Podcasts Need Their Own Search on IMDB

When I search for a film's Title at IMDB, I often instead get a list of podcasts about that film. The film's title is buried way below this clutter of podcasts, making it harder to find the film.

IMDB provides a separate search for TV Episodes. There should be a separate search for Podcasts. Then if I seek a podcast, I can do so. But if I seek a film, I can more easily find that film.

This would be a great upgrade to IMDB. Please spread the word. Let's try to get IMDB's attention so they'll make this upgrade.

==========

AI Generated Films Flood the Festival Circuit

In June 2024, I received a spam email with a link for At the Mountains of Madness, a five minute AI generated film from Turkey. It was the first AI film ever "submitted" (however unofficially) to the Tabloid Witch Awards horror film contest. During the 2024 season, I received a total of three AI film submissions. 

For the 2025 season, the number of AI films submissions rose to 14. And now, only a few months into the 2026 season, AI film submissions are up to 19 -- with over five months to go.

Seeing this trend, I wondered if film festivals are creating new AI film categories. More categories mean more entry fees. Many years ago, I saw one horror film festival with a Best Film Trailer, and even a Best Director's Reel, award category. So why not a category for Best AI film?

From what I've seen, AI films aren't quite there yet. There's something creepy about them (and not in a good way). Their "actors" are too artificial to portray convincingly human characters, with the distinctive personas and emotional depth that human actors convey. Yet AI "actors" are too realistic to allow that playful suspension of disbelief that animation allows.

Even so, AI films are getting better. I think we'll see some amazing and powerful works emerge from AI as the technology advances and AI "filmmakers" improve their craft.

Back to my original question: Are horror film festivals creating AI film categories? But rather than conduct tedious and numerous interviews, I asked an AI program. 

The above was all written by me, a human. The following was written by Grok:

Yes, there is a growing trend of horror film festivals incorporating categories or showcases for AI-generated films, such as Best AI Film or Best AI Animation Film. This reflects the broader rise of AI tools in filmmaking, but it's met with mixed reactions -- some festivals embrace it for innovation, while others ban or restrict AI content due to concerns over authenticity and ethics.

The trend appears to have started in 2023, coinciding with the mainstream adoption of generative AI technologies like Stable Diffusion and early video models. Early examples include branded events like the Airheads AI Horror Film Festival, which challenged creators to produce AI-generated Halloween-themed shorts.

That same year, the Curious Refuge AI Horror Film Competition launched its first edition, focusing exclusively on AI-created horror content.

By 2024, established horror festivals began adding dedicated AI sections, such as Portugal's MOTELX (Lisbon International Horror Film Festival), which introduced an AI Horror Short Films Showcase in partnership with an artist collective.

South Korea's Bucheon International Fantastic Film Festival (BIFAN) also featured AI horror works in its program, including a premiere of an AI-generated Korean horror trailer during an AI-focused conference.

As of 2026, the trend is accelerating, with more festivals either adding AI categories or hosting AI-specific horror competitions. However, not all are welcoming: for instance, the Chicago Horror Film Festival explicitly prohibits AI-generated submissions.

Discussions on platforms like Reddit highlight controversy, with some filmmakers calling for boycotts of festivals that include AI categories.

Estimating the exact number is challenging due to the niche overlap, but based on available reports and festival listings, around 5-10 horror or genre-focused festivals worldwide have added AI-specific categories or showcases since 2023. This includes:

* Dedicated AI horror events: Curious Refuge (annual since 2023), Airheads (2023).

* Traditional horror festivals adding AI: MOTELX (2024 onward), BIFAN (2024 onward).

* AI festivals with horror subcategories: MetaMorph AI Film & Music Award (added Horror/Thriller in 2026).

The number could be higher if including general AI film festivals (like Runway's AI Festival or AI International Film Festival) that accept horror entries, as they often have open or genre-agnostic categories.

The growth is evident in the proliferation of AI competitions, with dozens now listed globally, though only a subset target horror.

This trend is likely to continue as AI tools evolve, but it remains divisive within the indie horror community.

Okay, back to me, a human.

I have found that Grok isn't always reliable. Its advice on fixing my computer bugs has been a mixed bag. It's also provided some faulty information on actors' credits, relying on IMDB, which is also less than perfect. 

But as a human, I can attest that AI film submissions to festivals are increasing at an exponential rate. It makes sense that some festivals are opening their doors to them. I expect both these trends to increase.

============ 

How NOT to Request a Film Festival Fee Waiver

Please do not SPAM film festivals with fee waiver requests. Apparently, there are companies that do this for a fee. But festivals can always spot the spam and it's a turnoff.

I received the following email this morning:

=========

Dear Festival Organizers,

Your festival has always inspired us. With limited resources, we humbly ask if a waiver could be granted for one submission. For our other entries, we are glad to support with reduced fees if possible.

Your generosity would mean the world to us, and we will always carry it with gratitude.

Warm regards,
Winnie

=========

Let's analyze this.

1. There's the effusive praise. Of course, it's also generic. It does not address my festival by name, and does not specify why this person was "always inspired" by it.

2. There's the plea of poverty. Some festivals charge very high submission fees, but the Tabloid Witch's current fee is a token $5. Less than the price of coffee in Los Angeles. Of course, because this is spam, the sender has no idea what the many email recipients' submission fees are.

Adding to the insult, while the filmmaker allegedly can't afford a festival entry fee, he or she can afford to hire a spam email service.

3. There's the poor grammar: "we are glad to support with reduced fees". Support what? It should say "support your festival with reduced fees." I'm not sure if this email was AI generated; AI usually has perfect grammar. 

