Dr. Rebekah Louisa, Founder at The Film Festival Dr. | Marketing, Media & Tarantino | SSP Interview

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Doctor Rebekah Louisa Smith began her film industry career in 2008, working as a producer on Wales’ most successful national horror film festival, the brilliantly-named Abertoir Horror Festival.

A decade ago, she created her company The Film Festival Doctor, the name a nod to her academic past. Rebekah has a PhD in Film and Audience research, her thesis based on the work of her hero Quentin Tarantino. Rebekah and her team will continue to pen prescriptions for success and are committed to transforming the lives of independent films through film festivals.

Their aim is to give these films and the filmmakers visibility, awards, opportunities and recognition within the industry. Currently, the company- which has offices in London and Los Angeles- has helped win over 650 awards for their clients and her team have supported over 688 creatives across the world guiding them on their journeys to success.

In 2018, Worcestershire-born Rebekah worked extensively on the feature length documentary George Michael Freedom: The Director’s Cut which has been screened at over 25 international festivals. It has won 5 awards and was shown in competition at the 26th Raindance Film Festival.

The Film Festival Doctor has created triumphant film festival campaigns for Martin Kemp’s Stalker, The Boy With A Camera For A Face (45 festivals and 13 awards), Arrivederci Rosa (25 festivals), Beyond The River (winner of 2 SAFTA awards; the South African BAFTAs), Commune (30 festivals including the BAFTA-qualifying London Short Film Festival), Soldier Bee (BAFTA-recognised Aesthetica Short Film Festival), Placebo: Alt. Russia (International Film Festival Rotterdam), the BAFTA- shortlisted documentary Noma: Forgiving Apartheid, the BAFTA long listed Sylvia & The Cunning Man and the South African long-listed Oscar entry film Kalushi: The Story Of Solomon Mahlangu.

Show Notes




The Success Story podcast is focused on speaking to incredible people who have achieved success through trials, tribulations, wins and losses. In each episode we sit down with leaders and mentors. We document their life, career and stories to help pass those lessons onto others through insights, experiences and tactical strategy for business professionals, entrepreneurs and everyone in between.

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Scott D Clary, Dr. Rebekah Louisa


Scott D Clary  00:06

Welcome to the success story podcast. I’m your host, Scott Clary. On this podcast I have candid interviews with execs, celebrities, politicians and other notable figures, all who have achieved success through both wins and losses. To learn more about their life, their ideas and their insights, I sit down with leaders and mentors and unpack their story to help pass those lessons on to others through both experiences and tactical strategy for business professionals, entrepreneurs, and everyone in between. Without further ado, another episode of the success story podcast. Alright, thanks again for joining me. I am very excited to be sitting down with Dr. Rebekah Luisa, who is the founder and CEO of the film festival. Dr. Now, Rebekah began her career in the film industry in 2008, working as a producer on some of the most successful national horror film festivals, named the arbiter horror festival, about 10 years ago, she created her own company and I, it could be a little bit dated probably a little bit more than 10 years now, but the film festival doctor, and that’s a nod to her academic path. So Rebecca does have a PhD in film and audience research. Her thesis based on the work of PR hero, Quentin Tarantino, also one of my favorite, favorite names and film, Rebecca and her team will continue to basically create prescriptions for success, and they are entirely focused on transforming the lives of independent films through film festival. So what they do is they give films filmmakers, visibility, opportunities, recognition. Currently, she has offices in London and LA. And she has helped win over 650 awards, and counting for her clients, and supported over 688 different creative pieces across the world. So very excited to sit down and speak. Thank you so much for joining me. And I’m really interested to hear a little bit more about your story. What is the what is a doctor of film? And how did you how did you get to here?


