Issue “19 Publishers Norman Jacobs/Kery O'Quinn ‘Associate Publisher Rita Eisenstein Circulation Director Richard Browne Editor David Hutchison Art Director Steven J. Plunkett, Managing Editor ‘John Clayton’ ‘Senior Designer ‘Neal Holmes Associate Art Director Diane Cook Editorial Contributors Joe Carter Mate Greenfield Al Magliochett Chris Stevens Designer Denise Lewis Production Assistants ‘Joan Baetz Richard Cebek Eileen Dempsey Norma Garcia, Andrea Passes Clara Gres Founder of CINEMAGIC on Dohler Financial Manager ‘Joan Baetz Published by (Q{QUINN STUDIOS, INC. 4475 Park Ave. South New York, NY 10016 (Giapeenaas0 fhe ctu sn Sn een [t,t ih ano apa ean ‘oo rn "3 tact arn eae fom der tate Sn a o'er "arg amen ae pao wr Ko 4 CINEMAGIC #19 Editor’s BENCH But What Does it all Mean. . .? 1's now some months past the Fourth Annual CINEMAGICISVA Film Search the films have been returned with score cards enclosed and the lucky winners notified. Now what? ‘Of course, the winners have gotten what they were supposed to get out of the con test—some generously donated merchandise prizes, recognition, visibility, a public Screening oftheir lm and possible future coverage in the pages of CINEMACIC. i's the beginning of a track record. It's a first step towards getting up to bat with the big. leagues, For most ofthe winners that chance at bot i sil years oft wil take much ‘mote hard work, more filmmaking and good luck. Your chances at bat of getting 'o show your stuff to the big boys or the big break actually depends mostly on luck ‘Whether or not you strike out on your'"big break’ depends mostly on you. ..on how {g00d you are... -on how good what you have to show fs ‘But what abou the vast majority who weren't "winners" this time around. Well, of course, there is always next year. But even more important isthe foc that there ere dozens of other film festivals and contests held around the United States. You should enters many of them as possibe. think oul find that If youare any goodatall, your ‘work wll be accepted and win prizes in some contests and notin others. ‘Why? If tsa good film, why doest't everybody think so. Well have no answer for that one. am a member of the Stereo Division of the Photographie Society of ‘America. There are maybe a dozen competitions that I enter with my stereo slides every yer: Sometimes the judges like them and sometimes they don A good friend of mine had the experience of having oe of his entries rejected by the Judges in one Competition, but the very next competition he entered the same stereo slidetook frst ace. Pr Tiere lo occiibeng (rtm of county big hvere ice to heal sbi oh the things thet affect judging are: was your work shown first or last, how good was the work shown justbefore yours, what are the personal prejudices ofthe judges, what are the physleal conditions ofthe Judging environment, was the projector running per. fectlfor yourfilm, was your flim the 25th version ofthe same ited plot thatthe judges had seen that day. ..? And so on ‘lof these things can make the same flm a winner one day and e loser the next. Your only defense against this sor of thing is to get your film out as many times as possible. inthe long run, the averages will even out some ofthese variables, ‘One thing though. Even in the worst of conditions... even though the judges right have been bored by 7 hours of mediocre of worse films. films of unustal talent and originality shine Unrough. Ive seen it heppen time efter time—the most beary-eyed Judge perks to full attention when anything of unusual qu acrosson the screen I's astounding how atl bit of original creativity can wansform ‘an exhausted judge into an eager, excited film fan, So. Now, what does all this mean? Simply put: "ll you did't make it this time, but you're really turned on by fllmmaking. then nothing can stop you.” David Hutchison ‘GREMAGIC i pblabe ont by OQURESTUDOS NC. 475 Par Aven South Nex York HY 1016.Teai ett omer ay ONS TIBOR RE Aires eonrpton Tope rmcenetly erarcd by CREMAGIC aay ves expec In eal ay ent ons tose of