4. Which brings us to a unique twist: the false possibility (no guarantee) of other entries for a "reduced fee," if only I would grant one free submission. 

5. The sender "Winnie" says nothing about his or her film(s). Nothing about its genre, length, festival history, the people involved. No attempt is made to "sell me" on this film. Why would a festival grant a waiver for an unknown product?

This is not only spam, it's poorly written spam. Apparently, while the spam company knew enough about film festivals to have collected a large mailing list, the company didn't bother to advise "Winnie" on how to write enticing spam.

6. Not just the film, but the sender remains a mystery. The email has one person's name, but the gmail return address has another name. I have no idea if "Winnie" is even a person. It might be a front name for a festival submission service (the same as sent the spam?) that has many filmmaker clients, hence this vague talk of possible other submissions in the future.

I often receive spam requesting fee waivers. Spam is obvious by its generic nature, the sender hoping that it will apply to thousands of festival recipients. Spam is insulting because if you're going to request a favor, you should send a personal email, indicating that you know and care about the specific festival you're contacting.

 ============== 

The Free Rider Problem and Film Festival Entry Fees

 

Filmmakers lament that film festivals gouge them with high entry fees. It's true that fees are often excessive. Many festivals seem to exist solely to profit from filmmakers' desperation for an IMDB listing. They scream "IMDB Eligible Award!" on their websites and in their SEO gimmickry.

But apart from subsidizing the festival, entry fees also filter out inappropriate or poorly made films. They thus solve the Free Rider Problem as it pertains to film festivals. (The exception are the vanity festivals that award every entry in exchange for inordinately high fees; this article does not pertain to them.)

Search Assist AI defines the Free Rider Problem as "an economic issue where individuals benefit from resources, goods, or services without paying for them, leading to underfunding and potential degradation of those resources." I confronted this problem firsthand when my own festival became free and easy to enter in 2014.

Ten years previously, I had founded the Tabloid Witch Awards as a No Entry Fee horror film contest. But while there was no fee, entrants still had to submit hard copies of films (VHS or DVD) to a P.O. Box. Thus effort and expense were required, if only the cost of a blank tape and postage. And so filmmakers only submitted works they thought had a shot at winning. (Although one intrepid fellow submitted his entire oeuvre of 23 DVDs, shorts and features of various genres, going back a decade.)

Granted, some of these filmmakers had unrealistic ideas of their films' merit, but as I would learn, they were not scrapping the bottom of their barrels. That changed in 2014.

That was the year FilmFreeway introduced their online film submission platform. Withoutabox had invented the online submission process in 2000, but FilmFreeway perfected it. Many filmmakers hated Withoutabox. FilmFreeway apparently listened. (I quote filmmakers' complaints about Withoutabox in my book, Horror Film Festivals and Awards.)

The technology had also advanced since 2000. By 2014, online streaming was a thing. FilmFreeway enabled filmmakers to upload their films, search for festivals, and submit their works, all online. No more mailing hard copies.

I enrolled the Tabloid Witch Awards with FilmFreeway from its inception, February 2014. I had never used Withoutabox. When I joined FilmFreeway, I maintained my No Entry Fee policy.

And the floodgates opened. A tsunami of submissions. Multiple submissions an hour, every hour. I was buried under submissions. I had to end it. I imposed a $10 entry fee. Not a high fee, but enough to stem the tide.

And here is where the Free Rider Problem arises. Had the entries been mostly decent horror films, all well and good. The more, the merrier. But the majority of submissions were either inappropriate or of home video quality. People were submitting political documentaries, romances, religious/inspirational films, everything. Somebody submitted four PDF scripts for an unproduced TV series. (The Tabloid Witch has no script category.) Another submitted several poorly made VHS home movies that had already been streaming on YouTube for many years. But hey, no entry fee. Let's give it a shot!

I saw the problem. FilmFreeway allows filmmakers to search festivals by criteria. Many filmmakers were searching for "all festivals with no entry fee." Then they'd "click to enter" every festival that came up. Instant submission! No cost, no fuss! But without considering the festival's requirements or whether their films had any merit. Hey, no entry fee! What have I got to lose?

It was part laziness, part desperation. Too lazy to read the requirements for the festivals in the search results. Desperation, because these filmmakers thought, Yeah, I know my film isn't a fit for many of these festivals, but you never know. Maybe someone on the other end will love my film and make an exception, or knows someone who's looking for my type of film.

And so after ten years (2004-14), the Tabloid Witch ceased being a No Entry Fee event. No more free riders. Which means I no longer receive as many films, but those I do receive are mostly appropriate and well made. Filmmakers will submit anything for free, but submit thoughtfully when spending their own money.

If you've ever wondered why filmmakers can't have nice things, now you know. Because Billy was bad, the whole class had to be punished.

How to Win at Horror Film Festivals

The below article originally appeared in 2006, in Indie Slate magazine. That was nearly 20 years ago, but the advice still holds true.

================== 

I'm in my third year of reviewing films for the Tabloid Witch Awards, sponsored by the Hollywood Investigator. It's an easy contest to enter; any short or feature length horror film is eligible, no entry fee required. Thus, I've received entries from across the spectrum of experience, from camcorder hobbyists, to film students, to professionals. I also see the same recurring mistakes among the losing films. Yet they're easy enough to avoid. Follow the below rules, and your film should be far more competitive in any festival you enter. 

1. Writing Counts

"If it ain't on the page, it ain't on the stage." If you insist on writing your own script, you must study the art of storytelling as seriously as you'd study your camera. Too many filmmakers think screenwriting is only about format. Too many directors want to be "auteurs" and write their own scripts without learning the art of storytelling.

