking shame, and that is probably due to my previous representation. So the agent with whom I was at the time and who also got me that job didn't really follow up what was happening with that movie.
Speaker 1:Afterwards, I was constantly on the internet trying to figure out what was happening with that movie. They didn't know nothing about it. I couldn't attend the first industry screening this movie had, which was in Spain and Barcelona. I couldn't attend it and so I felt I missed out. Then, now that it was being screened in Belgium, I thought, oh my God, I cannot miss it, and I even emailed the production. I told my agent, my agent also emailed the production, but obviously everything was so late. There was no answer, no response, and I feel I really missed out on an opportunity.
Speaker 1:A lot of festivals absolutely love to have one of the actors or something being present and apparently what I also heard afterwards is that normally an agent can already negotiate these things From the moment you sign the contract, from the moment you're in the movie. It can be put in the contract that you would be invited to the first screening or to some particular events or whatever. And I feel if I had had an agent at a time that would have stood by my side for me for these kind of things, this would not have happened and I would probably have taken way more out of this event than what happened now, which is nothing. And now I have a new agent and hopefully, you know, for any future jobs and projects, all of these things will be signed off in advance. So a lot of learnings there. It was a bit of a disappointment, even though I absolutely loved the festival and I will probably want to submit my films in the future. Next time I will take an accreditation and go to the VIP bar and not be scared of it, because I learned a lot in the next couple of events.
Speaker 1:So I then went to the BSFF Brussels Short Film Festival. So it's an international programming. 4,500 films were submitted for the festival. I actually had submitted my short film and I wasn't selected. But out of those 4,500 films submitted, they only selected about 100. So the competition was high. Once I knew that, my heart felt more at peace. I was like, okay, I've not been selected with my short film no pasa nada. It's okay, but let's make the most of this festival. So obviously, everybody is making shorts, doing shorts, wants to make a short film, and so I thought, okay, this is the perfect festival for me, but this time I need to be way more organized and put double effort in trying to expand my network.
Speaker 1:Just quickly putting this in context I am Belgian, I grew up in Belgium, but I lived 18 years abroad. I lived in London, paris, barcelona, madrid. I spent a lot of time in Jamaica. So really and truly, I've only been back in Belgium quite recently and I've been emerging myself in the Belgian film industry since last year, which is what like seven months or something. So my network on the Belgian scene is still very new. I'm still starting off. I'm still trying to figure out what is happening in the country where I'm from. So I'm going to the Brussels Short Film Festival Number one.
Speaker 1:I took my accreditation Super important. The earlier you take your accreditation, the cheaper it is. There are different tiers in accreditations as well. I would recommend don't go for the cheapest one. Usually the cheapest one allows you to go and see a lot of movies, which is amazing. But actually, when you go to these film festivals to go for the industry events, you barely have time to go and watch a movie I will talk about that in a second too but definitely take a tier that is more expensive but that also gets you in the professional networking events. For example, at this particular festival they called it professional cocktails. If you didn't have this particular accreditation, you couldn't get in. So that is super important. Having an accreditation is not only important to get you in in the right events and in order for you not to be stopped at the door that actually happened to one of my friends and I must say it's quite heartbreaking when you want to go in and network and at the door that actually happened to one of my friends and I must say it's quite heartbreaking. You know, when you want to go in and network and at the door they stop you because you have the wrong badge or the wrong accreditation. It's an awful feeling. So don't do that. Take the accreditation, that will get you in, but also, having a badge, people from the industry recognize you and if they want to know more about you or start a conversation with you, they can look at your badge. They can see your name and your title If you're an actor, a director, a writer, a producer, whatever and so it allows people from the industry to also recognize each other.
Speaker 1:A big top tip I would have is don't just drop in. Stay in when I say you need to commit. You gotta really commit if you want to make the most of it. I didn't just go to one day of the festival. I didn't just go to one professional cocktail. I think I went to like 90% of all industry events and professional cocktails and networking events there were at the festival.
Speaker 1:So what does that mean? Yes, yes, tiring, draining to some extent, like literally, I was not able to do anything else during that week. Because also, when you're in networking mode, you know like you have to be taking in information because you're meeting so many new people, you're having to, you know, share about your projects and so in a way, you're kind of pitching yourself, your work and your vision all the time. So when you get home you're tired. So I would say, number one commit. Don't drop in just for one day. Stay in, be ready to put all the energy in and be ready to sleep when you go home. What it also means of staying in is that you start seeing the same faces again and again. So there is familiarity that starts building relationships. You know, from one day to the other, all of a sudden I had one more friend, two more friends, three more friends. People remembered me, I remembered them and all of a sudden a casual chat is actually turned into a very meaningful conversation and sometimes a powerful connection. So put the energy in, put the time in when you really say I want to go and attend that festival, know why you're going and then go full in.
