1. We encourage features to team up with their accompanying shorts for publicity and other purposes: you'll be able to cover more ground to get people into your screenings.
   
   
2. We encourage you to watch one anothers' films, particularly daytime screenings which don't always sell out (when there are spare seats, Slamdance filmmakers will be allowed in free of charge).
   
   
3. Be sure to swap contact information with your fellow filmmakers. These contacts will serve you well as you continue on the festival and distribution circuits.
   
   
4. We encourage you to contact your fellow filmmakers prior to the festival. Please call the office for phone numbers, or we may have them up on our website at www.slamdance.com. (or we'll have the list attached to this letter)
   
   
5. We also encourage you to contact Slamdance alumni and get tips on how to work the festival. Call us for phone numbers of alumni (or check the website).
   
   
6. If you have any extra accomodation space, please let us know so we can pass this information on to other filmmakers who are still looking for places to stay.
   
   
7. We'll probably be having at least one filmmakers' get-together in Los Angeles prior to the festival. Stay in touch with the office to find out more about this. If there's a critical mass of festival participants in New York, Munich, Omaha or any other city, we'll try to set something up there as well.

1. A Slamdance person (usually co-founder-at-large Dan Mirvish or projectionist/jury coordinator Gabe Wardell) will make a brief intro and update of any new announcements. He'll introduce the director of the short film, show the short, then do a brief Q & A with the short director. Dan will then introduce the feature director, run the film and do a Q & A for the feature. While it's best to save most comments for the end, be prepared if you want to say an introduction.
   
   
2. Some programs may have two short shorts running before the feature, so we'll probably do the Q-and-A's in between them.
   
   
3. For the question-and-answer sessions, if the directors want to invite their teams up with them, or just introduce them, that's their call. Try to be prepared for clever quips and anecdotes about your struggles in making your film. Tell Dan if he needs to feed you a straight line. Also, decide ahead of time if and what to tell people what your budget is, since this is probably the most commonly asked question.
   
   
4. If you've got any special concerns or needs about seating or introductions or the Q-and-A, please let Dan know before your screening.

1. At the beginning of the screening, the directors/producers should be on hand in or near the projection booth to help adjust framing and volume. You might want to set up a relay system with one person in the booth and one in the screening room.
   
   
2. Once the screening created, filmmakers shouldn't stray too far away: In case of a film break, or other major problem, you may be needed in the projection booth, or you may want to tell a few jokes to the waiting audience. Hopefully this won't be necessary, but don't panic if it does.
   
   
3. Be patient with the projectionists. This year we've got four guys who will be rotating projection duties. They're all really cool, and you should definitely get to know them. Oh, and one of the projectionists, Gabe, is one of the jurors. Don't piss him off. (By the way, Skizz and projectionist Gabe both program for other film festivals - so be especially nice to them.)
   
   
4. Make sure your can/s (or videotapes) are labeled clearly - preferably with your screening times and dates on them as well. Please include aspect ratio and sound information (mono, Dolby A, Ultrastereo or Dolby SR - sorry, no SDDS available). Make sure you know which sound system you have.
   
   
5. Make sure all reels are labeled correctly, heads out.
   
   
6. When you get to the festival, check your film in with Henry Turner. Films will be kept in a locked room at the hotel until the day of their screening, and then moved to the projection booth.
   
   
7. You are ultimately responsible for making sure your print is in the projection booth on the day of your screening - it never hurts to keep an eye on it, and discuss any special needs with the projectionists early on the day of your screening.
   
   
8. Unfortunately, we can not be held responsible for print damage.
   
   
9. If at all possible, you should hand carry your film print to Park City. Mail and delivery services are unreliable during the crush of the film festivals. Remember, "UPS" is just another way of spelling "oops." And yes, even Fed-Ex gets swamped during the festival, and prints can arrive two days late (this happened to a film three years ago). If you're not carrying the print to Park City, make sure you let us know well in advance how it's getting there, or who's bringing it. You should also be sure to bring a back-up 1/2" VHS clearly labeled as "Projection Backup" - this applies to both competition films and lounge films.

