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DTSTART;VALUE=DATE:20240514
DTEND;VALUE=DATE:20240526
DTSTAMP:20260613T084424
CREATED:20220524T004118Z
LAST-MODIFIED:20230616T200904Z
UID:140-1715644800-1716681599@motionpicturemaker.com
SUMMARY:Cannes Film Festival
DESCRIPTION:ABOUT THE CANNES FILM FESTIVAL\nThe Festival de Cannes is now the world’s most prestigious film gathering\, as well as its most widely publicized cultural event. Today a major forum for film-producing countries\, its history\, selections and prizes are usually thought to date back to 1946 – the year of the first festival proper. However\, the first seeds of the event were actually sown eight years earlier. \nWith the 76th season about to get underway\, the international Festival de Cannes is one of the world's most widely publicized events and certainly the most important film festival in terms of worldwide impact. Through the works\, artists and themes it platforms on the world stage over the course of its 15-day line-up\, the event is forever engaged in a process of self-renewal. \nWe put ten questions to Thierry Frémaux\, General Delegate since 2007\, on what the Festival de Cannes means today. \nIn order to achieve this level of longevity\, the Festival de Cannes has remained faithful to its founding purpose: to draw attention to and raise the profile of films\, with the aim of contributing towards the development of cinema\, boosting the film industry worldwide and celebrating cinema at an international level. And to this day\, this profession of faith constitutes the first article of the Festival regulations. It is a Cannes tradition to raise a glass to household names and usher emerging directors into the international film scene’s spotlight. That’s what makes Cannes\, Cannes. We always painstakingly curate our offering to ensure we showcase hidden gems alongside more mainstream films. \nThe Official Selection serves to highlight the diversity of cinematic creation through its different sections\, each of which has its own distinct identity. The films are screened in world preview showings\, meaning it’s often the first time they come under the watchful gaze of a demanding audience made up of professionals and film lovers. \nSome sections culminate in awards\, such as the Competition where incredibly high-level “mainstream art film” works are presented\, Un Certain Regard\, which recently shifted its focus to return to more experimental up-and-coming arthouse directors\, and CINEF film school graduate offerings. \nBut the Official Selection also centres on Out of Competition\, Special Screenings\, Midnight Screenings\, and Cannes Première films\, as well as heritage works screened as part of Cannes Classics and the Cinéma de la Plage. The important thing is that this Selection is both balanced and representative of cinematography at the time in terms of creativity and geography. \n  \nHistory of the Festival\nIn July 1938\, the Venice Mostra\, the first international competition dedicated to the film world\, saw the major pre-war film-producing countries gather together for the sixth time. France was represented with a series of films\, and on the jury by the diplomat Philippe Erlanger.\nOn the day of the Awards ceremony\, the jury was unanimous. An American film had captured their hearts\, but under pressure from Hitler the Nazi propaganda film Olympia by Leni Riefenstahl and the Italian film Luciano Serra\, Pilot by Goffredo Alessandrini reaped the ultimate accolade\, named the Mussolini Cup. The decision provoked outrage among the members representing democratic countries and France\, the United States and Great Britain left the Mostra\, vowing not to return.\nDuring his train journey back to France\, Philippe Erlanger\, thought of setting up an event to replace the Mostra and offer the world a festival that was free of pressure and constraints. On his return\, he contacted the authorities. There was no time to waste – a rival French festival was required before the next Venice competition came around. \nFrom September 1938 to May 1939\, the initiative became a genuine State affair. Georges Bonnet\, the Foreign Minister\, was afraid of poisoning Franco-Italian relations\, but the Education Minister Jean Zay\, and Minister of the Interior Albert Sarraut\, supported the idea of a film festival for Europe in which art would no longer be influenced by political manoeuvring. In June 1939\, the creation of a film festival in France was announced in the media\, supported by various film-producing countries\, led by the United States\, and scheduled to open on 1st September – the same day as the Mostra\, which left only a few months to prepare the entire event. \n  \nDEADLINES & FEES\nOpening Submission Date\nTBA \nEvent Date\nMay 14 - 25\, 2024 \n  \n\n\n\n\nSubmissions Deadline\n\n\nFeature Films (DVD/Blu-ray)\nTBA: €140\n\n\nShort Films\nTBA: €30\n\n\n\n  \nVisit the Cannes Film Festival website for more information.