Dr. Rebekah Louisa  02:19

Yeah, so I your rights. Thank you for that wonderful intro. That’s probably the one of the best interests of a had. And so that’s correct. So I’m a I have a PhD in film audience research. And I was very fascinated back in say, when I was doing my undergraduate degrees and Ma’s in Tarantino, I loved his films. I’m a big fan, even like films who don’t like him. And I’m, you know, very much into his work. But what I really found interesting was not just his filmmaking, but how his fans responded to his films, they all seem to be extremely passionate, and also male. And I was very interested in that I wanted to do research on that in the world of academia. So I did, and then because it was going so well, the research and my supervisor said, maybe she think about a PhD, which should be like, you know, a doctorate, I was overwhelmed by that, because it was like, you know, this massive book, like, you know, 80,000 words of all about Talentino and having to you know, cess kind of theories about him. And I was like, I’m not sure I could do that. But I thought, actually, I want to do it. So I know I can’t, because that’s a limiting belief says I can do this. So then I moved from England, to Wales, in the UK, and Aberystwyth, and very cold, but also very charming town. And it was there where I did the PhD, and learn a lot about myself and Tarantino in that time, I can tell you know, inside out, but also from that journey, I didn’t expect to get where I am now with him. Because my plan was at that point, to become an expert in Tarantino and his fan base and then go into media, and teach about Tarantino and things like that. That was my plan and, you know, settle down and live in Wales where the sheep are, and it’s all cold. When I thought halfway through, because the I got the bug for film festival. So a friend of mine gas, Gareth Bailey, he is the manager of the theater and restart center. And he was asked to put on a horror film festival by the Council of Wales. And he said, Do you want to help out because he didn’t didn’t before neither? And I? I thought, yeah, why not? This sounds like fun. And that hobby distraction and the hobby became a like a vision into this is actually is my sole purpose. I really want to start doing more in the world of festivals. And I enjoyed producing it, you know, co producing with the team, and the films and filmmakers. But actually, it was during this time when I found there was a gap in the market. They use the PhD skills to figure out that there was a gap in terms of the no filmmakers were able to find someone to support them to get their films interested. civils that’s where we are now with my company. It was then born in Aberystwyth, the film festival doctor in 2010, when it was very tiny, and it’s grown since then, obviously, through doing everyday sheer hard work and determination. But also people were very negative about it to say it wouldn’t work. No one does. It knows only one or two people across the US and didn’t seem like it’s in demand. Cable afford it. So they all look and limiting, but I was at a time a little bit nervous. I thought, No, this didn’t sound right. I just kept at it, and then kept growing and growing. And now we have the company so so that idemia career did then finish. I did all I could guarantee now I don’t do anymore. And the PhD I’m very proud of but it was then literally a new chapter moving to London, to do my company.


Scott D Clary  05:51

Oh, when you thank you for the story, I appreciate it. So that tees it up. So when you’re when you’re going so deep into a certain topic, when and this is actually a question that I would actually have for anybody who’s gone so far in academia and and had their PhD. When you come out of that level of granularity and a topic, how do you how do you go in and just start a business? That is very, it’s very removed from the granularity, you have to think about, like all the different sales and marketing and operations and things that I think I would assume, get pushed by the wayside when you’re doing a couple page. I don’t know how long this paper was on, on parenting. No, but I’m sure it wasn’t, it wasn’t short. So you have this huge paper, you’ve researched every aspect of his style of the stuff that he does. And then you have to go, and then you choose to go start a business and then that business is successful. So how did you how did you make that transition? What were the first steps because you didn’t have? When I look at a classic, you know, entrepreneur, it’s somebody who’s worked in their field, they’ve worked in a business aspect for like, 10 years. That’s the most of that is a classical definition of a successful entrepreneur. And then they solve a problem in their industry after working in working in their industry seeing, but they’ve also been exposed to the business side of things. But you didn’t have that?


Dr. Rebekah Louisa  07:15

No,that is a great question. Because as in hindsight, I wish I knew about business coaches, and about how people can help you sell a business. Because you’re right, because I had no business experience at all. I mean, I was very savvy and organized, because my background before I went into academia was being a PA. So I would always be good at organizing an event management. So that would always be a good thing. But business skills in terms of like being in systems funnels, or that kind of thing. It was pretty much like I had no experience whatsoever, there was learning on the job, which I didn’t want to do again. But I’m glad I did, because I learned the skills on the job. And then I was pretty much done in a in a way I learned on the job, I learned a whole new set of skills that were obviously not what I got taught at university. So in a way, because I found the niche and the gap, I was working with the festival traveling around the festival circuit talking to filmmakers, I knew what needed to be done. And also I didn’t let people who were being who were like, not particularly very open minded to say it won’t work. And there’s no point doing it kind of thing you might have to work for free to prove it works. I was very much like grounded in the fact that I wasn’t going to let that stop me. And I kind of then got ideas of how to win the business. But yeah, it was hard because it was only say through the about four or five years later, when I was getting a bit overwhelmed. Because we had more work coming in, we had you know, great results, I was working like to burnout. And then I thought I need to get a system in place. I really do. And that’s when I then met at JC Smith, who I work with and Chanda Milito. And those people over the years have just transformed my business and helped me put a system in place offering packages, offering different types of consultancies, you know, putting a system to the point where I can understand cash flow, and none of that. So it was pretty much like having to, like I said before, just, you know, kind of go with it, and then use bits to make it worth up to him. But there was no backbone, there was no infrastructure. So without that, it didn’t fall. And it was still going well, and it was growing. But then I got again, I got burnt out by it, because there was no system and when I found those people that just gave me those methods. I’m so grateful for them, because now we’re having better business.