1. Advance Work: Send fliers, e-mails, faxes, phone calls to targeted groups of distributors, press, agents, festival programmers, etc. as soon as you know your screening times. Don't be shy about calling acquisitions execs - it's their job to come to your screenings. On advance material in particular, we stongly encourage you to refer people to www.slamdance.com - even if you've got your own website too. Don't just assume that everyone you send your info to will know the ins and outs of attending Slamdance.
   
   
2. Web: By Jan. 1, we should have the new Slamdance 2000 website up and operational with individual pages for each film. If you've got your own website, or a website for your film, make sure we get that URL and we'll do a link from your festival page. Likewise, if you've got your own page, make sure you do a link back to slamdance.com
   
   
3. Business Cards: Should have local Park City contact information on them as well as permanent contact information. Make sure to put the name of your film on your business card, and maybe some of your artwork. Be sure to include e-mail or website. You should have at least a couple hundred business cards, which can easily be made at Kinko's.
   
   
4. Posters: There's a limited number of places to stick posters or fliers on walls or other surfaces around town. This year, we'll probably have two specifically designated bulletin boards for Slamdance: One outside TMI, and the other at Bad Ass Coffee at the bottom of Main Street. We'll also put up posters for each day's screenings in glass cases facing Main Street outside TMI. There are several businesses along Main Street in Park City that do let filmmakers put posters up, but be sure to ask them first. Try not to cover over other Slamdance posters, or even Sundance posters (unless that particular screening has already happened). In general, though, you don't need to spend a lot of money on posters.
   
   
5. Fliers: Fliering is one of the most effective means to get people into your screenings. Here are a few tips you might want to consider: - They don't have to be big and fancy (legal-size copies cut in fourths are the most economical and they fit nicely into coat pockets) - they're as much an excuse to meet people face-to-face as to actually give them a piece of paper.
   
   
6. It's a good idea for features to double up with their accompanying shorts and have both teams pass out the same or similar fliers. For Lounge Screenings, you might want to team up with all the filmmakers in your program and do one joint flier or other promotional material.
   
   
7. Fliers should include complete contact information for you and/or whomever is representing your film, both in Park City and in your home office. Traditionally these pieces include a striking piece of artwork, some critics' quotes, key cast and crew credits (especially if there is someone well-known in your film) and a brief synopsis or catchy tag line. List all of your screening times and dates at Slamdance. Be sure to mention that Slamdance is at the top of Main Street in the Treasure Mountain Inn. Finally, you should also add the Slamdance logo (to you can a nice clean copy by going to http://dev.slamdance.com/logo.html) and if you've still got room, a simplified map on where Slamdance is (we can provide one to work from).
   
   
8. If you can afford it, you might want to consider fancy postcards or one-sheet promotional pieces. These can be color or black and white zeroxes on cardstock or postcard size pieces.
   
   
9. Bring several thousand. You could easily go through a thousand fliers in a day if you're working the right crowds. If you run out when you're at the festival, there's a couple of copy places in Park City, and the closest Kinko's is near the university in Salt Lake. -- We'll also have tables set up at TMI in the Filmmakers Lounge or Lobby specifically set aside for fliers, posters and other material.
   
   
10. Other promotional items: If you decide to produce promotional items to advertise your film such as buttons, hats, t-shirts, lip balm, etc., be creative and make sure it is something that relates to your film so that people get the connection and remember your film, not just that they got a really cool pen. Keep in mind that promotional items have sometimes gotten their filmmakers into hot water with the local gendarmes: One filmmaker passed out small Jack Daniels bottles with his film on the label - a great idea, but one that violated Utah's interesting liquor laws. And two years ago Angry Man distributed fake parking tickets with his screening info, and almost got arrested during his Q-and-A. Once again, be creative, but let's try not to piss off the Park City police.
    