Speaker 1:So during the day, this festival had several industry events. They had masterclasses for writers and directors. They had networking events where freelancers like me were able to meet organizations that either give fundings or support artists or fight for the rights of artists, for intellectual property. You were able to meet a couple of production companies as well. So during the day there was a whole bunch of industry events, right From masterclasses to speed dating to panel discussions. I attended all of them. Then in the evenings, there were professional cocktail events. What happened is, of course, I had met one or two or three or four people, and now the professional cocktail events were way less intimidating because the people I had seen during the day. I now saw them at the professional cocktail events, and that included peer artists filmmakers, directors, writers, actors, as well as decision makers. So what I mean by that is people that were at the head of funding organizations, people that had production companies. I saw them at the professional cocktail events. We recognized each other's faces, familiar, and you start to know more people, and that's where you're able to get over this challenge of being alone way faster.
Speaker 1:Business cards Business cards are back, so I had prepared these beautiful QR codes on my phone. It was ready to be scanned. It looked like super neat, super smart. It's an app and you do like your business card on your phone. People have to scan it and then all of your contact details are saved into their phone. You know what it doesn't work, and why it doesn't work is that you are in an environment that is buzzing and everybody is fast. Some conversations can take longer, of course, but you want to have as many conversations as possible with other people, and other people are exactly the same, so nobody has the time to take out their phone and start scanning your QR code. Most people don't even know how to save it into their phone, and then it becomes a mess and then they give up and then another person just drops by and say hey, how are you doing, jonathan? I haven't seen you for a long time, and that's it. Jonathan is gone. He started another conversation with somebody else.
Speaker 1:So immediately after that festival, I printed business cards again and they are way better. They're there in my pocket. When I'm talking to someone, even if we are being interrupted by somebody else, I can give my business card. One of my friends told me yeah, but business cards, people are losing it. That is true, but your job, my job, is not to lose their business card. They can lose your business card, but your job, your responsibility, is to not lose their business card. And that's exactly what I did. Right, I've been tracking my connections. I literally went home and I started an Excel sheet and I put down the name of the person, who they were, what they did, and I made a little note of how we met. Did we meet in the bar? Was there one little thing in our conversation that was memorable? So whenever I go home, I've been tracking my connections. They are in an Excel sheet and that's it. Their business card has been logged into my system. They can forget my business card, throw it in the bin if they want to. I can now follow up with that contact. A little tip as well with Instagram.
Speaker 1:Instagram works really well. You always have I'm going to call them the weirdos, and I don't want to be dismissive towards people that don't have Instagram. I think if you're not on Instagram, it's freaking fantastic. I think there is a freedom you have in your life that people on Instagram don't have, such as me. But I think what I love with Instagram is it gives the possibility to stay in contact with a person over a period of time, and then you see what they're up to, and then you see updates. Same thing for you. You are showing updates about what you're up to, who you are. It's a way of showing others not just that you're busy with projects. People also get to see what your values are, what you stand for as a human being, what your art is trying to express, and so I feel Instagram, in that way, is a fantastic way to keep in touch in the long term, what I did with Instagram.
Speaker 1:A lot of people are on Instagram. Only a few weren't, but so I started following them. They started following me. That's the only time people would take out their phone is actually to follow each other on Instagram and not for this QR code business card thing that becomes a confusing thing. Instagram is quick. Who are you Click, follow, follow done? What I did is I followed them on Instagram and I took a screenshot and then, once I got home, I send them a DM, a direct message, to say, hey, it was great to meet you at the festival and talk about this. I hope we'll keep in touch. You know, maybe I'll see you at one of the screenings later in the week or something, but so what does that do? Is now we level up this connection on Instagram and also there is an Instagram track record, if I can say so, where I say the name of the person, because obviously some people have nicknames. So, hey, stefan, it was great to talk about your movie blah, blah, blah, and so I remember his name is Stefan, in case on Instagram it's another name. I remember what we talked about and I remember where we met. Obviously, I will also log them in my Excel spreadsheet, but it's another way of also making sure that we continue the connection on Instagram afterwards.