Scott D Clary  09:31

Oh, that’s that is very important. And that sort of trial by fire. So it just shows Oh, yeah, it shows like tenacity, it shows like a little bit of, of, I guess your your passion for this because you you didn’t have the systems in place. And I think that a lot of people do have systems in place and they still fail just because they don’t have that. So you know, I guess maybe the maybe the ability to complete a PhD is indication that you’re passionate enough about a topic because yeah, it’s not easy. So what I want to know more about business side but I’m just really curious. What is it? What does a PhD in fit? Like? Does anyone get one is? Like, what is it? Like? How like, what do you have to do for it? Have you met Quentin Tarantino? Does he know that you’ve written pages on his work? Like all these all these? Yeah.


Dr. Rebekah Louisa  10:19

Yeah. Now I know actually that he knows of the of the thesis because this is back in when I wrote the PhD I started doing the research was in 2008. And I use a case study his most recent film at that time, which was called Death Proof, but the Grindhouse trilogy, sorry, crosstable, Bill Vegas. And back in the day, this was before the launch of Facebook. So when I launched my online questionnaire, it was all done by forums. And there’s this big forum, I think it’s still runs now to a degree that’s going to Facebook now, there’s called the Tarantino archives. And that would be like the hub for all of Tarantino’s diehard fans talking about everything that convinced the Vega to Jackie Brown was underrated, to why four rooms, no one likes, you know, all these kinds of conversations. And that was the place to find these fans to get my research. So in terms of what a PhD is, obviously, they’re very different auto types of different type of industries. But in terms of film, mine was what’s called an audience research PhD, though it’s where you research and analyze the responses from actual real film audiences, by the means of questionnaires, groups, interviews, that kind of thing. And then use the findings to see what patterns arise and what what innovative and unique findings you find compared to what you’re studying. So my guess was Tarantino. So I looked at the area emotional response. And there’s a very small amount of research and film and film theory about emotional response to film. And what I did was to assess it if it was actually valid, and say, shall we say accurate to how they think people respond to film. And I use Tarantino because I know his films inside out. But also because he has a hugely passionate fan base that I was found really interesting after all the time I did him. And they were very good, because they really, they really liked all this the there was a part it made them with nonsense. Because the way they respond is not the way how they think people do. They’re extremely passionate to the point where they seem as a father figure, I’ve got like bigger, and also the way that they become engaged and emotionally attached to his films is via Tarantino’s dialogue. So it’s fascinating findings, you know, really, really interesting. And the PhD actually, although obviously, I don’t, nothing to do with my wife isn’t to do with the business because obviously, I’m in film. But it’s more that I used skills of project management into my entrepreneurial skills with my business. I think that’s why I held it together. Because I know how to with a PhD how to break a big budget down to bite sized chunks, and not to lose things and also to see it from start to finish and have the commitment there as well.


Scott D Clary  12:59

So when you when you go so granular, and this will lead your business don’t Don’t worry, when you go so granular on on understanding how somebody like Tarantino was so successful, because you’re understanding the verbiage, the stylistic elements of a film. Is that something that you can use to pull out and see and look at other films and say, I know how psychologically people respond to films, I know that the film that you’ve put out is going to be successful for reasons that I’ve seen other like Quentin Tarantino’s like a legend. He has similar stylistic elements, and that’s going to grip people that’s going to tie interview is going to get them emotionally. Is that something that you can see, when you or maybe consult all these independent films on how to market and how to on how to get their film out? There is? Or is it? I don’t know, am I am I pulling out things that aren’t there? Or is that is that?