If you're not a writer, and don't plan on learning the craft, then find someone who is. Successful directors often film someone else's screenplay. There's no shame in it. Poor writing creates many problems, such as...

2. A Vignette Is Not a Story

I've seen too many entries that confuse the two. "X rises from the grave and kills Y. The End," or "Zombies eat people. The End." Nor should you rely on a (often predictable) twist. "X is a serial killer who dates Y who turns out to be a vampire. The End." I've probably seen over a thousand horror films and TV shows so I know every "surprise" ending. Festival screeners tend to be well-versed in cinema history, especially in their festival's genre, so don't rely on your film's ending. You need more. Tell a story. And if you don't know what that is, see Rule 1.

3. Keep It Short and Sweet

Even a good film can be ruined by fat. Rich Mauro trimmed Mole to its perfect length. Distributors had advised Mauro that a one hour feature was a hard sell, but Mauro chose the best length for his tale of reporters seeking "mole people" in the abandoned subway tunnels under Manhattan. And it worked. Apart from winning a Tabloid Witch for Best Horror Feature Film (and Best Actress, and Best Supporting Actor), Mole also found distribution as part of a four film horror DVD package.

Jamie Renee Williams's Slinky Milk (Honorable Mention), a black and white surreal film reminiscent of Un Chien Andalou, was intriguing at its five minutes. Were it a half hour, it would have overstayed itswelcome.

I've seen many losing entries that would have been stronger at half their lengths — films sabotaged by overlong expository shots, or directors in love with shots that fail to contribute to the story, or characters wandering around or engaging in pointless chatter.

If a line is unnecessary to the story, don't say it. And if a line is necessary, say it in a way that's sharp, funny, clever, intriguing, memorable, or interesting. Dialogue should reveal character or move the story forward. Characters should not sound alike. Vapid chatter that achieves nothing may sound realistic, but banal banter makes for a dull film.

4. Acting Counts

Acting quality was the single biggest element separating winning films from the losers. Actors who are wooden, self-conscious, affectatious, or chew scenery can tank an otherwise decent film. I rejected one film that did a decent job of recreating the 1860s, in costumes and furnishings, only to populate this period piece with some painfully bad acting. There's no excuse for this. Big cities teem with trained actors willing to work cheap, or even for free. And even small towns usually have a college or community theater with trained actors.

Of course, I've also seen horror "parodies" in which I suspect the director thought his bad cast was an asset. Wrong. An amateurish cast rarely produces a film that's "so bad it's good," but more often a film that's "so bad it's unwatchable."

If you still insist on casting your friends and family, insist they get professional training. Seriously. Otherwise, you're shooting a home movie, and home movies can rarely compete against polished work. 

5. It Doesn't End With the Shoot

Mole, Legion, and Human No More all underwent extensive post-production to optimize their camera footage. The results were beautiful, with Legion (Best Horror Short Film, Best Visuals, and Best Supporting Actress) resembling such studio fare as Lost Souls in its dark and moody cinematography. On the low end of the scale, many losing entries had a flat "home video" look: poorly lit, with dull, fading colors. Yet post-production needn't be prohibitively expensive. Human No More achieved its impressive visuals with Final Cut Pro. 

6. Sound Counts

George Lucas understood this, which is why he founded Skywalker Sound. Christopher Alan Broadstone also understands this, which is why his Human No More (Best Sound, Best Actor, and an Honorable Mention) is a densely layered audio feast. And he did it with off-the-shelf computer programs like Bias Sound Soap and Bias Peak 4. It didn't require much money, only much effort. 

7. Rule Are Guidelines

Rules can be broken. Human No More is a vignette rather than a story. And Slinky Milk has no story and no trained actors. But Broadstone's film remains powerful because of its artistry and originality; and Williams's experimental genre doesn't require a story or acting.

Even so, rules are rules because they usually work. Violating them is a risk that rarely pays off. 

8. Entertain Us

While skillfully shot and acted, Cadaverous and SuperStore are conventional horror tales of no great originality. Yet each won an Honorable Mention because, while we can predict their endings, these films maintain our interest. They entertain us. The writing contains no fat and the story moves at a good pace. We are not bored or driven off by an amateurish cast.

These eight rules are simple to understand, but require much study and effort to master. However, a film that is well-written, well-acted, with beautiful visuals and a clear soundtrack, and is entertaining to boot, will more likely win an award.

=================== 

Hilarious Excuse for an Entry Fee Waiver

In running the Tabloid Witch Awards, filmmakers often solicit me for entry fee waivers. Usually they plead poverty. "We spent all our money making the best film possible, so we have nothing left for entry fees."

Okay. Not plausible -- I assume they're still paying rent, buying food, maybe even enjoying coffee at Starbucks -- but okay.

But a filmmaker recently sent me an email with a fairly novel -- and hilarious -- excuse:

"This project is a fully independent, self-produced work that was created without any external funding, commercial intent, or monetization. A fundamental principle of this film is that it remains entirely non-commercial -- this is not just a financial necessity, but a conscious artistic and ideological decision.

"For this reason, I am unable to pay submission fees, as doing so would contradict the very nature of the project. I kindly ask if you can offer a full fee waiver, allowing [redacted] to be considered in alignment with its non-commercial ethos."

Incidentally, this was obviously a mass mailing. I get many of those. Emails asking for waivers without mentioning my name or festival -- and submitting films that are inappropriate (e.g. submitting social dramas or romantic comedies to a horror film festival).