Speaker 1:And yes, I know some people are going to say, oh, my God, it's too much work. Well, yes, it's work, but that's what networking is for right. It's not just to say, oh, nice to meet you, nice to meet you, hi Marie, hi Anne, hi Julie, and then forget about it, because then you've actually wasted your time. You went to these festivals, you went to these networking events to have contacts, but, like any relationship, you need to put some work in it to make it work. And also, you don't become collaborators just by meeting once for five minutes at a film festival. It's something that will nurture over time. So these people are potential future collaborators, co-creators, future allies. So don't let these moments slip away. And yeah, take an extra two hours to have an Excel sheet or whatever works for you, or a follow-up email or whatever, but to make sure that it's not lost In these professional cocktails, you have basically an open bar, so people can.
Speaker 1:It's only for an hour or two. It's open bar and it's a VIP area, so only people of the industry that are invited can go in. It's very difficult to make the first move. So I'm going to give you a couple of top tips that I've been using so as much as you are hoping to make new connections, also the connector, because people appreciate it, and I will tell you afterwards how. I created a new whatsapp group for Belgian filmmakers. I have been a connector and I truly believe people have appreciated that effort. But they also appreciate when you say, hey, this is Stefan, or this is Jonathan or this is Marie, and they do this, and then the domino effect can go for them, and then they start a domino effect for you.
Speaker 1:Then people always forget other people's first names because they get to know so many people in an event. They always forget that Cindy. But then what I would do is I'm like yeah, cindy, cindy Crawford. Even though I have nothing to do with Cindy Crawford aesthetically speaking or like the fact that she's a model, the fact that she had long hair, like we have nothing to do with each other, but Cindy Crawford is now like a tiny reminder for them. Oh, yeah, that's Cindy.
Speaker 1:You know like often when you're in a theater class, there is like an icebreaker game where you have to introduce yourself with your name plus an adjective, for example like Pretty Janine, right, and then you do a move Pretty Janine. And then everybody follows Pretty Janine. But now you remember that she's Pretty Janine, with the move, and it kind of helps you memorize their name. So I'm doing it to myself. When people meet me, cindy, what's your name again? Cindy, cindy Crawford All of a sudden it kind of implements, it puts a seed in their mind oh yeah, I cannot forget that for next time.
Speaker 1:Also, I am forgetting people's names, but the thing that I try to do is never feel guilty for forgetting their names. I try to very quickly if I see them for the second time or a third time. Hey, excuse me, I forgot on your name. What's your name again? Oh yeah, because if we are going to talk five times, if we're going to meet each other at five different events and I still can't remember the name of the person is awkward. If I ask for their name the second time I see them or the third time I see them, it's less awkward. Also, my Excel sheet I put it in oh yeah, this person had a nose piercing or was really tall or something. So that just helps me to just remember who they were.
Speaker 1:But never feel bad to say, hey, what's your name again? Oh, can you remember how we met? Because just the fact that you remember them, I know your face. People already feel acknowledged. People are like, oh yeah, at least I'm not an anonymous in the crowd. When people tell me oh, I know your face, we've met before, haven't we? I'm already happy. I'm like, okay, at least I'm being noticed. Now it's just that we still have to develop a relationship. And also, people appreciate it when you ask their name again, because they realize you don't want them to remain anonymous, you want to build a relationship with them. So yeah, I encourage you, just ask it. They will never take it wrongly, especially in those high intensity networking events where people are just meeting so many people, they forget everybody's name.
Speaker 1:Now, at this particular festival, the BSFF, I went to so many industry events. I barely had the time to watch any movies because I was so busy with all the rest of it. Busy with all the rest of it. The thing is that going to films is important because then you're going to meet peer artists and obviously it gives you a topic of conversation. It is not always easy, but I will tell you about other festivals where I watched way more movies and this led to just very different conversations.
Speaker 1:So, going back to the Brussels Short Film Festival, one of the things that it gave me was a huge amount of self-confidence. I had an idea for a film, the story was clear in my head, but I was very unclear on what the next steps were in Belgium to make it happen. And I kid you not because of the masterclasses, because of the networking, because I've been speaking to producers, because I've been speaking to other filmmakers seven days later I had written the pitch, I had shaped the treatment and I was actually ready to send it off to a pitch from another festival and I was able to submit it. You know. So since then, like literally seven days after that festival, I was able to start contacting production companies. I was sending it off to grant opportunities, to pitching opportunities. I'm still busy with it. Probably my pitching still needs a bit of shaping, but the thing is I found the confidence and I found, okay, this is where people are going, that's how they are contacting each other. This is like how the industry works, specifically in Belgium, specifically in this country, because it doesn't work the same way in different countries, because I've worked in the UK, I've worked in Spain, and even the ways of thinking, the way that you talk to people is different I've worked in Spain and even the ways of thinking, the way that you talk to people is different, so it gave me a huge amount of self-confidence. In other words, there was momentum. Now, another thing that I'm super proud of like I said, I've been in Belgium for what?