Dr. Rebekah Louisa  13:59

Um, well, when you say about retirement, you know, he’s got a unique fan base and how they respond. But also there were similarities in terms of they also have like a very, not as passionate but they have a very much like a is my request is Yeah. And those kinds of films, which I classify as being cool, you know, so cool directors like Sin City, not so much by kids. And also films like, what’s that one with Zack Snyder? The Oh, that is like, it’s not cheesy movies, but the ones which are kind of the very much like they’re very stylish films. Those are the ones which tend to have quite the same kind of following emotionally from Tarantino’s fans and also those that like that kind of genre. So it tends to be based upon the tour kind of images, which tend to be quite individual. So in terms of how I like help my clients, I can see sort of some of their films in terms of how they appeal to audiences, but it’s very much a unique kind of trademark that Tarantino and people do better. Have a sale which one of a kind? Even Spike Lee has got the same kind of emotional fanbase was a little bit more out there.


Scott D Clary  15:08

I was looking I was just looking at Zack Snyder’s filmography they have like that. Like he has 300 Suicide Squad Justice league like I didn’t even you know on I don’t know the behind the scenes as well as I should. But Donna the dead I guess he worked on as well. He’s a director there so he has a ton of like, yeah.


Dr. Rebekah Louisa  15:30

I let them come the cool the cool film the cool film. Yeah, yeah. festivals that like cool films become cool festivals. Sometimes they have a good match there. And lots of festivals, for example, that Tarantino has his own film festival, his own films in his own cinema. But in terms of does he know about it? I know he does. You know, he’s never contacted me about it. But but because the guy that runs, runs that forum that went back in the day, the current county archives, he told him about it. And he did say that he knows about it. And this question is happening now. And the response I got for the fans was overwhelming. So that where it and also the he interviews Tarantino a lot as well, and always tells an update on what’s going on there quite a bit away close. Yeah. But he does like academia, Tarantino, he’s not anti demon. He likes Carroll, Clovers, women, chainsaws and Mastercards is not going to be too heavy. Boyd. And most of that’s going to be more like an irrelevance filmmaking.


Scott D Clary  16:37

Very, very interesting. And I don’t know the world of film festivals. And I think that, you know, I’m just the consumer, right? I’m so far removed. I’m just watched, but I still I can understand how the style is. That is? And is that something that any sort of filmmaker focuses on to build that style? Or is it just, it just happens because that’s the personality. Like, when I think of Quentin Tarantino, I, I almost think of him as doing things. Like almost like accidentally on purpose. Like he doesn’t he he just had a style and it worked and a double down? Do you find that that’s a Is that true? Or is it more of like a truly strategic academic process when these people build things out? Or does depend on the person?


Dr. Rebekah Louisa  17:17

It’s really depends upon the person but don’t you notice has that style because he knows kind of makes sense for himself. Not but in particular, which I think is also a good thing is sometimes when people make films, say sometimes for festival films and making it for the festival, not themselves, you know, to prove something in terms of how they can make movies needs to be the authentic voice still, no matter what you do. Like the Tarantino is clever that he pretty much can copy a film like that was about dogs, the city on fire by Ringo lamb, but a lot more stylish and more entertaining than that one once but it is their own unique spin on it. I think the best thing in the world and not just Tarantino is fiction, and that you can imitate if they did a remake of that. That’s not allowed. You know, I tried to remake psycho that didn’t work. That would just be like, not even go in there. You can’t remake that movie because it’s so unique. So again, you’re right. It’s all about pretty much does it on the fly and does things like for him? It’s all about being an individual because otherwise it wouldn’t be given your own voice to the movie during the filming filmmaking.


Scott D Clary  18:21

Yeah, very true. Very, and that’s good. Okay, so let’s speak about what you’re doing. And what film festival Doctor Film Festival consultant. What is the landscape of film festivals? You know, when you when you said you first when you first started, there was not many people doing what you do. So what was the status quo for people before? For for filmmakers before an individual like you came onto the scene? What did they do to get their film out there?


