“The first iteration of a film festival gives one a chance to reflect on really basic components of the universal template. But I should admit I’m skeptical of the film festival model in the first place. I don’t leap at every screening opportunity—I often turn down requests for screeners. This unpopular policy was the centerpiece of a three-day conversation I had with filmmaker and critic Dave McDougall before and after my time in Anaheim. McDougall pointed out that I’m reverse gatekeeping, actively preventing people from seeing my films. I realized that this instinct is paternalistic—instead of protecting my film from insensitive viewers, I’m protecting viewers from what may be a dissatisfactory viewing experience. I do not believe in methodical promotion. I make a lot of noise on Twitter but I don’t make Facebook event pages, I don’t send posters or promotional materials to fests screening my work, I rarely cut trailers. Am I lazy? Superior? Do I deserve to screen at festivals if I seem indifferent to the ritual requirements of the institution? I should mention here that I’m grateful for every screening opportunity I’ve been offered, regardless of my seeming recalcitrance.”

—

Alejandro Adams on the Film Festival Experience.

Also an aside: I asked for and received a screener of his second film, Canary, which made the festival rounds in early-to-mid 2009. Graciously received one and kept it for a bit with no real deadline. Another film critic who had a wider outlet than me was doing a piece on Adams but hadn’t seen the film yet. Adams knew I lived down the street from the critic based on an aside I made on Twitter and asked if I’d drop it off. So, I did. 

What am I getting at? Is there a more interesting way to establish a press/screening relationship with filmmakers at the DIY level? Can a preview screening culture exist if done a~la Dead head mix-tape? Is Twitter God?

Fuck if I know.