The key is for the judges to be skilled in the areas they evaluate. One example: American Idol where the judges are icons in the field of music performance. There would be no way to validate a non-industry person being asked to vote on a Best Makeup award when they don't understand motion picture makeup techniques, processes, continuity issues and application methods.
The smaller, less established, events that offer awards and prizes for exceptional work, often have trouble finding enough qualified people to read the stack of screenplays that sits on the event director's desk, getting taller by the day, or to view the stack of DVDs patiently waiting their viewings. As the deadlines approach and more submissions arrive, the net becomes wider and the experience requirements for judges may drop a level or two. In some cases, the independent small festival directors place the judge cap on their own heads.
These are some of the things I’ve pondered over the years after being asked by film festival directors, such as that of the Gulf Coast Film Festival, to render my opinion on documentaries, comedies, music videos and one hundred-plus page screenplay submissions.
In the course of being a “judge,” it seems that we know a great deal about the motivations, intent, vision and methodology of the person whose work is being evaluated. Not so, most judges in media related contests tend to have a basic understanding of storytelling, content and character portrayal. They, like myself, make every attempt to weigh the project solely on the criteria provided by the event organizers, using their own experience, objectivity and understanding..
Imagine being a judge on the panel reviewing the horror film, Poltergeist, or the Titanic? What about The Passion of the Christ, which was nominated for three Oscars? The point is that judges often make determinations based on what they have seen or what others say about a motion picture or television property, until, or unless, the rules allow for the submission of additional materials. This extra promotion may be the difference between whether a project gets the nod or not on smaller festivals. Is this fair? Probably not.
This is not to suggest that fairness is not employed. One may wonder if a documentary project can be judged by the same criteria as a romantic comedy and whether it should be evaluated by genre judges to ensure a deeper understanding of the material. A judge for a hot dog eating contest doesn't need to eat thirty long pieces of meat to determine the winner.
Some producers and filmmakers have enough resources to afford fancy posters, professionally written bios, glamorized and action oriented treatments of their projects, while those with lower budgets have to work harder to get the attention of the judges. Nevertheless, the judges do have to review every project before them.
It is for this reason that books are in abundance helping those with stories to tell and movies to sell, get an edge. In his book, How to Enter Screenplay Contests and Win, Erik Joseph (1997) provides the submission standards and deadlines for many of the top film festivals. He offers advice to screenwriters and filmmakers, telling them that entering film festivals is a cost effective way to bring attention to their work.
Somewhere along the line sometimes, mis-judging occurs. Take, for example, the 2010 Emmy Awards in which Edie Falco received the nod for comedy for her role in the show, Nurse Jackie.
As it turns out, her character was a serious woman with issues. In her acceptance speech, Falco said, ""Oh, this is the most ridiculous thing that has ever, ever happened in the history of this lovely awards show." She then said, "I'm not funny!" The audience agreed. Either they knew the show better than those voting or the promotional hype of the show overpowered the objectivity and sensibility of the judges.
In any case, it is up to the directors of the awards programs to ensure that all submissions are given proper and fair consideration based on objective criteria. Failure to do this will result in a loss of trust by those submitting their work and the devaluation of the awards programs in general.
Imagine being a judge on the panel reviewing the horror film, Poltergeist, or the Titanic? What about The Passion of the Christ, which was nominated for three Oscars? The point is that judges often make determinations based on what they have seen or what others say about a motion picture or television property, until, or unless, the rules allow for the submission of additional materials. This extra promotion may be the difference between whether a project gets the nod or not on smaller festivals. Is this fair? Probably not.
Some producers and filmmakers have enough resources to afford fancy posters, professionally written bios, glamorized and action oriented treatments of their projects, while those with lower budgets have to work harder to get the attention of the judges. Nevertheless, the judges do have to review every project before them.
It is for this reason that books are in abundance helping those with stories to tell and movies to sell, get an edge. In his book, How to Enter Screenplay Contests and Win, Erik Joseph (1997) provides the submission standards and deadlines for many of the top film festivals. He offers advice to screenwriters and filmmakers, telling them that entering film festivals is a cost effective way to bring attention to their work.
Somewhere along the line sometimes, mis-judging occurs. Take, for example, the 2010 Emmy Awards in which Edie Falco received the nod for comedy for her role in the show, Nurse Jackie.
As it turns out, her character was a serious woman with issues. In her acceptance speech, Falco said, ""Oh, this is the most ridiculous thing that has ever, ever happened in the history of this lovely awards show." She then said, "I'm not funny!" The audience agreed. Either they knew the show better than those voting or the promotional hype of the show overpowered the objectivity and sensibility of the judges.
In any case, it is up to the directors of the awards programs to ensure that all submissions are given proper and fair consideration based on objective criteria. Failure to do this will result in a loss of trust by those submitting their work and the devaluation of the awards programs in general.
