Module 004 Flashcards
1
Q
What are some types of cinema events?
A
Award events / Film Season or Series / Film Society / Film Festival
2
Q
Who produces / organises cinema events?
A
Association / Limited Company / Charity or Foundation
3
Q
What are the potential benefits of having partnerships for a cinema event?
A
- Add credibility
- Funding
- Get extra information & advice that you don’t already have on your team
- in kind support
- Access to particular niche audiences
4
Q
What types of partners are there?
A
- Government and European Institutions
- Local Authorities
- Cultural institutes
- Venues
- Educational Establishments
- Community and voluntary sectors
- Charities
- Film Societies
- Film Commissions
- Press
- Broadcasters
- Retailers
…
5
Q
What kind of Film Festival Programmes are there?
A
- Festivals based on genre
- Festivals focused on a particular country or area in the world
- Festivals which take place with the location / city as a focal point
6
Q
What activities take place in order to organise a film festival?
A
- Planning Circle - Timing
- Scheduling & Booking (Relationship with distributors. filmmakers and talents)
- Print research
- Rights Holders Research
- Staffing
- Venues and licenses
- Insurance
- Touring
7
Q
What are some technical considerations for a film festival?
A
- Projection facilities and formats
- Aspect ratios
- Archive prints
- Silent films
- Digital projectors
- auditorium facilities
- storage of films
- print transportation
- outdoor screenings
8
Q
Why are Q&A’s important at film festivals?
A
- connection between filmmakers and audience
- attracting the audience
9
Q
What are some marketing objectives for a cinema event?
A
- To achieve X number of attendants (at least 50%)
- To achieve X result of press coverage, including paper, tv and web
- Providing a better understanding of a specific film culture (example: Spanish cinema)
-Attract first time attendees
10
Q
How do you brand a cinema event?
A
- The nature and ethos of the event (through logo and publicity material)
- Ensure every element of the marketing campaign reflects the brand and reinforce awareness (also educational, programme materials, staff-shirts, badges)
11
Q
How do you manage a cinema event’s campaign?
A
- set objectives
- Identify market segments / target audience
- work out lead times and deadlines involving all parties
- budget the campaign
- select methods of promotion (print, website, social media, advertising, direct mail, press plan)
- Organise distribution of printed materials
- monitor campaign’s success
12
Q
What are some examples of publicity materials?
A
- Brochure / Leaflet / Catalogue
- Images
- Design issues
13
Q
What do you need to give the press?
A
- good quality materials (images, clips, graphic works)
- Deadlines according to journalist’s needs (monthly, weekly, daily)
- Exclusive interviews
- press launch - press conference
- direct mail
- advertising
14
Q
What are some examples of cinema events that are not film festivals?
A
- Academy Awards (Oscars)
- British Academy of Film and Television Arts (BAFTA)
- The Céesar Award
- David di Dinatello awards
15
Q
What are different types of festivals?
A
- International Film Festival
- National Film Festival
- Genre-Specific Film festival
- Short Film Festivals
- Student Film Festivals
- Children’s and Youth Film festivals
- Environmental Film festivals
- Experimental and Avant-Garde Film Festival
- Regional and Local
- Virtual and Online
16
Q
Which are the BIG FIVE film festivals?
A
- Cannes
- Berlin
- Venice
- Toronto
- Sundance
17
Q
What are some benefits of cinema events?
A
- Exposure and Networking
- Critical Feedback and Validation
- Marketability and Distribution
- Cultural Exchange and Diversity
- Artistic Innovation and Experimentation
- Community Engagement ( a sense of community around cinema)
- Economic impact (attracting visitors, creation of jobs, support of local businesses)
18
Q
What is the significance of cinema events?
A
- Cinema Events and Film Festivals contribute to the continued growth and evolution of the film industry
- The adapt constantly to the changing landscape of cinema remaining a vital and dynamic force in the world of film
19
Q
When was the first edition of the Venice Film Festival?
A
- 1932
- at the time, cinema was 37 years old
- in the same year the book “Film all Kunst” was published by Rudolf Arnheim
20
Q
When was the first live television?
A
1962
21
Q
Who finances the Venice Film Festival?