Festival directors don't like these junk mass mailings. But I suppose a handful of festivals might grant a waiver, so the filmmaker doesn't care if he annoys a few thousand others.

=================

BloodPool Wants Short Films with Strong Characters

Located in Liverpool, UK, BloodPool will hold its debut screening this October 27th.

This is a shorts only festival. Altogether, ten shorts will be screened, to be followed by "interactive attractions" (e.g., a haunted house) and a party.

Festival director (and former film student) Junior Davies wants films that "grab your attention from the go, are unique, and hang on suspense leading to an unforeseeable scare. A horror filmmaker should have the skill to hang on a shot and build tension. This leads to your audience guessing what's going to happen. The more cine-literate audience might be more aware, but a great director can use this as a pre-jump to try and catch them out."

* Character Is King

"I think the biggest mistake filmmakers make with a short film is not developing a character," says Davies. "The more your audience feels for a character, the more they will be drawn in to what's about to happen."

Like almost all horror festivals, BloodPool accepts all subgenres, but "paranormal is a favorite of mine, being able to see how filmmakers use different camera tricks and effects to confuse and scare the audience. In our first year, we've accumulated a lot of killer based thrillers which is also scary, as it's more believable."

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Upstate New York Horror to Screen in Rochester

Founded in 2014, the Upstate NY Horror Film Festival will hold its 5th screening this October 12 and 13 at The Cinema Theater, in Rochester N.Y.

Festival director Joseph Kelly is himself a 15-year filmmaking veteran. Based on his experience, he advises filmmakers to do diligent pre-production. "If your film is five minutes, 30 minutes, or a feature, plan it out. When you first start making films, you are so eager to get out there. But know your budget. Do your research.

"Great video and sound is a good start, but there are so many other factors that go into a film. I prefer good acting over boobies any day. It's good to see a nice rack, yes, but in the long run, you want the best picture possible."

After the first edit, Kelly advises filmmakers to get audience feedback before submitting to festivals. "Have a few friends watch the film when complete. Take their notes. Some films drag too much. I saw a 30 minute film that was shot great, sounds great, with great effects, but that film could have easily been edited into 15 minutes.

"Get your point across to your audience before they fall asleep in their popcorn. I personally had this problem until I realized, it's not what you want, it's what your audience wants."

Post-production is not only about editing. After you review your first edit, your film might require additional production. "If you need ADR, go get it," says Kelly. "If you need to take a week and do pickup shots, do them. You will always have mistakes. Even the greats have mistakes, which they might not realize until the 50th time they watch their films. It's going to happen. Just do the best you can."

While Upstate NY Horror welcomes all subgenres, Kelly says that "we are starting to pull in more sci-fi films as well. No Sharknados. Just some good alien films."

This year Kelly will be screening his own film -- Clown Motel: Spirit's Arise -- at his festival:

"Each year submissions pile in more and more, and we are still giving everyone an equal chance. We had films play in our theater that were on a shoestring budget to multi-million dollars." A theater that, Kelly adds, "is considered one of the five oldest movie theaters in the United States."

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Slice of Fright Is a Festival for Short Shorts

Nic White is a film festival veteran. "I've directed various short film festivals in the last five years," he says, referring to the Bump in the Night Film Festival and Spring Shorts Film Festival.

His latest venture, the Slice of Fright Film Festival in Bay City, Michigan, will hold its first screening this October 13.

Slice of Fright seeks short short horror films. "Five minutes or less. The more bizarre the better. Films that create a strong tension from start to finish. Strong stories.

"The biggest mistake I've come across is lack of story. Some filmmakers create beautiful visuals, but neglect the story. If you want an audience to sit through your film, reward them with an interesting, amazing, blood-curdling story.

"Focus on story first. What is your film trying to say? If you keep that in mind as you dress the set, select costumes and makeup, adjust lighting, etc, it helps tie everything together. When your message is clear, it bleeds into the theme."

White also advises filmmakers to avoid the "obvious mistakes. Poor audio quality and lighting. It's hard to watch a film if you struggle to follow the story. Lighting and audio play a major factor here."

What makes for a great horror story? White offers two tips. "A great horror film always has a unique killer. Freddy, Michael, Jason, Art the Clown. And great horror always makes you think."

Which is not to say that Slice of Freight requires a psycho killer. "We're open to all subgenres," says White. "Personally, I'd like to see more creature films."

Slice of Fright will be presenting festival attendees with "door prizes" and their award-winning filmmakers with "one-of-a-kind trophies."

"There is a great deal of support for independent films within Bay City, which has a talented community of DIY filmmakers. And it's the home of one of Michigan's best independent film festivals, Hell's Half Mile.

"Directing a festival in Bay City is special for me. I grew up in Bay City. It's great to go back home."

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Vancouver Horror Show Seeks Shorts

The Vancouver Horror Show will hold its first annual screening this October 23, at the Cinematheque Theatre in downtown Vancouver. Twelve shorts, no features.

Yes, that's right. VHS is a "shorts only" festival.

"A short film is a delicate balance," say Team VHS (David Taylor and Meghan Hemingway). "It's challenging to strike the chord of simple, effective storytelling with enough twists and turns to keep us interested."

To keep them interested, horror shorts should have "a compelling story, a specific vision, engaging characters, attention to detail, and a unique voice/point of view. The film must evoke fear, dread, or unease, using tropes recognizable to an audience as something that one would want to escape if encountered in real life.

"We are open to any subgenre of horror, but are not as fond of horror intended to shock through gore and viscera at the expense of a good story. That being said, when gore and viscera enhance a story, the result can be moving, scary, and memorable."

