Submitting to festivals can be addictive. When you get in you want to enter more. When you don’t get in you want to make up for the losses by entering more. If you’re not careful you can easily find yourself spiraling out of control, spending literally thousands of dollars on entrance fees. Festival screenings provide a certain level of legitimacy for a filmmaker. If my film plays in a festival, on a big screen, then I’m a real filmmaker. Getting your film in front of people is never a bad thing; in fact, it is the main thing. Where most filmmakers get derailed is when they start believing that festival screenings are some kind of magical launching pad to bigger things. I don’t mean to marginalize the festivals, many of which I myself have been a participant but hundreds of films are screened at every event which means it’s that much harder to make a lasting impression. When you think of the thousands of short films being made each year, the chances of your little film breaking through are ridiculously small. But it’s not all doom and gloom. Far from it and I’ll tell you why I think that way next time. As for FROM HELL HE RIDES … after 10 months of pre-production, the year long process of animation has begun. Pictured is the very first captured frame. 15 minutes @ 15 fps means just another 13,500 frames to go.