A
- The Ministry of Culture
- In 2023, a significant portion was provided by the government with funding provided for the national Plan Complementary to the PNRR (National Recovery and Resilience Plan) for the redevelopment of the historic structures of the Lido of Venice
22
Q
What is the main headquarters of the Venice Film festival?
A
- Palazzo del Cinema
- It was built in record time and was inaugurated in 1937 for the 5th edition of the festival
23
Q
What are the objectives of the Rome Film Festival?
A
- the promotion of culture and italianness, the involvement of differentt audiences and young people, artistic innovation, environmental and economic sustainability
- Rome Film Festival was founded in 2006
24
Q
What is FIAPF?
A
International Federation of Film Producers Associations (created in 1933)
- It is one of the oldest trade organisations in the film and tv sector.
- Mandate: represent the economic, legal and regulatory interests common to film and TV production industries in all continents
- FIAPF publishes on a regular basis its Directory of Accredited Film Festivals, which sheds light on the latest statistics provided by the FIAPF festivals community.
- These figures give industry stakeholders a useful overview to define their distribution and promotion strategy. They also illustrate the hard work done by festivals to present, promote and defend films.
25
Q
What does a music supervisor do?
A
- Spotting Screenplay
- Research and Music selection
- Negotiation of Rights
- Working on recordings
A music supervisor oversees all the music of an audiovisual project from the early screenplay to the final mix
26
Q
What does “spotting a screenplay” mean?
A
- Identifying musical needs (diegetic): a character singing a song, a dancing scene in a disco, a live performance band …
- Initial Conceptualisation: the music supervisor begins to conceptualise the overall musical approach for the film. This may involve the use of existing songs, the creation of an original score or a combination of both
- Budgetary considerations: The Music Supervisorprovides insights into potential costs associated with licensing existing music or commissioning original compositions
27
Q
How do you research and select music?
A
- Through exploration: conduction research to identify musical tracks that align with the intednded tone an context of the film.
- Original vs Existing Compositions: depending on the film’s requirements, the Music Supervisor may decide etween existing compositions or collaborate eith composers or both of them. This decision is influenced by factors such as budget constraints, thematic coherence and the unique demands of the film
- Cultural sensetivity: Recognising the importance of cultural nuances, the Music Supervisor navigates various musical landscapes to ensure that the chosen soundtracks resonate with the film’s story
28
Q
What does negotiating rights as a music supervisor include?
A
- Clearence and licensing: The Music supervisor contacts the right holders, typically the music publisher and record labels, to obtain all authorisations in order to use that particular music in the project. This involves negotiating the terms , including the scope of usage, duration and territory.
- Budget Negotiation: According to the films’ music budget, the Music Supervisor negotiates the licencing fees that usually depend on factors such as the popularity of the song or the performing artist, the prominence of its placement in the film and the overall budget of the project
- Rights clearence: in order to synchronise a song with images, it is necessary to get the permission from both the copyright holder of the song (songwriter or publisher + record label)
- Contractual Agreements: The music supervisor drafts and finalises contracts that outline the terms of the licensing agreement, including payment details, usage restrictions and any other relevant terms
29
Q
What does working on recordings entail?
A
- Sometimes, music recordings are necessary on set (in a scene where a band plays, for example)
- There might be original songs in the movie
- As a music supervisor, you collaborate with and assist the composer for the original music score
- You’re managing the budget of the recordings
- Clearence and paperwork: ensuring all necessary paperwork and contracts are in order, before starting all recordings
30
Q
What are repertoire songs?
A
- Pre-existing music
- Can have a strong familiarity for the audience
- diegetic and non-diegetic music
- Non-exclusive for the film
31
Q
What is original music?
A
- music that is created for the film
- always extra-diegetic
32
Q
How does a music supervisor work with a director?
A
- Understanding the director’s vision: the music supervisor dedicates time to fully understand the director’s creative vision to ensure that the music seamlessly integrates into the narrative
- Brainstorming sessions: The music supervisor and the director explore musical ideas and discuss the emotional tones for key scenes
- **Flexibility in the creative process: **Is the music supervisor flexible and adaptable, readily open to changes or adjustments by the directors or producers?
The MS assists the director in choosing the right songs for the film.