Dr. Rebekah Louisa  18:49

So well, they pretty much did was hope for the best and have no strategy. So by


Scott D Clary  18:57

applicable sounds like a great strategy, but


Dr. Rebekah Louisa  19:00

for the best. So back in the day, the same back 2008 2007. And there was a platform called without a box. And that is where you can submit your films to festivals, that’s now gone is called notes replaced. It is a fantastic Filmfreeway Without A Box was hard to look at managing. And it was it was hard work to use actually. But either way, it was just there. So what filmmakers did was just gone without a box, look at festivals and then put it in a shopping cart, put that in the car, put that in the cart and then spend a fortune on festivals that could be wrong for their movie. There was nobody on without a box the website going Hey, is that festival right for your film? We haven’t given any tips. So but it basically it was literally just hoping for the best and put it into festivals and seeing what would come out of it. That was before they got 1000 submissions obviously now there’s a lot more submissions. It’s a lot better. And you know it’s still tough anyway, but that’s what they were doing. So I found this out through research just by talking to people in bars and the festival. So I always said to them, okay, let’s have a let’s have some questions, though. I said, What do you like most about festivals? What do you dislike. And they all said, We love going to festivals, getting drunk, meeting new people seeing our film on a big screen and just struck a little tiny Vimeo link. And we also love meeting new people and actually doing more work with them, we could actually get a whole new connections in around the world with our film, festivals or abundance of things. So we love them. But what is stressful is what we’re doing, you know, there’s nobody who can actually tell us what to do, or which festivals we’re just hoping for the best and going on Film Freeway as being a lot of money. And I was like, oh, okay, there’s a need here that they need help in terms of guidance, getting it into festivals, and which ones and also saving money. So I thought I can make the money by not spending a fortune on the wrong fees and paying me my work. So I was like, this is going to be a business. And it was a, there’s a pattern that kept reoccurring, every festival I went to when I saw filmmakers, I said, Oh, where you going next with your film, they went, Oh, wait for the results to come in. But of course, we’re just waiting to see what happens. And we’re just getting our how we do our poster and our materials, we just need to talk somebody. So at the time, there was nobody, sometimes PR companies would put them into some festivals, bigger ones, you know, because they knew the people, there was nobody just actually focused on that niche, literally how to get your film into a film festival. And, you know, to give them a like a big list of which ones and why. Which ones had them achieve their goals, how to budget, and also how to help themselves the filmmaker. So I thought this, this is a dayanita. Also, it’s a need where people are like almost desperate for it. So wasting money in the wrong ones. And then 121 Or two, not really embracing whole circuit. So I wanted to do that and really push to do it. But at the time, there was one company that did it, we found online. So me and a friend of mine, we were like I said I had this idea. He was like, Oh, let’s see if anyone does it. And it’s an internet and he said all this one company. And they charge a very minimal fee, and I seem to don’t do a huge amount. And you can build on that. So that’s what I didn’t know based in the US and they still are another really, really good company. And since then, there’s been a few more, but not many not like isn’t there’s not as many people that do this compared to say our sales agent who sell films or PR company that promote films, it is still a very small niche. But it’s one that I have done to the point where I wanted to be going from a seen as a luxury service to an in demand service. And that’s what I have achieved. So this time, not just me by myself or the people that do it. But that’s what I want my company to be seeing the value to help filmmakers.


Scott D Clary  22:41

And how did you from turning it from a luxury into an in demand you’re basically creating a market for your service. So that it’s a status quo almost to to get into a film festival. Now this is this is how you do it. It’s not you know, there was there was the the no box application or whatnot. I think that’s what it was called you mentioned before we go to box, though no box without a box application. And, and that’s how they did that was a status quo. So now you sort of re re re done what the status quo is. So as a as an entrepreneur, as somebody strategizing was it just was there any particular steps you took to turn this into a status quo? Or was it just was it marketing at certain at certain festivals was it just getting a mass amount of clients and spreading it by word of mouth, I’m just wondering how the evolution over the past 10 years of your business, I guess mapped out a whole industry.


Dr. Rebekah Louisa  23:38

It’s kind of been all of that. So it’s me going to festivals, talking about what I do, either to people at networking events, or me going on panels, it’s word of mouth. And it’s also talking to people one to one about what they need when they just talk to me as brands as well. So it’s a bit of a combination, really, because when it first began, no one knew about it obviously had a good brand name and had a good logo and websites with people coming to the shop. But it was very much like no one knew that because there was no reputation or establishment, that I found the hardest point because obviously I’ve got this all from nothing, and then wanted to make it into something credible. And that was by listening to my clients as well, what they wanted, what the market wanted, what the gap was, what to do differently over time, and what their needs were. And also the sensible festivals, what they wanted, the new were the perfect matches. So it was very much like keeping on top of everything during this period and then getting the business ball slip. But word of mouth was the best because when people started to hear about it, and the good news that their clients got and the good word of mouth, people came more towards America, trust me and me and my team to do the right job for them look after them. Because like as Anita was put a lot button into business and obviously people do have issues with some of the other work with all that kind of thing. But they needed someone that can really take it away and just get into festivals. And it’s seen, they’re out there, really?