They also advise tight editing. "I can't tell you how many films could have been exponentially better if they'd had more ruthless editing. Sometimes it is clear that a filmmaker loved a particular scene or performance, but it ultimately took away from the overall story.

"A good filmmaker needs to be highly self-reflective, and be willing to let go of things they might love, but ultimately do not serve their project. Bringing in a trusted, outside editing eye that is less personally invested about the material can be a huge benefit."

Team VHS also warn against vagueness. "There is a fine line between letting the audience come to their own conclusions, and not telling the story. Sometimes a little bit of fog is mysterious, but if it's too foggy the story suffers and the viewer is left dissatisfied and frustrated. Filmmakers should remember the story they set out to tell, and be sure that on that final cut, the narrative integrity is sound."

In addition to having a "great editor," Team VHS also advises filmmakers to obtain a "great cinematographer."

"At Vancouver Horror, we focus on a 'good film,' before a 'horror film', which lends itself to a freedom when curating. Each member of the team is encouraged to fight for their favorites. The only rule is that each film must have 'an element of horror.'

"We believe in the universality of fear and want to bring together artists from all over the world to bolster our global community and get inspired by each others' work.

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Hotlanta Wants Fast-Paced, Exciting Horror

Horror Films in Hotlanta will hold their second annual screening this October 25 - 26, in Atlanta, Ga. It's a film festival that emphasizes "exciting horror."

According to festival director Caroline King, Hotlanta seeks horror films that are "Action packed and scary. The last thing we want for our audience is boredom. Our films really need to be exciting."

Toward that end, there are a few things to avoid. "Slow editing is a deal breaker. If your film is a long, teary-eyed drama, where someone gets stabbed at the end of the film, then submit it to a drama film festival.

"Great horror films scare the crap out of people. They make people jump, cover their mouths, hide their eyes and cringe. We like antagonists, villains, monsters, scary situations or circumstances that wake people up!"

She also advises filmmakers to avoid "Long, slow, time-wasting, rolling credits. And production company logos that never end. They kill the momentum at the event and slow everything down. Make festival cut with credits that are 60 seconds or less. It keeps the audience pumped up, ready for the next film."

Although Hotlanta wants exciting scares, there's also room for laughs. "We like to select a few comedic horror films that can bring some great laughs to the event, if they are really clever. But they must still be horror films."

Some filmmakers worry that their films will only get a cursory peek at festivals, before being unfairly rejected. King assures that's not the case at Hotlanta. "We have twelve judges that watch every film, and read every screenplay, before final judgment is passed."

Yes, that's right. Hotlanta also has a screenplay contest.

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Northeast Wisconsin Horror Recommends You Keep It Short

The Northeast Wisconsin Horror Film Festival will hold its third annual screening this October 13th and 14th.

It's too late to submit for 2018, but co-founder Paul Salzer offers the following tips to filmmakers who plan to submit for their 2019 season:

* Keep It Short

"When submitting to smaller festivals, keep your films as short as possible. Smaller festivals have far less minutes than you might realize for showing films. They are more likely to select multiple short films in place of one feature length film of equal selection rating. Larger festivals have multiple screens and a better chance of showing multiple longer films."

* Read the Rules

"Avoid submitting a film without reading the festival’s submission guidelines first. We, for example, want complete films. Therefore, we don’t select film trailers, no matter how good. We also note in our guidelines that non-English speaking films need English subtitles for our audience."

* Maintain Interest

"Our selection committee is composed of several film bloggers and reviewers. These judges' look at over 100 submissions in a few short weeks. As such, their interest can be difficult to hold. You need to keep the judges motivated from the beginning of your film to the end, otherwise it might not stand out enough to be selected."

Salzer adds that these judges' "tastes range from splatter gore, to supernatural terror, to dark comedies. Because of this, we get a diverse selection of films at the screenings.

"It's amazing how tastes change from year to year. Last year, we had quite a few zombie and clown films. This year, the focus seemed to be on imaginary friends."

Salzer is onto something. It had been a while since I saw any "imaginary friends horror." Then just last week, Rafael De Leon Jr's Goodbye Old Friend won an Honorable Mention at the 2018 Tabloid Witch Awards.

"We don’t give out awards," Salzer continues. "Instead, we offer filmmakers an opportunity to speak to the audience directly between our film segments. We also hold a social during the first evening for filmmakers and our judges."

As do other festival directors, Salzer recommends that you "go to the festivals if you can. Meet other filmmakers, fans, and reviewers. Talk to them and share your love the genre."

Northeast Wisconsin Horror screens at "the historic Time Theater of Oshkosh," which receives all the proceeds from the event "so that it can continue giving the community a unique theater experience."

================

For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Requiem Fear Fest: Keep It Short

Many horror film festivals die after one screening. Some last only two years. But a film festival that reaches its third anniversary is likely in it for the long haul.

The Requiem Fear Fest will hold its third annual screening this September 22, in Montreal Canada. If you plan on entering for their 4th event, festival director and co-founder Steve Villeneuve offers this advice:

* Keep short films short.

"If you are doing a short film, try to make it around seven minutes. If you go over that, be sure your film is rock solid. Every festival will take three 'okay' 10 minute films over an 'okay' 25 minute film."

* Hook 'em early.

"Timing is important. For feature films, you have about 15 minutes to catch the attention of the judges. If he's not hooked after 15 minutes, it's strike one. After 20 minutes, strike two. Twenty-five minutes and they are still not hooked, strike three [and you're out!].

* Sound is important.

"Bad sound is just bad. If your film has bad sound, you start with two strikes."

