Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published. (see examples on the video playlist below)
A paranormal story is a work of fiction that explores phenomena and beings that are beyond the scope of scientific understanding. They include elements like ghosts, vampires, werewolves, witches, and other entities that cannot be explained by the laws of nature. They can be set in the real world, but generally includes elements that defy scientific explanation.
Mainly what this contest does is give exposure to the writer. They will be able to obtain a solid agent, plus get notice by producers looking for writers like yourself. NOTE: The writer will always own 100% rights to their story. The only thing we do is help the writer. Either with notes on their next draft, or gain exposure by having their story showcased at our festival.
The Western is a film genre defined by the American Film Institute asfilms which are “set in the American West that [embody] the spirit, the struggle, and the demise of the new frontier.” Generally set in the American frontier between the California Gold Rush of 1849 and the closing of the frontier in 1890.
FULL FEEDBACK on your screenplay from our committee of Professional Screenwriters, Production Heads and Script Consultants. Get your entire script performed at the writing festival.
SUBMIT your FEATURE, TV PILOT or SHORT SCREENPLAY.
Submissions take 3-5 weeks for evaluation. Looking for screenplays from all over the world.
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.)
1st Tier: FULL FEEDBACK on your screenplay (all submissions)
2nd Tier: Accepted scripts (25% on average of submitted entries) get a best scene of their screenplay performed by professional actors and made into a promotional video.
3rd Tier: We will send you a list of questions to answer for our blog interview that will promote you and your film.
4th Tier: Then we will set up a podcast interview on our popular ITunes show where will we will promote the winning writer and script.
(BONUS: 5th Tier. A winning screenwriter’s WhatsApp group has just been formed. Over 50 writers to date. Great way to share ideas and contacts with people in the industry.)
Submit your Film to the Festival. Guaranteed Acceptances:
We are incredibly grateful to the L.A. FEEDBACK FILM FESTIVAL for showcasing “AVE GRADIVA” and for the amazing audience feedback. indeed, this festival is really something special and outstanding in that it allows direct contact between the film creators and the audience. after all, we create films not for the awards, but to excite the viewers and to be excited together with them! Sending all our love and warm regards from Tel Aviv to L.A. Yours sincerely, Yuri Riklis, & AVE GRADIVA Team.
GROCERY SHOPPING, 38min., USA Directed by Harry Roseman I am at the grocery store three to five times a week. It has become a ritual, picking out the items, going over the shopping list, interacting with the same people year after year. It seems to me, an important aspect of my and many other people’s lives. Something utterly familiar. Though filmed it becomes somewhat mysterious, seen anew, to be rethought about.
Harry Roseman is a sculptor, photographer, draftsman, practitioner of web based works, and professor of art at Vassar College where he currently chairs the Department of Art. In addition to having had many solo exhibitions, Roseman has produced a number of major commissioned public sculptures.
My work takes many forms. An aspect of some of my work in photography, installation, and film centers on my interactions with people in my community as I go about doing errands. I had done some shorter film focused on checking out at the register with my purchases. These interactions are important to me because of the frequent interactions I have with the same people over months and years. They are specific kinds of relationships, These exchanges have an aspect of friendship, though bracketed by the relatively brief interchanges but enlarged by time and repetition. This film stems from those interactions, but also a way of showing a frequent and mundane activity as being worthy and possibly interesting as art. Possibly giving the viewer a new take on their own regular day to day activities, In addition I found aspects of the visual possibilities rather beautiful, as still lives, such as piles of fruits and vegetables. The added addition of bits of conversation that either I had with people or overheard was also interesting to me.
[commenting in 2004 on Britain’s proposed Racial and Religious Hatred Bill] To criticize a person for their race is manifestly irrational and ridiculous, but to criticize their religion, that is a right. That is a freedom. The freedom to criticize ideas, any ideas – even if they are sincerely held beliefs – is one of the fundamental freedoms of society. A law which attempts to say you can criticize and ridicule ideas as long as they are not religious ideas is a very peculiar law indeed.
Mr. Bean is essentially a child trapped in the body of a man. All cultures identify with children in a similar way, so he has this bizarre global outreach. And 10-year-old boys from different cultures have more in common than 30-year-olds. As we grow up, we acquire this sensibility that divides us.
I remember looking up Johnny English (2003) in a film guide and it said ‘intermittently hilarious’ – quite a good description of five good jokes and a lot of longueurs. I find it frustrating that, apart from Four Weddings and a Funeral (1994), I have yet to be involved in a film of which I am totally proud.
The casual ease which some people move from finding something offensive to wishing to declare it criminal – and are then able to find factions within government to aid their ambitions – is truly depressing.
[on being an actor] I think all actors have a similar deal. You want some people who understand. Although it looks great – and is great – there are also shoddy moments when you feel really rotten, and when it’s going well, you’re not allowed to complain. Your actor friends will understand the nuances of a painful director, or the loneliness of being… okay, in a beautiful hotel room somewhere exotic. But you’re by yourself for six months, and you’re thinking, “Oh God, I wish I could share it with someone.” I’m trying to buy a house and set some sense of roots because otherwise you’re constantly chasing one job after another, and you look back and you’ve had all these very extraordinary experiences with extraordinary people, but there’s not a line of continuity to it. [Interview with Fran Babb, November 2011]
[on the process of learning lines] That’s what’s been keeping me up at night. What I love about this, though, is that Daniel Day-Lewis and Ryan Gosling have to learn lines, too. Do you know what I mean? However, genius Ryan Gosling is on the ukulele, however brilliant other people are, it’s reassuring to know that even Ben Kingsley has to walk around his room learning lines. It’s the great leveller.
[on his favorite color] The color that Yves Klein does. Wet paint has a luminosity that dies when it dries and it loses the gloss. So Yves created this color scientifically that retains that luminosity. He was a big showman, so he got it copyrighted. The color is called IKB-International Klein Blue. And it sounds all bullshit-y and ridiculous, but when you stand in front of those canvases, the color is sublime and dumbfounding. So that specific color is my favorite color in the world. Are you going to follow this up with a colorblind question? (No, wasn’t planning on it, but if you want to discuss it. [interviewer vs. salisbury]) No, I talk passionately about that color and then people go “But you’re colorblind.” And I go, “I know. I don’t know what I see but I see it and I like it.”.
For an impression, I just find that I can do a lot of the people I love without much research, because I’ve already watched hours and hours of them on video and it seeped into my brain while I wasn’t thinking about it.
I started watching ‘SNL’ when I was thirteen or so; those were the Molly Shannon/Ana Gasteyer/Cheri Oteri years. I was very serene, and I still am, until I start talking in another voice, then suddenly I have a lot of volume and I’m frantic. But I didn’t want to be one of those people who’s always talking in accents in real life, so I started doing sketch comedy.
If you asked me to seriously kiss someone on a screen, I would be very uncomfortable. But I will lick any part of your face.
Festival Reviews 