Speaker 1:Seven months, at the time of recording, and I found it very difficult so far to network. I realized the Dutch-speaking people didn't really know the French-speaking people and vice versa. Actors knew each other, directors knew each other, the technical teams knew each other, but in between them there was a lack of communication. So I thought you know what? I'm going to set up a WhatsApp group. Why a WhatsApp group? When I lived in Barcelona, a couple of people started a WhatsApp group a few years ago, and right now there are a thousand people on this WhatsApp group. It's called the BCN Filmmakers Group and obviously a thousand people making film have a ton amount of things to share, so there's always the casting being shared. I have to clarify. I have to clarify. So this WhatsApp group is for actors, directors, makeup artists, composers, sound people, cameramen, dops, anybody that is working in the world of film. So in Barcelona, this group is just on fire. Everybody's always looking for somebody to collaborate, so it's buzzing. So I thought, you know what, let me start a WhatsApp group. So I started the Belgian Independent Film Network WhatsApp group. A couple of weeks later, we are now 90, almost 99, zero members in this group, and I'm super, super proud for somebody that didn't know many people you know having been able to build that network, and I'm really looking forward for it to grow and see how we can support each other and just make more films happen, whether we have fundings or no fundings, just make it happen.
Speaker 1:And then I went to the International Toledo Action Film Festival International Toledo Action Film Festival organized by Nacho Serapio, and that was near Madrid. So I went to that festival because it was focused on action movies. I knew it was a small festival. I knew it was not going to be like the other film festivals that I attended in Belgium. It was not going to be Cannes either. It was just going to be four people that love action movies.
Speaker 1:I also had a friend of mine called George Caraga. He has LK Stunts, a stunt company in Madrid, and I knew he was also going to be screening a feature film he was a part of, and so I was just excited to see his work as well, I also wanted to see if, eventually, the short film I'm working on now or any future films that I'm working on, if they would be a good fit for this festival. So I went and two of my friends from Barcelona were like, oh my God, let's go together. And I was like, oh my God, yes. So my dear friend John and my dear friend Simon, who both have been on the podcast, came with me and again. Obviously, when you don't go alone, it's a buzz.
Speaker 1:So what happened in this very small festival is I was able to watch way more movies in this festival, way more movies in this festival. I actually only did that watch movies because there were not a huge amount of industry events Like there was. Well, there was an event on tax shelter, so it was more about financing. And then there was a day of workshops about screen fighting and how to fight for the camera, and that was freaking amazing. And then they were just screening a ton of movies, a lot of short films, a couple of feature films, and it was in a very small cinema, but it was amazing to just watch independent action filmmakers do their thing.
Speaker 1:This actually allowed to have way more artistic conversations with all the people afterwards because you just saw their film and then it was really easy to talk to them because it was such a small event. So there were actors, filmmakers, people that just have that fire in their belly to just to make it happen, because also in the world of action films it's not easy to find the financing, and so a lot of these people just say you know what F this? We're going to make it happen anyway. And so there is a real sense of initiative, a real sense of entrepreneurialism, which is super inspiring to watch. We talked about the craft, about what makes an action scene a good action scene, all of that kind of things, and that was great. And then, as an actress, I was able to also show my skills during the workshops, because I did all the fighting workshops and that was an opportunity for me to actually show what I can do.
Speaker 1:A little surprise was Nacho. So the organizer of the event gave me an award and it was really a symbolic award, but I actually got a little award to take home because he was so touched by the fact that I made it all the way from Belgium to his festival. He was really touched and he wanted to give me an award for my dedication to the craft and my passion for the making of action movies. Because, even though the festival is international and they screen international movies, I guess filmmakers would travel to see their films screened. International filmmakers would travel to see their films screened. International filmmakers would travel to see their films screened, but not that many people would travel from abroad just to be a part of the audience, just to just feel the vibes and celebrate people's work. And it felt so rewarding, I felt so honored, I felt so touched by the fact that, like I felt, nacho saw me, somebody saw me, somebody saw my passion, my energy, my craziness, you know, for researching. So I felt, even though this award was very symbolic, I felt extremely touched. It's now in my living room and I look at it every day and it just makes me smile.