Scott D Clary  25:08

And you find that, do you find that these filmmakers struggle from the same? I guess they’re so into the creative, but they don’t know the rest of it. So they love the creative, they love the they love creating something, they love, their passion, their art, their craft, but they may not know how to again, like, you know, using your service, get their work at their film out to the world. So when when you work with somebody, it’s obviously you’re lining them up for the film that or the festival that works best for film. But is there is there like a strategy that you use to just outside because you’ve won? Okay, so here, I have 688? Is that the right number? 688? Oh, no, sorry, 650 awards you want? And I’m sure that’s going to keep going? Obviously, they have the first two the first 650 It’s now 7457 45. So it’s not just saying hey, go go to this film festival and play your film. And that’s there must be some sort of strategy, some marketing. So you bring in the right people, you showed up the right spots, you give them some guidance. So what what is that outside of just pointing them in the right direction.


Dr. Rebekah Louisa  26:21

It’s know what festival programmers want in terms of what they want to program for their audiences, and what their personal programming taste is. Example some Haskell programmers hate. There’s done personally like slasher films that have been slasher films for that festival. They want more films for the older audience, they want more kids films that are more appealing to men and women who have fathers, mothers and daughters, and not just those who are just got little kids. So it’s all about what the festivals want, whether locations, and also what kind of festivals programmers really like themselves, because that will play a big factor into decision making process. I mean, you pointed out upon really well, was that a lot of my clientele, not all of them, but a lot of them don’t know what they want. So I always have to unpack that and say, okay, so you made the film, what do you want to achieve? And this will circuit with the film, what are your goals? And that makes them think, Ah, okay, then they have to figure out about money or last minute sometimes, but some of them are planned ahead and do come do come to quite early point in the budget early. But some pretty much do it as they go along, which is fine. It’ll still work. But I’m there at the end say to them. So what do you want to achieve with the film? Now it’s done. Festivals and distribution? Either way, we could help you for sure.


Scott D Clary  27:43

And then after, after they work, are they after they work to get their film into a festival? For an indie film? What is the path to success? What is the what is the the boxes that have to be ticked? So that it will go from independent film festival to something that, you know, again, I’m going to reference myself because I’m, I’m the definition of a layman. And it’s tough. Just like just a complete consumer? How did how did what did they have to accomplish? For me to hear about it, they win an award at a film festival? And then do you help them with distribution? Do you help you have channels that you optimize for them so that they can get it mainstream and get it on Netflix? They can get it in, you know, a mainstream? I guess theater or for a lot of now where no one’s enjoying the theater thing? Netflix is probably the the place to go. But what’s it like? What’s the next step for somebody to be considered because the awards the first step in success, but unless Unless, you know, somebody sitting at home has ever heard of them, it’s not going to be the epitome of success that, you know, you’d say a Hollywood blockbuster would have that has a huge budget behind it. So it’s obviously very difficult. That’s apparent, but how do you how do you help them with that? And is there is there some milestones that they can achieve? Or a game plan that they can sort of double down on that will help them get there?


Dr. Rebekah Louisa  29:05

Yeah, that’s a great question. Because the way that I approach creating a film festival Saturday is not just always film festivals. So for example, I’ll give you this as a good way of answering those questions. So there is the one obviously way is when when I began was saying to my clients, helping them and consulting with them to create a streamlined and focus bespoke to their film, film fest strategy. That would be a load of festivals they should submit to, but the way I’d encourage it for feature films, especially not so much short films that feature films, is to add several layers. That is you film festivals to start off with when your awards and get noticed on the circuit and build your presence. And also include within that then your kind of ideal list of sales agents who will work to sell the film, when it has finished its run to Netflix, iTunes, Amazon, all those kinds of places or mark whatever, whatever suitable and also include as well when you’re at festivals, your PR plan and your marketing plan, because you’ll need to start making some noise, you will hear about the movie in the mainstream and also in independent sector to know more about this film, then when it gets picked up by an agent, it’ll then obviously go further afield. There’s a thing of all those areas as well, at this time now, before we do the festival circuit, that we have everything in place need to push the button when we need to do so. So it’s like an eel like process never very linear like burst into that you do that it’s like all at the same time and see what results come in. So all the federal submissions that the that you want to do, whatever comes back, what comes in first what the patterns are, whichever festivals like it, is it more genre festivals and it is a general festivals, is it moments festivals and short festivals, whatever is going to come in. And then also think about when is the right time to press that button to talk to sales agents to sell it and then get your PR done the minute you get your world premiere, and get it out there. So that’s how I kind of approach it. So it has those goals achieved want to achieve in the first place.