    
11. T-shirts, etc.: If you do any promotional t-shirts or hats, and you want to put the Slamdance logo somewhere on it, please call the office first (we want to make sure it doesn't conflict with our own t-shirt sales). We also wanted to let you know about a company that makes a thing called a Doober: a neoprene sleeve (with a logo on it) that slips around the adjustable strap of a baseball cap. If you want to get them made with your film title or logo, they're a pretty economical and unique promotional item. Check out their website at http://www.doober.com. Feel free to call Rob Peters at Doober at 213-667-3193 and tell him you're a Slamdancer.
    
    
12. Parties and other events: If you decide to throw a party or other event for your film, please call the Slamdance office as soon as possible to coordinate it with our schedule.

1. Videotapes: If you want to have some members of the press review your film on tape prior to or during the festival, then you should provide Margot with at least five VHS (NTSC) copies. You should also bring extra tapes to the festival for industry people (including other festival directors) who are interested in your film. The reality of Park City is that even if people are interested in your film, it doesn't mean that they'll come to your screening.
   
   
2. Press Kits: You should send in twenty complete press kits (ten for shorts). Press kits should include a complete cast & crew list; a long (detailed, blow by blow) description of your film; a short synopsis (no more than 5 short paragraphs that give a general description of the action or ideas behind the film); Short biographies of the key filmmakers (usually the writer, director, producer, composer, editor, cinematographer and production designer) and cast members; a production notes section (that relates background information on the production); and or a director's statement; any and all favorable reviews or mentions of your film from newspapers, magazines and on-line media outlets. You should have many more press kits available once you get to Park City (as many as 30 if you can), and you should always carry some around with you. You never when you're going to run into a film critic. Note: Short filmmakers should not bring more than 10 press kits and 3 VHS tapes to the press office in Park City. Filmmakers should keep extra amounts in their rooms and replenish as needed.
   
   
3. Stills: Press kits should also include at least three different black and white photos (at lest 5x7 in size) and color slides (35mm transparencies) if available.

1. Clips: Three 3/4 inch or BetaSP copies of clips from your film or a trailer (all music in these clips must be cleared for broadcast or you should leave the clip out).
   
   
2. Fliers or Postcards: See above, but keep in mind that your fliers should have all the key contact information that the press would need: You won't always have a full press kit on hand, so sometimes a flier will have to do.
   
   
3. Promotional Items: Try to reserve some of these items for the press. Sometimes they will write about really creative promos they see at festivals.
   
   
4. Publicists: Some people get them. More don't. If you do hire someone, then remember that no matter whom you hire, no matter how pristine their reputation, you must remember that these people are working for you. You have every right to go over strategies with them and to check on their progress daily with press people and distributors. Don't assume that an outside publicist or Slamdance's own publicist will be a better person than you, the filmmaker.
   
   Frankly, for the cost of a typical publicist (in the neighborhood of a couple thousand dollars), you could fly in a few extra friends and pass out a hell of a lot more fliers. Even if you do a hire a publicist, it doesn't mean you can slack off on the grassroots publicity. Remember, about one out of every four people in Park City is a press person, so if you talk to enough people, you're sure to do as good a job as a publicist. Also, some of the more established publicists are likely to have several clients in Sundance. That means that if one of their other films get hot, you may wind up with the short shrift. The same warning must be said about producers reps, lawyers and agents: They're great if you're the flavor of the day, but they can get mighty scarce if they've got something better to do.
   
   Warning! Even if you get your own publicist, you must leave materials in the press office. There were a lot of missed opportunities last year because certain publicists wouldn't let the filmmakers leave cassettes and press kits in the press office. If your publicist tells you not to, then please get a new publicist. All tapes should be marked "Please return to" with a complete mailing address in case press go home with them.
   
   That said, if you are looking for a publicist, we can provide a list of firms and some freelancers. But even if we give you their numbers, remember you are hiring them at your own risk. Check references. And don't blame us when you don't get any press. Another possibility is to designate one of your team members or friends as a publicist and have them focus on that side of your promotional strategy. If and when you do get a publicist, or if you're doing it yourself, make sure they liaise with Margot.

Sparky