Speaker 1:So obviously, so far I've been talking a lot about me as a writer, director and how I made connections, and I've been talking a little bit about me as an actress. And it's important to make the difference, because the conversations we have as actors and the conversations we have as somebody that carries a project and is a go-getter to make it happen, these are different conversations. At the first festival that I went to, the Beef. I went there because I was an actress on screen and I had zero strategy. This is also the reason why I didn't get anything out of it. It was a failure because I had no strategy. However, I met an actor or two that I then saw in the other festivals and that helped the ball.
Speaker 1:Going to make other connections At the BSFF, the short film festival, I didn't really make any connections as an actress Because, in regards to the industry events, the industry events were really focused on makers, people that were writing, people that were directing, but it was not so focused on actors. The third festival so the one in Madrid, because I came in as an artist, with all the hats that I'm wearing, I was able to have different conversations with different people and obviously get excited about the fact that we might work together one day and maybe work with me as an actress as well. Obviously, it's not like somebody had written a script ready to cast me there, but there was an openness for these conversations because it was a small festival and because it was really an artist to artist kind of connection that was being made, Whereas in the Brussels Short Festival it was more of a writer-director connecting to organizations, connecting to production companies. There was no space for the actress in me to really network, even though people know that I'm an actress and people know about it, but I'm not sure that that is what really landed in the conversations. However, there was the last festival I want to talk about. However, there was the last festival I want to talk about and that again brought more understanding to how to network and how to navigate these events, both as an actress and as a filmmaker. So the last event I went to so all of these festivals I did that within a space of two months, right, so it's been festival intensive. So the brief Brussels International Film Festival this particular festival is in Brussels, but they only select and screen feature films.
Speaker 1:I took my accreditation way in advance so that I would pay cheaper for it. And also, what I learned from the other festivals is all their industry events, aka masterclasses, pitching events, opportunities to talk about your work, whatever it was, roundtable conversations, all these events. You have to look at their website in advance because there is nothing on the website and then all of a sudden, poof, they announce one out of the ten opportunities that there will be happening, but if you don't register straight in advance, you will actually miss out Because it will be booked out, sold out. So, for example, there was another festival where I just applied for a writer's residency. They gave grants to female writers who have a concept and mentoring, but this festival is happening in one, two, three, four months, so four months in advance. They've put it on the website, but the deadline was yesterday.
Speaker 1:If you don't look at these websites in advance, and both for your accreditation to pay less and for all the industry opportunities, you're gonna miss out. So select the festivals where you want to go to way in advance and really look at their website regularly, because a lot of festivals are run by well, not run by but a lot of volunteers are working on it. So sometimes the updates are slow, or sometimes the communication is a bit last minute or not last minute, or they announce one event but not the nine others, and sometimes things are announced two days before the festival is opening. You need to really be on it and I feel the first festival I didn't do that and I missed out on a lot. So brief, I was like, okay, I was checking their website every single day and I was like I'm not going to miss out on anything. And that's what I did. I got a spot in every single masterclass, in every single industry event. I went to the professional cocktails again. I met way less producers and the professional cocktails were not as busy as the short film festival. I don't know why. I have no idea why, but this is my explanation and my take on it.
Speaker 1:I believe that the Brussels short film festival there is a huge amount of people that want to create shorts, make shorts because you want to build a large CV and portfolio of short films before asking for money for a feature film, because it will give you more chances Once you start making feature films. That's another playground and I feel all the people in Brussels, at least all the production companies that are playing at that level, they probably all know each other already. So is it really useful for them to come to the professional cocktails? I don't know. There are way less films that are being screened, because obviously it's a festival that only screens feature films. So a film is an hour and a half long, whereas before, in an hour and a half, you could see five or six short films. So there are less people, less industry people maybe attending, and so these professional cocktails. There were still people to meet, but less production companies and, generally speaking, the VIP area was not as busy Doesn't mean it wasn't interesting, just less busy.
Speaker 1:The masterclasses that they were organizing and all the other pitching events and so forth at this particular festival was way more selective. So, as I said, these industry events get sold out or get booked up, but for the brief you sometimes also had to apply for it to be selected. So, for example, I sent in my pitch for my feature film and I was not selected to pitch. I then learned that they received 98 proposals and they only selected seven. So that kind of put my heart at peace. I was like, okay, 98 people submitted, only seven got through. It's all right, we'll be for the next time. But all the people that had submitted a film or a proposal were invited to a masterclass around pitching and we could also be a witness to the seven people that were pitching to see how they would pitch their idea publicly, which is it's a privilege, it's an honor, and also you learn a lot from watching other people pitch.
