Pitchbox Participants give advice on the art of Pitching & Networking
We know that receiving confirmation of participation at a film festival, film lab or film event that includes pitching your film project idea, is great news. But as it becomes great news, your stomach might drop to the floor thinking of how you’re going to explain this awesome film idea to a room full of impatient, tired and not easily surprised producers and investors in six or seven minutes. And let’s not get started on the posterior networking event…
Well, we can’t do the pitch or network for you, but we can offer you some advice from the screenwriters that have gone through our Pitchbox events. Here are some of the insights they gave us after pitching their film project ideas in front of a film loving audience.
José & César Esteban Alenda, directors and Writers of the film “Not the End”, premiered at Málaga Film Festival and presented at Sitges Pitchbox 15':
“Pitching events are fundamental because they make you learn your story inside-out and to be able to synthesize and communicate clearly the most important points of your project.”
“The key thing is to work your pitch as if it were a script (…)”
David Casademunt, director & author of “The beast”, Sitges Pitchbox 17’:
“The more you move around your project the more options you will have of meeting interesting people, having feedback, and of getting closer to making your movie! (…) It is very rewarding to see other people pitch their ideas. I’d also recommend to have a teaser of your project for your pitch.”
Fernando Samper & Juan de Dios Garduño, screenwriters of “Freshblood”, Sitges Pitchbox 17’:
“Prepare your pitch very well and pitch your project, you’ll have time after to work on your script, dossier etc.” Fernando
“If you are selected to present your project, defend it with passion and don’t stop at anything.” Juande
Stefano Nurra, director & autor of “Hum”, Sitges Pitchbox 17’:
“Try to have your presentation as ready and professional as possible. In the end, you are using a visual medium and if that isn’t well prepared, who will believe you are able to tell a story making a film? Also, try to have a finance plan and budget ready, if possible, as well as a mood reel so you can show how you want to tell your story.”
Antonio Garrido & Mik J. López, authors of “Carne Débil”, Sitges Pitchbox 16’:
“To be able to present your project in front producers of this level is a great opportunity. In my opinion, pitching is always good and, always, afterwards, makes improve your project. I would add to not go with the idea that your film is going to be sold after you pitch it. The important thing is to do a good pitch, get as much feedback and information on it, so to improve. If you get interest afterwards, then great! But don’t go expecting it.”
Raúl Cerezo, 1st prize winning director for “The elderly” at Sitges Pitchbox 16’ :
“My advice to future participants is to not bore. Go to the point, be concise and think that you have to sell your film, not explain the whole thing. And a film that has a future must be told in few words.”
Juan Gautier, director for “The candidate”, winner of the NAFF prize at Sitges Pitchbox 16’:
“When pitching, avoid using all archetypical lines like “ a script with surprising turns and potent structure” or obvious and generic references.”
Luken Hidalgo, director & screenwriter of “Splinters” at 4th Pitchbox:
“Work on your pitch as much as on your stories.”
Fernando Hugo Rodrigo,special mention at 4th Pitchbox:
“I analyzed what elements of the story were “key selling points”, which made my project distinguishable, and, at the same time, which would relate to what we can find in the market already. In film marketing, you must be original enough to stand out just enough, but at the same time, you better have some references on hand, because the market is conservative. If you go into “too common” territory, your project will seem “too seen”; if you delve into “unseen territory”, financiers will get worried. Even having the best written or worst written script, the most worked on or the most improvised, it all comes down to someone liking the point of view, the genre and the tone.”
Zebina Guerra, screenwriter and screenwriting teacher at ESCAC Film School (Barcelona), participant at 2nd Pitchbox with “How to catch a gnome”:
“Come with your pitch very well prepared, make a presentation that will impact your audience, do not go to a pitching event if the version of the script you’re presenting isn’t one that you’re sure about and, most importantly, try to research the production companies that will be attending the event; what kind of films they usually produce, who they work with etc.”
Rubén del Pino, screenwriter for “Slenderman”, special mention at Sitges Pitchbox 2016:
“You need to have a clear idea of what you want to tell. Don’t get entangled talking about plot, character and script twists. The best is to give a brief synopsis of the story, accompanied by visuals that will highlight your pitch. If you have a financing plan, budget or any state funding and other information that will make your project look like something real, mention it. Producers will start making numbers while they see your pitch and evaluate if it is doable or not.”
NETWORKING
The other side of pitching events or any film event: networking! That skill that few poses and majority of screenwriters despise!
Following is a list of advice from our Pitchbox participants on how to behave and smoothly strike up conversations with your targets: producers and distributors.
Diego H. Kataryniuk, screenwriter for “The switch”, Sitges Pitchbox 16':
“Don’t be afraid of talking to producers at the event. They are there because they’re in search for new content for their projects. If you’ve gotten this far, go for it and start talking to them.”
Rafa Ferrero, screenwriter of “Two Kings” special mention at Sitges Pitchbox 16':
“Learn which producers will be at the event, if they’re looking for new material for their projects, what kind of projects would they be interested in producing, that is fundamental. After, you need to get to talk to them and be able to tell them in brief what’s your project about.
When you’re at it, do not forget this is supposed to be a relaxed event. Sometimes, it is more interesting to talk about anything but trying to sell your project. Try to establish a first contact and create a personal bond that will lead to you eventually telling them about your idea.”
Roger Delmont, screenwriter for“Kintsukuroi”, 3rd Pitchbox:
“You must be yourself; in the end, it is people talking to people. Think about the fact that a lot of producers are going to these kinds of events because they trust they might find content worth their time. Also, the relationship you might establish with them is very important, so that they can see if you could work well as a team, if there’s feeling. Then it’ll be more likely that they ask for your script.”
José & César Esteban Alenda, directors and writers of the film “Not the End”, premiered at Málaga Film Festival and presented at Sitges Pitchbox 15':
“The most complicated thing it isn’t to get the interest of producers and distributors, but when the pitch has finished, to maintain their interest and, ideally, to get to an agreement of any kind that will favor the project.”
“ Do the exercise of asking yourself complicated questions, the same questions that producers and distributors will ask you after your pitch.”
Hope all these wise words of advice will help you get ready for your next pitch!
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