Requiem isn't solely about catering to filmmakers. Requiem also cares about its audience. "I'm all for the public," says Villeneuve. "Bring me some fun film that people will find epic. On our first year, we screened Night of Something Strange. It was amazing. This year we are screening Camp Death III in 2D!"

What distinguishes Requiem from other horror film festivals? For one thing, "We're doing a horror flea market," says Villeneuve. "Fans shop for a while. Then they stop to watch a film. Then they go shop again. That's the beauty."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Halloween Horror Fest Tienen Seeks Short Films

Tienen is in Belgium -- and the Halloween Horror Fest Tienen is the first horror short film festival in that European nation. As the name implies, they screen on Halloween night. This year marks their second annual event.

Festival organizer Ray Kermani offers these tips to filmmakers:

* Be original. Give the audience something they haven't seen yet.

* Choose one location for your film.

* Work with a small crew. The smaller, the better -- and faster.

* Limit the amount of dialog.

* Use the right lighting on set.

* Never forget the importance of a great sound design for your horror film. Sound is as important as your images.

* Listen to what the audience has to say and wants to see. You want your movie to be seen [and enjoyed, and talked about] by horror fans out there.

* Stay away from the zombie genre. We've seen way too many zombie flicks. If your name is George A. Romero, then go for it. Otherwise, make something else.

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Gorst Underground Is Northwest Noir

The Gorst Underground Film Festival debuts this year, backed by experience. "Our organizers have been involved in other film festivals, both horror and underground," says festival director Kelly Hughes.

"We created Gorst to incorporate local artists and musicians into the event. To make it more multimedia, while still exploring darker themes and alternative approaches to filmmaking."

* What They're Seeking

"We love the underdog," says Hughes. "It’s very satisfying to showcase films that aren’t getting the attention they deserve.

"I would love to see more real-life horror. Documentaries on scary individuals or happenings. Documentaries about horror films and people associated with horror (e.g., actors, composers, writers, directors, SFX artists, etc). "Documentaries such as Never Sleep Again: The Elm Street Legacy. There’s room for docus like that, but which cover even more obscure aspects of horror and underground film.

"Non-linear, abstract, and experimental narratives are appreciated.

"We’re open to ultra-low-budget/no-budget works. Films that are rough around the edges."

* Tips to Improve Your Craft

Hughes recommends that you "Put the fantasy back into dark fantasy. Take advantage of the freedom horror gives you. Get surreal. Go hallucinogenic.

"Re-watch all the movies that inspired you. Remind yourself about all the elements that got you excited about these films. Use those elements, but put your personal spin on it."

* What to Avoid

1. Long Opening Credits.

"Just dive into your film. Save the credits for the end."

2. Excessive Running Time.

"Be brutal with editing. Maybe your two hour feature can be 90 minutes? Maybe your feature would be stronger as a short? Even then, shave off a few seconds from every cut? Maybe you can delete entire scenes? Or cut to the middle of a scene?

"We don’t need to see people opening and closing car doors. We don’t need to see their every step from the bedroom to the bathroom. Audiences are aware of the basics of day-to-day living. Get to the point. Move your story along."

3. Static Shots

"Many beginning filmmakers pose their actors in shots like it's a still photo. If you're drawing attention to a 'cool' shot, you probably aren't advancing the story. Make your action so compelling that we don't even notice your beautiful lighting, production design, whatever.

"Get over the fact that you can create a workable image. Get back to telling a story that is constantly progressing and offering new information. Think in terms of a series of useful connecting shots, not a slide show of money shots."

4. Slow Burn

"Some filmmakers use it as an excuse for lazy filmmaking. Don't. If you achieve a sense of dread with gradually building suspense, more power to you. But don't defend your slow-moving story with the 'it’s a slow burn' excuse. It's not a slow burn. It's just slow. And boring."

5. Lovecraft

"Why do Lovecraft inspired films always end up unintentionally silly? It's not the filmmaker's fault. Lovecraft is a big tease. His literary 'payoffs' don't translate well to screen. If you want to adapt his work, go ahead. Maybe you'll be the exception. Maybe you'll crack the Lovecraft code."

6. Retro Synth Soundtracks

"Go ahead. Use 'em. But they're approaching cliché status through overuse. Sorry. Try shocking us with piano music. Or bagpipes. Or xylophone, even."

7. The Graffiti Wall Shot

"If you have access to a wall covered in colorful graffiti, resist the urge to shoot a random shot of your actor walking past the gratified wall. It's self-indulgent. It adds nothing to your story.

8. Giant Head-Covering Masks

"To achieve a sinister, horrific, kinky vibe, resist the urge to cover your actor's head with a big bunny head, or a big pig head, or even a slick black gas mask. These have all lost their shock value. Show us a villain with pantyhose pulled over his face. Or just give him crooked teeth and a wonky eye. The fetish dungeon look is so cliché."

9. Alarm Clock

"Never start your film with an alarm clock going off. Not even ironically."

* Gorst Is Northwest Noir

Why makes Gorst unique among the many horror film festivals out there? "Gorst is true Northwest Noir," Hughes answers. "It's a small community at the edge of Bremerton, near the Naval shipyard. A working-class town with steelworkers and an authentic blue-collar sensibility.

"Seattle is just across the water, but it feels like it's a thousand miles away. Gorst has that authentic Twin Peaks vibe. There is nothing ironic or self-conscious about it.

"We'll be screening our films in the warehouse workshop of metal artist Ray Hammar. It's a remote location. The space has an industrial feel. The audience will be surrounded by iron rods, steel beams and scrap metal.

