What Programmers Really Want — and Why Strategy Matters More Than Ever - Heather Brittain PODCAST INTERVIEW

After reviewing thousands of submissions as a programmer at the Garden State Film Festival, there’s one misconception I still see filmmakers struggling with:

That festivals are a black hole.

That no one really watches the films.
That rejection means your work wasn’t good enough.

None of that is true.

In a recent conversation on the Cinephile Mike Podcast about festival strategy, programming, and why I built Festival Fixr™, I wanted to pull back the curtain on what’s actually happening on the other side — and how filmmakers can use that knowledge to build smarter, more sustainable careers.

Yes, We Read Your Cover Letter. And Yes, We Can Tell.

Let’s start here, because this surprises people.

Programmers do read cover letters.
And we can absolutely tell when they’re copy-pasted, generic, or written without care.

What we’re really looking for is simple:

• Why did you choose this festival?

• Why do you believe your film belongs here?

• Why should we care — and why do you care about us?

This isn’t the place to wax poetic. That’s what your director statement and project page are for. A strong cover letter is succinct, personal, and intentional. Think of it as the beginning of a relationship. Because if we select your film, that’s exactly what it becomes.

We’re potentially inviting you into our film family. We want to know you’re choosing us as thoughtfully as we’re choosing you.

Your Film Is Being Watched. By Real Humans.

Another persistent myth: “Did anyone even watch my film?”

If you’re submitting to a reputable festival, the answer is yes — and often, multiple times. Films are watched by screeners, then programmers, and discussed collaboratively. We’re not skimming. We’re not fast-forwarding. And we’re not rooting against you.

Most programmers are filmmakers themselves. We know how vulnerable it feels to submit. We understand rejection — deeply. And we genuinely want to love your film when we hit play.

When a strong film doesn’t get accepted, it’s almost never about quality alone.

Sometimes it’s timing.
Sometimes it’s fit.
Sometimes we already have several films covering similar terrain and our audience simply doesn’t have the bandwidth for more that year.

That doesn’t make your film any less worthy.

The Difference Between “Submitting Widely” and Submitting Strategically

One of the biggest gaps I see is between filmmakers who submit broadly and those who submit intentionally.

A thoughtful festival plan starts with one critical question:
Where do you want your film to premiere — and why?

That doesn’t mean waiting endlessly for Sundance. It means understanding premiere status, knowing which festivals are flexible, and recognizing that many higher-tier festivals won’t take a film that’s already played certain types of regional events.

Order matters. Timing matters. Context matters.

And the math matters too:

• Acceptance rates often hover around 5 percent.

• Shorts are easier to program than features.

• A single feature can displace 6–8 short films, which raises the bar significantly.

There’s no universal average — only trade-offs.

The filmmakers who fare best aren’t the ones submitting everywhere. They’re the ones weighing each decision against their larger goals.

The Moment I Knew Filmmakers Needed More Support

Through my work at Film Festival Insider™, I’ve spent years doing one-on-one strategy sessions with filmmakers.

Those conversations are where the magic happens. The moment when something clicks. When a filmmaker suddenly understands why something didn’t work — and how to course-correct.

But there was a problem.

I’m one person.
Most filmmakers can’t afford a private festival strategist.
And the learning curve, without guidance, can take years.

I kept thinking: What if this knowledge didn’t have to be locked behind access or budget?

That’s what led me to build Festival Fixr™ — the first AI-powered festival strategist designed specifically for independent filmmakers.

Not by a tech company.
Not by someone scraping data.
But by a working filmmaker and programmer who built the tool she wished existed.

AI as Support — Not Replacement

I’ll be honest: I used to be afraid of AI.

I still am — when it’s used to replace artists.

But I believe deeply in AI as a support tool. Something that takes pressure off creators instead of pushing them out. Independent filmmakers already wear every hat — strategist, publicist, marketer, fundraiser — while competing against studio-backed projects with entire teams.

Festival Fixr™ was designed to help with:

• Festival positioning

• Press strategy

• Loglines and bios

• Q&A preparation

• Audience-building at screenings

• Turning festival moments into long-term momentum

She’s not here to replace your voice.
She’s here to help you protect it.

Your Film Is an Expensive Business Card. Use It Wisely.

I want filmmakers to stop thinking of festivals as the end of the road.

A screening can be a launchpad.
A red carpet can have longevity.
An audience can become a community.

Too often, filmmakers repeat the same circuit over and over without leveling up — when their film could be helping them secure funding, build credibility, and grow a fan base for what comes next.

Your film is art.
But it’s also a business asset.

When you treat it strategically, it can take your career much further than a hard drive and a few screenings ever could.

That’s the work I care about most.
And that’s why Festival Fixr™ exists.

Because filmmakers deserve clarity, support, and a smarter path forward — not just hope and guesswork.

By Heather Brittain
Founder, Film Festival Insider™ | Creator of Festival Fixr™

Check out my full interview with Cinephile Mike HERE.