Acing Your Q&A
Filmmaker discussions and Q&As are a great way for you to connect with the people who care about your film, and audiences love the chance to engage with you and discuss your film.
Glenn Raucher, Director of Theater Operations at the Film Society of Lincoln Center has seen countless film talkbacks; below, he and his staff shared with us stories of Q&A pros who used every possible chance to connect with their audience.
“John Waters, upon hearing that we were turning away 100+ people (!) from a stand-by line (sure to be disappointed, at best), offered to go out and greet them all, giving them a great experience, despite being turned away. Pedro Almodovar did the same before his ridiculously sold-out Amphitheater Talk” – Glenn Raucher, Director of Theater Operations.
“In 2002 Gary Sherman brought in his own print of “Deathline,” (uncut and very different from the theatrically released 1974 version that was re-titled “Raw Meat”). As a result, the audience got to see a version of the movie that had rarely, if ever, been shown in the United States. He was also patient and cooperative with the staff and his fans.” -Fletch Cossa, House Manager
“During a screening of “Jauja” in the New York Film Festival, the subtitling for the film failed momentarily, causing us to have to pause the film. Viggo Mortensen stood up, and cheerfully talked with the crowd while they waited, also communicating that…s**t happens, and it’s all good! It diffused the tension until the computer issue was fixed and the film resumed.” -Glenn Raucher, Director of Theater Operations
“Sacha Baron Cohen, in character as Borat, offered a “Brazilian” to everyone taking an elevator backstage with him, including our house manager. He was also, out of character, unfailingly friendly and polite.” -Karim Allick, House Manager
“A woman approached me and asked if I could help her convince Jean Dujardin to record a brief message of uplift for her very sick husband, a friend of the Film Society’s. Dujardin had flown in that day, and was clearly exhausted, but after a brief explanation, he said “of course!” and recorded a charming and funny get-well message.”- Glenn Raucher, Director of Theater Operations
These stories remind us that you don’t have to be a celebrity to make a great impression on your audience. House Manager Patrick Ng shares 3 overall tips to keep in mind for your Q&A:
- Keep your answers brief, unless you have an awesome anecdote to tell. This allows for more questions to be taken from the audience, and keeps the momentum moving. First time filmmakers tend to be more long winded in their responses, while the pros take the “less is more” approach. Short answers also provide the best quotes used in press and social media.
- Share your insight. People will remember your Q&A more when they can walk away with a nugget of insight that will inspire them, motivate them, make them look at something in a different way.
- Schedule permitting, make yourself available after the Q&A (in the lobby, not the theater!) to take more questions. A lot of people don’t feel comfortable asking a question in front of a full house and would prefer a more intimate circumstance.
Filmmaker Dispatch: Jacqueline Olive, director of Always in Season
I’m directing and producing ALWAYS IN SEASON, a documentary that examines the lingering impact of almost a century of lynching African Americans and follows relatives of the perpetrators and victims in three communities who are seeking justice and reconciliation.
The project is particularly relevant in the wake of the grand jury decision not to indict the Staten Island police officer who killed Eric Garner. The turmoil the country now faces after repeated incidents of racial violence gone essentially unchecked powerfully demonstrates the unfinished business of confronting lynching. My goal is that Always in Season will move viewers to begin dialogues in their communities about not only ways to address the historical racial violence of lynching, but also strategies for stopping the killing of unarmed people of color by police and vigilantes that is occurring in numbers comparable to the rate of lynchings per week, at its height, across the country.
The emotional intensity of the subject matter is definitely challenging. When I first began to look at the collection of photographs of men, women and children posing with the tortured bodies of lynching victims, it was deeply troubling. But, if I’d refused to look closer, I wouldn’t have learned who the people were in those scenes. Just as importantly, I’ve gotten to know inspiring people who are featured in the film, like Olivia Taylor, who witnessed a lynching at the age of 3, and is part of a multiracial group of amateur actors who reenact the 1946 lynching of two couples annually in Monroe, GA, (outside of Atlanta) on the very spot where the violence happened. And, Rev. David Kennedy, who has spent almost two decades fighting to close the shop that sells KKK robes and neo-Nazi memorabilia right in the middle of downtown Laurens, SC, and less than a mile from where his great-uncle was lynched in 1913. In Duluth, MN, three men were lynched in 1920 with two thousand spectators watching. The film goes there to follow Don Clariette, a cousin of one of the victims, along with Warren Read and Mike Tusken, relatives of some of the perpetrators, as they attempt reconciliation after the first-ever memorial to lynching victims was erected. These stories, of descendants and others taking action to acknowledge the victims, repair the damage, and reconcile, light a path towards healing.
It also doesn’t get any more motivating than the support I’ve received from Chicken & Egg Pictures. We finished principal filming and have begun fundraising to create a rough cut. In the earliest days of production, shortly after using up my own funds to shoot test interviews, Chicken & Egg awarded us an I Believe in You Grant. The name says it all! Not only did they provide funding at exactly the right time to make it possible for us to film, but Chicken & Egg also continues to support the project, most recently granting funds for editing earlier this year. Mentorship workshops, like the one I attended last spring and co-sponsored by another valuable project funder, Catapult Film Fund, are just as important and have prepared me for the editing that lies ahead with critical feedback on character development and structure from fellow filmmakers. In fact, my editor, Michaelle Stikitch, and I used notes from that workshop to revise the work-in-progress by June, and that cut of the film screened at the Cucalorus Festival last month.
Cucalorus was outstanding! The festival gave the project exposure and the team more input as the film screened several times at different venues during the week to audiences of students and educators, community organizers, filmmakers, and more. The experience showed me that Always in Season resonates with a broad audience eager to see the film completed.
If you would like more information on the Always in Season project, or if you would like to support the project, visit www.alwaysinseason.net.
Chicken & Egg Pictures at the 2015 Sundance Film Festival
Four Chicken & Egg Pictures grantees will be hitting the slopes in January at the 2015 Sundance Film Festival.
The Amina Profile (directed by Sophie Deraspe), Dreamcatcher (directed by Kim Longinotto), Hot Girls Wanted (directed by Jill Bauer and Ronna Gradus), and (T)ERROR (directed by Lyric Cabral and David Felix Sutcliffe) will be world premiering in competition at the festival, held every year in Park City, Utah.
Chicken & Egg Pictures is also proud and excited to see How to Dance in Ohio, directed by Chicken & Egg Pictures Advisory Board member Alexandra Shiva, in the lineup for the US Documentary Competition.
For the full list of films that will be screening in the U.S. and World Cinema Dramatic and Documentary Competitions and the out-of-competition NEXT <=> section, click here.