Speaker 1:Another thing that they organized was the casting process in a multilingual production. So we could either apply as a director either apply as an actor. I decided for that particular one to apply as an actress, and we had to minimum speak two languages. So I applied I speak four languages and they selected six actors and three directors. I was selected as an actress and it was two days of the exploration of a multilingual script. So there was a creative process with the director, a creative process for actors about why would we use this language instead of the other or why would we switch languages. And then casting directors were invited to be a part of the conversation table because we, over those two days, we had been filming as well, and so we we projected it for a very small crowd and casting directors were there to talk about it. So as actors, we also had access to those casting directors, but it was a very selected group. Yeah, we were only nine in that masterclass right for two days.
Speaker 1:So here, for example, at this particular festival, there was a specific activity that was open to actors and casting directors were invited. So here, at this particular festival, as an actress, I feel, yeah, I've been able to show my talent. Some directors have been seeing my talent. I was able to do my thing as an actress. I've been able to show it to some casting directors, and so if there are opportunities like that, definitely it's easier to network as an actor, but the festival needs to open up these kind of opportunities, right.
Speaker 1:However, I know as actors it is really difficult to network. I kind of network with my different hats, but I would say I always say that I am an actress and that I am in the world of action movies. I think it's all about expectations. I think when you network as an actor, don't expect people to be like oh my God, I was looking for your profile right now. That very rarely happens, you know, whereas when you are carrying a project as a writer or director, you're ready to come in, ready to eventually collaborate. It's going to be a long-term thing, we know it, and so it's about managing expectations really.
Speaker 1:But then also it's about okay, what can I put on the table as a human being to contribute to society? So, for example, for me or for any other artist, really, we all know, sometimes we're busy with projects, sometimes we're not busy with projects, sometimes we have no work. Sometimes we're not busy with projects. Sometimes we have no work, sometimes we have a lot of work. Sometimes we can talk about what we're up to and sometimes we're just hiding that we're up to nothing. But I think one of the things, for example, that opens up conversations for me is, for example, the podcast. The podcast is a way for me to have guests to talk about certain topics, to share knowledge, and also when I'm networking as an actress, as a filmmaker, sometimes I meet somebody interesting and I'm like hey, do you want to be a guest on my podcast? You have something really interesting to say here. So that is also me contributing to society if we zoom out, and this can also open up conversations. Society if we zoom out, and this can also open up conversations.
Speaker 1:The fact that I have started a WhatsApp group just for Belgian people that are in film to start supporting each other. People are excited about it, a way to open up conversations. I give you an example. So I met somebody at the festival. The person at the festival talks to me about a filmmaker that's interesting, that I should follow on Instagram. I follow this person on Instagram. I see that he's working with three, four, five actors or whatever. Start following these actors, one of those actors. So imagine, already like the chain right.
Speaker 1:One of these actors sees on my Instagram that I have this Belgian independent film network. He DMs me about it and I'm like, yeah, I'll add you to the WhatsApp group, whatnot. And then all of a sudden he's like you know what I'm actually casting for a project right now? You kind of have the profile. Can I submit to you, would you be interested? And I'm like, oh my God, yes, because I read the synopsis. It looks like freaking amazing. It's totally up my street. So you see, like a one little thing can have a huge domino effect. So also ask yourself if you are not the one that is making a project happen. If you are an actor, don't just be in a waiting position as in I'm just waiting for somebody to offer me a job. It's like how can you bring something to the table? I think that also helps a lot when we are networking.
Speaker 1:I'm sure I could still say another thousand things, but I hope that sharing my experience gives you already some detailed top tips of how to navigate festivals as an actor, actress or filmmaker, when you have no project that is being screened but you literally go hoping to open up more doors for yourself. So remember, select your festivals in advance. Look at their website in advance, take your accreditations in advance, check if it's an audience developing kind of festival or if it's really an industry focused kind of festival. Always go with some sort of strategy. Go with your business cards, be ready to, you know, screenshot people's instagrams, put a little bit of effort in it afterwards, log all your new connections in an excel sheet or whatever else works for you. The follow-up is as important as making the initial connection and obviously, let me know if you enjoyed this episode. I love receiving feedback. I love hearing when it's helping people Share about the Loud Whisper Takeover podcast with your peers and I will hear you or see you in the next episode.
