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Denver, Woodstock
Denver International and Woodstock, New York: two class acts
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Denver International Film Festival
The true test of any film festival is the testimony of its attendees—the moviemakers and their audiences. From the astoundingly positive answers a wide cross-section of recent Denver International Film Festival alumni gave to our inquiries, it's clear this organization and its staff have nearly perfected the art of running a great festival. Now entering its 25th year, DIFF boasts plenty of notable alumni—from Michael Powell and Louis Malle to Sean Penn and Robert Altman. This is an event where moviemakers and the community come together purely for the appreciation of film, and it's hard to see how the next quarter of a century won't be even kinder to the Denver International Film Festival.
Much of the attending moviemakers' enthusiasm has taken root in the Denver community. Ben Hayflick, whose short film Camille played at Denver in 2002, comments that "based on the Q&A session that I did, these people are bright, highly informed and passionate about films." LA-based moviemaker AJ Schnack, who directed the feature Gigantic, echoes the sentiment: "The community is dedicated—they're similar to Seattle in their cinematic knowledge and involvement."
On the downside, some past attendees lament that the local press can be a tough group to woo. "The LA papers had no trouble reviewing our film—and gave us good reviews, too. The LA Times even did a feature story about our film after the showcase. But the Denver papers wouldn't look at our film. It's not the festival's fault, it's just a tough market to get exposure, I guess," says Jason Van Vleet, who showed his documentary Terror From Within. Compensating somewhat is the festival's internal aggressiveness in promoting individual works. Moviemakers were almost unanimous in their approval of this aspect. Danny Meltzer, who showed his short Fater, was impressed by "how professionally they treated me, even though I was just one of many short filmmakers. They had a lot of high-profile movies showing, but I got as much prompt, courteous attention as anyone."
| Film Festival 2003: October 9 – 18, 2003 Deadline for Submissions: July 15, 2003 Information: www.denverfilm.org |
DIFF co-founder Ron Henderson points out that "the festival has a sophisticated outreach program that includes partnerships with numerous organizations which sponsor and promote individual festival films to their members and constituencies." Such targeted promotional efforts do not go unnoticed by moviemakers. Many reported near-capacity or sold-out crowds at multiple showings, while others were able to gain widespread media attention through these special interest screenings.
With Columbine High School nearby, gun control is still a hot-button topic in Denver. In addition to Michael Moore's Bowling for Columbine, DIFF's 2002 event showcased a number of similarly-themed projects, including Paul Ryan's Home Room, starring Busy Philipps (Dawson's Creek) and Erika Christensen (Traffic), about two teenage girls who survive a high school shooting. "While not officially part of the festival, positive reaction at our screening led to an invitation to speak to students at Columbine High School. Busy Philipps and I spent an emotional, unforgettable Friday morning at Columbine... [It was] easily the most important aspect of our time spent in Denver," says Ryan. Director Ben Coccio, whose feature Zero Day is also about a school shooting, was a part of this themed programming as well.
What impressed him most was how the DIFF staff "introduced me and my movie to the community in a way that put it on equal footing with higher budgeted flicks that had bigger casts and/or distribution."
He continues by noting that "I was on an intense panel discussion with Michael Moore and the father of a Columbine victim, Tom Mauser. There aren't many festivals that will put a fledging auteur like me on the same panel as an old hand like Moore. Denver is top-notch."
Though some moviemakers comment that a bit stronger distributor presence would help put Denver in league with some of the world's most important festivals, moviemakers who have screened and/or attended the event see little room for improvement. Concludes Joel Sadilek, whose short The Summer House screened last year, "What separates this festival from Sundance or Toronto, for example, is simply industry attendance and profile of the films premiering here. All other elements are in place. It gets closer every year."
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Woodstock Film Festival
At just three years old, New York's Woodstock Film Festival is already making a name for itself among the better regional fests, attracting such notable moviemakers as Tim Robbins, Haskell Wexler, Todd Haynes, Marcia Gay Harden and Parker Posey. Ethan Hawke, Susan Seidelman, Aidan Quinn, John Sloss and Bingham Ray are on its honorary/advisory board. Haynes' Far From Heaven and Hawke's Chelsea Walls had their U.S. premieres here, while Neil Burger's Interview with the Assassin and Larry Fessenden's Wendigo have made Woodstock a stop on their paths to critical acclaim.
According to Woodstock's executive director, Meira Blaustein, what makes her fest different is that "the festival successfully integrates other art forms, especially music, via the Focus on Music program, which features music-related films, workshops, seminars and concerts." Even with some key industry players supporting this yearly September event, Blaustein credits its success to the local community. "In 2002, more than 25 local films were screened and promoted. Since so many artists live and play in Woodstock, their presence is a major force," she states.
| Woodstock Film Festival 2003: September 17 – 21, 2003 Deadline for Submissions: June 30, 2003 Information: www.woodstockfilmfestival.com |
For their part, Woodstock alumni also cite the community as one of the festival's key benefits. For moviemaker Catherine Tingley, whose film A Girl's Guide to the Galaxy won Best Student Short in 2002, what impressed her most was "the vibe! Everyone was super-friendly and supportive, even reverent toward filmmakers. There are great parties and it's just a cool scene."
Though Woodstock's small-town atmosphere accounts for much of the festival's charm, the challenges of being so far removed from a major city can spread to the technical side. Makeshift screening venues (where an audience's comfort level can compromise their desire to sit through an entire film) and a lack of available sophisticated exhibition technology were the only concerns expressed by past moviemakers. Still, they raved about packed houses and appreciative audiences. Nearly everyone we spoke with looks forward to coming back with their next project. MM
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This story was published in the Winter 2003 MovieMaker Magazine. The headline was:
The Art of Audience Appreciation / Denver International and Woodstock, New York: two class acts
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posted 12.14.09
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