URL:https://motionpicturemaker.com/event/cannes-film-festival/
LOCATION:Palais des Festivals et des Congrès\, Cannes\, France
CATEGORIES:Film Festivals
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DTSTART;VALUE=DATE:20240520
DTEND;VALUE=DATE:20240521
DTSTAMP:20260613T084424
CREATED:20240608T204344Z
LAST-MODIFIED:20240609T053917Z
UID:1965-1716163200-1716249599@motionpicturemaker.com
SUMMARY:Final Draft Big Break Screenwriting Contest - Regular Deadline
DESCRIPTION:ABOUT THE FINAL DRAFT BIG BREAK SCREENWRITING CONTEST\nFinal Draft’s Big Break Screenwriting Contest is an annual\, international feature film and television screenwriting contest designed to help launch the careers of aspiring writers. Writers who have entered Big Break have had their screenplays optioned\, sold\, and have secured high-profile representation. \nAward Categories\nThis year we celebrate 11 Category Winners\, 2 Grand Prize Winners\, and a Short Script Winner. Over 60 past winners have sold scripts\, received representation or gone on to professional writing careers. \n- Feature Awards \n\nAction/Adventure\nComedy/Rom-Com\nDiversity\nDrama\nFamily/Animated\nPeriod/Historical/War\nSci-Fi/Fantasy\nThriller/Horror\n\n- Television Awards \n\nDiversity\nHalf-Hour Pilot\nHour-Long Pilot\n\n- Short Film Award \n  \nRules & Eligibility\nFees and Deadlines\n\n$35.00 – Early Bird Deadline Shorts Standard Entry April 15\, 2024\n$75.00 – Early Bird Deadline Shorts Standard Entry + Feedback April 15\, 2024\n$45.00 – Early Bird Deadline Standard Entry April 15\, 2024\n$110.00 – Early Bird Deadline Standard Entry + Feedback April 15\, 2024\n$45.00 – Regular Deadline Shorts Standard Entry May 20\, 2024\n$85.00 – Regular Deadline Shorts Standard Entry + Feedback May 20\, 2024\n$65.00 – Regular Deadline Standard Entry May 20\, 2024\n$130.00 – Regular Deadline Standard Entry + Feedback May 20\, 2024\n$55.00 – Extended Deadline Shorts Standard Entry June 10\, 2024\n$95.00 – Extended Deadline Shorts Standard Entry + Feedback June 10\, 2024\n$75.00 – Extended Deadline Standard Entry June 10\, 2024\n$140.00 – Extended Deadline Standard Entry + Feedback June 10\, 2024\n$65.00 – Last Chance Deadline Shorts Standard Entry June 28\, 2024\n$105.00 – Last Chance Deadline Shorts Standard Entry + Feedback June 28\, 2024\n$85.00 – Last Chance Deadline Standard Entry June 28\, 2024\n$150.00 – Last Chance Deadline Standard Entry + Feedback June 28\, 2024\n\nDates reflect deadlines for electronic submission of scripts. All entries must be electronically submitted by midnight (Pacific Time) on their respective deadlines. \n  \nSubmissions\n\nThe Big Break Screenwriting Contest only accepts online entry of feature film\, television\, and short screenplays (original pilot scripts only – miniseries cannot be accepted).\nNo printed scripts will be accepted.\nTo enter your script electronically\, you must submit your screenplay in PDF format. You are not required to use Final Draft in order to enter the Contest.\nAll submissions should consist of: – Full-length screenplays (approximately 80 to 120 pages); – Teleplays (hour-long approximately 40 to 70 pages\, half hour approximately 20 to 35 pages); – Short script screenplays (maximum 20 pages).\nAny entries over 150 pages WILL BE DISQUALIFIED. For feature and teleplay\, entries less than 20 pages that are clearly not a screenplay (comic books\, etc.) will also be disqualified.\nAll necessary information is captured upon entry of digital submissions\, so title pages should be removed or contact information must be deleted from the title page. The title of the script will be provided to the reader as part of the file name and in the judging form.\nDo NOT include personally identifying information (name\, etc.) ANYWHERE in your script as this will result in INSTANT DISQUALIFICATION. This includes: – Writers name\, WGA or representation info on the title page; – Writers name on ANY page of the script; – Writers name within the script’s file name.\nEntry should consist of a screenplay\, teleplay\, or short script only. Do not include resumes\, pitches\, synopses\, casting suggestions\, letters\, or other supporting documentation with your submission. Judges will not receive these materials.\nThe exception is original hour-long and half-hour TV entries\, which may include standard supplementary materials\, such as lists of recurring characters and future episodes\, as part of the screenplay. This information would need to be included within the same file\, at the end of the script.\nEntrants who select to receive feedback on their screenplay will be given at least 550 words of assessment from a competition reader. Feedback will be automatically emailed to entrants upon its completion.\n\n  \nContest Announcement Dates\n\nAugust 23\, 2024 (Quarterfinalists)\nSeptember 20\, 2024 (Semifinalists)\nOctober 11\, 2024 (Finalists)\nNovember 1\, 2024 (Category Winners)\nDecember 4\, 2024 (Grand Prize Winners)\n\n  \nEligibility\n\nThe Big Break Contest is open to any individual who is 18 years of age or older at the date of entry and has access to the Internet.\nEmployees\, officers\, directors\, contractors and agents\, and their immediate families and household members regardless of where they live\, or members of the same households (whether related or not) of Cast & Crew Production Software\, dba Final Draft and its respective divisions\, affiliates\, subsidiaries\, agents\, Big Break Contest sponsors\, and advertising agencies (collectively\, the “contest providers”)\, are not eligible to participate in the Contest or to win any prize.\nScreenplays under option at the time of submission are not eligible.\nAdaptations are not eligible unless the source material was written by the screenwriter of the entry in question. Scripts are not eligible if the source material has been sold\, produced\, or is currently under option to any third party.\nGrand Prize winners in Features and TV\, category winners\, and Short Script Award winners are not eligible to re-enter their winning scripts in future Big Break Contests. They are\, however\, eligible to enter different scripts for consideration. Grand Prize Feature and TV winners\, as well as category winners\, receive a free entry in the 2024 Big Break Contest as part of their 2023 prize package.\n\n \nVisit the Final Draft Big Break Screenwriting Contest website for more information\, including multiple entries\, co-writers & prize division\, revisions\, refunds & resubmissions\, prize conditions\, ownership and industry releases\, and general provisions. \n\n\nVIEW THE EVENT CALENDAR
URL:https://motionpicturemaker.com/event/final-draft-big-break-screenwriting-contest-regular-deadline/
LOCATION:N/A
CATEGORIES:Screenwriting Competitions
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