"We'll have an art show, musical performance, reading of the winning screenplay from our writing contest, and a welding demonstration. But the films themselves will take center stage on a specially-built screen/set-piece created by local metal artists.

"This warehouse would make a good setting for a horror film. As the sun sets, the later screenings will take on a more immediate, spooky tone. Every little sound will make you think there's a killer hiding in the shadows behind the clusters of rusty metal. And since there's a women's prison not too far away, who knows? Maybe we’ll get a surprise visit from an escaped murderer."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

The Haunted Saloon Welcomes "Dark Westerns"

The Haunted Saloon will hold its 3rd annual screening on October 21, 2018, in Vancouver, Canada.

"We want horror with a brain," says James Kingstone. So make it smart. And while he welcomes all subgenres, some might have an easier time getting in.

"We see a lot of 'monster in the house' movies. We get that it's easy to shoot, but it certainly is over-saturated at this point." One subgenre that's especially welcome is the Dark Western. "We are the Haunted Saloon, after all."

Kingstone offers filmmakers the following tips:

* Nerd it up. Learn what is going on in horror.

* Be mindful of maintaining suspense.

* Don't show the monster too much.

* Get the right sound design. Sound is a great worker. Without it, that "horror feeling" is tricky to create.

The Haunted Saloon offers winning filmmakers a Halloween party atmosphere -- and trophies!

"Our trophies are terrifying and custom made every year," said Kingstone. "The Rio Theatre is a classic location, complete with alcohol. It holds over 400 people, so we can really pack the house. A lot of people dress up in costume. We even have a contest at intermission.

"East Vancouver does Halloween right. We are a bunch of horror loving cinephiles."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Lucid Dream Fantastic Seeks the Surreal and "Non-Standard"

Another film festival making its debut -- October 26th through 28th this year! -- is Lucid Dream Fantastic.

The event's founder and artistic director, Stefano Cosimini, says the film festival "is part of a bigger project of cultural promotion, regarding not only cinema, but also music and theater."

The Lucid Dream Fantastic Film Festival sounds like it leans toward fantasy, but Cosimini says it actually has four categories: fantasy, sci-fi, horror and animation.

"We're looking for innovative films," said Cosimini "We're against the visual and conceptual standardization of the mainstream cinema. But we're not looking for niche experimental films. We want something that the common audience could enjoy. Something that can help them to get familiar with non-standard narrative styles."

So, innovative and non-standard, but audience friendly. Not too experimental. I interpret that to mean, not so artsy-fartsy that it ceases to entertain.

"Of course," Cosimini adds, "we'll have special consideration for films with oneiric atmosphere."

I had to look that up. Oneiric means "Of, relating to, or suggestive of dreams." Which makes sense, that a festival called Lucid Dream Fantastic would welcome the oneiric. I assume they'd just love David Lynch style surrealism.

Cosimini offers the following advice to entrants: "Being myself a filmmaker who has been selected in a few festivals, I think the key is never settle for your ideas. Always go further. If an idea seems to work, ask yourself what is the craziest plot twist that could happen, and then start working on that. I think the best stories come from the craziest ideas.

"The main mistake is being predictable. Independent films have the chance to be 'different.' Why not take an advantage of this?"

Lucid Dream Fantastic will screen in Tuscany, Italy, which Cosimini considers a big plus. "The LDFFF is set in Garfagnana, a magical place north of Tuscany. And when I say 'magical,' it's not just figurative. Our territory is full of legends and old tales, both dreamy and horror. This is the perfect location for a fantastic film festival."

Despite Lucid Dream Fantastic's bent toward fantasy, Cosimini describes himself as "a professional filmmaker, specializing in horror films."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Death's Parade Film Fest to Debut in San Jose

New horror film festivals are always debuting. One of these is Death's Parade in San Jose, which will hold its first even on October 4th and 5th, 2019. 

That's over a year from now, but the Early Bird Deadline is January 1, 2019 (Last Chance, June 30th), so it's not too early to enter.

"Because this is our inaugural run," says founder Anthony DeRouen, "the theme will be inspiration. This will be reflected in our selected filmmakers' bios." DeRouen wants filmmakers to explain "What excites you? Show us what drives you to create that wonderful, terrifying, insidious art you make."

Death's Parade welcomes every horror subgenre. Just be scary. "We want to scare the audience --and I mean scare them. We want to get under their skin, get those beads of sweat going, subvert their expectations, show them something fresh and original. We want to expose the audience to creators and voices outside the norm. If we receive a submission completely out of left field that gets our palms sweaty, we will give it serious consideration."

But though DeRouen wants "fresh and original" horror (don't we all?), he doesn't want to discourage anyone. "Don’t be afraid to make a film which has elements done before. If you have a fresh spin on a well-worn trope, explore it, probe it, expand it. Combine elements not usually seen in horror and flip it upside down. What happens when you do? We have no idea, but we’d love to see."

Even so, Death's Parade has some limits. "No adult films, please."

DeRouen stresses the importance of finding talented actors, willing to commit to the material. "It doesn’t matter if the actor has ten credits to their name or none. The audience is not going to judge their IMDB page. They are going to judge the actor's performance on screen and nothing else. Find actors willing to embody the characters you created and lift their emotional levels to heights you couldn’t imagine."

Post-production is also important. In the editing room "pay close attention the film’s pacing. Don't rush the final cut, or the music composition. Sound mixing and color grading are also important steps in delivering a worthwhile film."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Terror Film Festival Is Keeping It Real

Horror film festivals are not known for their staying power. Every year new film festivals are founded to much fanfare. Many disappear within a year or three. Longevity confers legitimacy.

