BIMIFF #4 - ENG

B I M I F F S P E C I A L A R T I C L E 58
B E F O R E A N D A F T E R A
T A L K W I T H A
D I S T R I B U T O R
BEFORE AND AFTER A TALK WITH A DISTRIBUTOR
A special article about independent filmmaking and film distribution
by Pamela Nassour (Lebanon)
The writer, Pamela Nassour, is an award-winning Lebanese filmmaker, film critic, and educator. Pamela graduated
from the Holy Spirit University of Kaslik USEK with a master's degree in Visual Arts - Cinema and Television. She is
currently pursuing her Ph.D. in Contemporary Latin American Cinema at the Saint Joseph University Beirut and the
University of Granada.
It was during the editing period of one of my short films that
this hit me. As an artist and filmmaker, you take a seat on the
editing chair, with all your footage in front of you. You have
complete power over them; complete freedom to move them
back and forth on the timeline, keeping what you feel is right
and removing what you decide is out of place.
On the editing chair, you are the master of that world. You
create it, show it, and know it by heart in all its visible and
invisible layers. It takes days, weeks, and maybe months for you
to create that world, and on the last day, you rest admiring your
achievement.
In that world, you are the sole creator and decision-maker.
It was an October night, around the end of the month when I
started to become tight on time for delivering my final cut, the
"director’s cut" as they call it. My film at that stage felt right. I
could film it and edit it just like I’d written it. I remember that
the script was twenty-eight pages long, and what should have
been the final cut was about the length of twenty-four minutes.
On that night, I was supposed to send that draft to my
distributor, and after a long editing session, I finally succeeded
to do so.
But it didn’t go well. That fact hit me. My distributor had a
perception, a vision slightly different than mine, or maybe a lot
different. Now that I am moving to my next film, I had the
chance to talk with him and have the conversation I’ve been
avoiding having for so long. Our talk went like this:
Do you prefer international or local stories?
"Local stories would relate to a group of people living in a
particular country or society; thus they would be targeting a
small group. In such stories, there will be signs that only locals
of a certain place will understand. What is important is to be
able to reach a wide audience; actually, this can’t be done with
local stories, and thus we cannot allow ourselves to go very deep
to the point of particularity. The story should be universal".
Which criteria matter for deciding the time and place for the
film's premiere?
"This depends on many factors. First, it’s the story. Does it suit
the big international festivals? After that comes the execution:
like the filmmaker's style, and the quality of the film. The film
might be very simple but with a very good structure and twist,
then it will get a great premiere. For me, if the film is really good
on paper, then it will be very good. If the director is great, but
the script is not bad, then the film won't be bad. If the script is
well written, and the director is averagely skilled, then the film
will be good. So, the script is a priority for the premiere's
decision, and then comes the rest. Other factors play along, like
the year of the production, and the topic it covers. Some
festivals have certain quotas that we should not ignore. In
addition, if the film is co-produced, then this will lead to full
trust that this film will be universal and will get an
international audience's engagement".
What are the key factors for the success of a film?
"There is no magic spell for a successful film. But based on many
tries, a few facts can define a good film. The script should be
original and well-written. The director should be engaged in the
story to be able to add details that will move the story further.
With attention to the details, spectators will be able to feel this
attachment".