Entering its 12th year (having been founded in 2006), the Philadelphia based Terror Film Festival is among America's longest running horror film festivals. It's also run by one of the more enigmatic of festival directors, preferring to be known only as Claw.

Claw welcomes films and scripts (TFF also hosts a screenplay contest) that contain horror, fantasy, science fiction, thriller, or dark drama. "We watch every film, every frame, and have long discussions about it. If there are great moments, we love it."

* Be Real, Not Clever

While he remains open to any subgenre, Claw says, "It would be nice to see a few character driven movies. Or some actual heroes taken from the news. Be honest with your movie. Don't try to be clever, or original, or fresh. Don't try too hard. Just tell a story that has no holes.

"Be plausible. I mean, within reason. After all, you're making a movie with monsters. But, still, make sure there's a reason for everything that happens."

* Write Tight and Edit Tight

"Avoid a weak story or scenes that drag. Nothing hurts more than a scene than goes on and on, with mostly dialog. Make your point, then move on. Three minute scenes max. Focus on that script. Make it lean. Make it move. We love films that don't limp along.

"Bad editing can kill a film. One mark of an amateur filmmaker is a shot that should have been cut much sooner. Mechanics and software are important. But a genius who knows when to cut, and why, is the reason your film will flop or fly. Hire your editor based on their demo reel and your gut."

* Keep Music in Its Place

"The other mark of an amateur filmmaker is when music is too prominent or gets too much screen time. When the music is the star of the shot, then let's hear it. But when the faucet dripping is the star of the shot ... lower the music! Too many times, I've seen music ruin a really well done film."

* Free Your Actors

"When you cast the project, put your auditioning actors to the test. Push them respectfully. An actor is a delicate instrument. You must only urge and instruct, and then let them show you what they can do.

"Sometimes stars help a film. Sometimes they hurt it. Don't use stars to make up for weak filmmaking."

* Film Before Food

"Use your money wisely. Lunch is important. Feed your people right. But don't make it a banquet. No one signed on for the food. Get the shot before you interrupt the set mentality with food."

* Ask Questions

"Remember this from Terror Film Festival -- the professional filmmaker asks a lot of questions, and gets the answers. And they apply those answers to make the best film they can."

* Princess Horror

The Terror Film Festival is especially proud of its official hostess, Princess Horror. According to Claw, "Princess Horror is the love of Terror Film Festival. Without her, we're just trying to sell tickets."

* What You Get

Claw believes the TFF offers much to entrants. "We've helped our submitters get agents and screenings in other fests. We've helped actors gain a following or move from one coast to another. We sponsored a filmmaker's first trip to America from France, based on the quality of their film. We've helped writers get work and given endless critiques. Some of the stuff we've done is downright shady to me! But it's all done to get that filmmaker or screenwriter a real shot at success. We treat every Claw Award like it's an Oscar.

"I remember MovieMaker Magazine did an article on "the top 50 film festivals that are worth the fee." Then, it turned out they selected the fests based on how much advertising they did in the magazine. What a scam.

"Oh, and we don't charge an admission fee to the audience. We want the world to see these films and to become die-hard fans of these filmmakers."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.

Phoenix FearCON Offers Distribution to Winning Films

Phoenix FearCON is an oddity among horror film festivals in that its first venue (in 2006) was "in a very small art gallery." It's since "grown and expanded into a film festival & horror convention," says founder and director, Chris McLennan.

Apart from the film festival, FearCON offers "celebrity guests, panel discussions, flash mobs, special effects workshops, vendors, and many sideline entertainments and activities."

* Quality Over Variety

FearCON's most recent screening featured a glut of zombie films. While McLennan says she welcomes diversity in horror, she doesn't mind any particular subgenre dominating the event, provided the films are of high quality. In this she differs from some festival directors who, for the sake of variety, will screen one great and one decent film of two different subgenres, rather than two great films of the same subgenre.

"If the film is good," says McLennan, "it doesn't matter if it's been done in quantity. We always search for quality no matter what."

* What Is Quality?

What makes for a quality horror film?

McLennen seeks "A film that is solid. A great story, with a twist or two. A character study, with believable characters. Good locations. And great cinematography. With all the technology now available, that should be easier than it used to be. Our award winners all have those qualities.

"Filmmakers who win receive a one-of-a-kind awesome trophy, made by me. [See right.]

"And a bag of swag.

"And the best part -- a contract offer from one of two major film distribution companies for domestic and international distribution of their film."

McLennan offers some additional tips on how to win one of her cool trophies.

* Horror Is International

Keep in mind that horror serves an international audience.

"We get submissions from many countries. We hope they express horror in a way that everyone can appreciate it.

"We got a film from a country that could have been great, except the filmmaker used very colloquial language, and scenes specific to that area. Anyone outside this country became lost in the film translation, and couldn't appreciate what the filmmaker was trying to express."

* Avoid Shaky Cams

"My opinion, but the hand-held, shaky cam is old and worn out. I can't watch shaky cam at all anymore. I'd stay away from that, if possible."

* Continuity Matters

"I am a complete anal critic of continuity. Once there's a break in continuity (e.g., clothing, location, food, etc.) I tune out the rest of the film, looking for more faults. It's a small thing, but, in my past experience as a filmmaker and producer, I took great care to make sure the continuity was spot on. Sometimes it can be nearly impossible to do, depending on the scenes. But I like to see filmmakers try hard to keep it flowing continually."

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For a behind-the-scenes look at horror film festivals and the festival directors who manage them, see Horror Film Festivals and Awards. This book also includes a directory of over 200 horror film festivals, and a list of festival award winners from dozens of festivals over several decades.