Scott D Clary  31:05

And I’m also very curious, just given our current landscape, what are you doing for your own business, as well as for your clients? Given that the entire, at least for the short future of media of the way we view films of the vision, I’m assuming film events that has somewhat changed? So what does that done for you? Have you found strategies to pivot? Are there things that you know that you’ve seen in the industry that just trends that are changing because of like COVID-19 and whatnot?


Dr. Rebekah Louisa  31:40

Yes, so it’s actually a funny story. We’re not funny story. But a story to tell is when this all kicked off this pandemic, I was in the US. And I was there attending Cinequest Film Festival in San Jose, and I was going into LA to do some work there. I was watching my own event with visionary filmmakers in our set. And there was also a film festival taking place towards the end of my trip in Idlewild. So every day was about Coronavirus, when I got there was about Coronavirus all about this every minute, it was new about it, it was quite mad. And then during a serais Cinequest, there was a big announcement at South by Southwest and massive Film Festival in Austin was canceled. We were like hang on, this must be pretty serious to cancel an event like that. And then obviously by that point, I mean, the festival is having to reschedule to like on the year or go online. And so I saw there was there was filmmakers being extremely anxious about what was happening because obviously things were changing. So I did all my research with the people I was talking to us and request and all my other kind of colleagues and the film industry in the film festival sector. And they were saying that, you know, they have to reschedule because it’s too much of a high risk of infection and contagion when you were in a big film festival. So I knew them what exactly what needs to be done. So I reassured filmmakers in it, the way to adapt to it was to prepare for the end of the year. So between March and July, you’ll be looking at festivals, you know, watching them online, not going to them. And then from August onwards, that was when festivals were rescheduling to go live, obviously having to implement social distancing, and all that kind of the rules, which is fine, which needs to be done. But you need to get him to Festival and the year eater, obviously submit now, because deadlines are still happening, and they’re gonna start closing around June, it was important to act as normal, now’s the time to plan the perfect of the year, next year, and start doing submissions so that you get them from the system and it can start to be reviewed. So a lot of filmmakers assumed that every festival canceled in the world after southwest, I said no, no, they’re going online or they’re moving to a later date. That to kind of reiterate the same point, which was fine to make that clear and to keep submitting it otherwise you miss your chance of getting the film seen at some point this year. So it was just in that kind of mode, really. And also to me because I was having to I did it very quickly. And I saw the sort of the new problems were and how to fix them.


Scott D Clary  34:09

No, I was gonna say that’s a smart. It’s a smart response. And it’s the response that you would have used you should have just because people that just throw their hands in the air. And this is again, I whenever I speak my experiences just in business in general, not particularly films, but I’m assuming it’s very similar. Especially because this industry could be one where somebody who produces the film, somebody who’s trying to get into event, you know, this happens and they just say oh, whatever we’ll we’re going to just like we’re just going to stop trying, we’re going to not put any effort and we’re not going to do applications. But that’s obviously the wrong attitude, right? Because there are events happening. There’s remote events, there’s online events, there’s web events, and all these different things where people are still competing for the attention of the audience. And there’s actually an opportunity, in my opinion, because there’s so many people that are thinking, Okay, let’s this let’s just write this year off. There’s so many businesses that are thinking that and It’s the incorrect assumption because the people that understand how to bring their product to market, regardless of what’s happening in the world, the people that can bring their film to a film festival, a virtual Film Festival, people that still prep ahead for a film festival, it’s slightly different because of social distancing or guidelines that are implemented. Those are the people. But when you have somebody, you know, that’s giving them that advice is is, you know, spot on, because I think that it’s still going to be a competitive market. And if you can, I actually think it’s going to be a better opportunity for businesses to stand out now. Because because everyone was so sort of shell shocked by what’s going on.


Dr. Rebekah Louisa  35:33

Yeah, no, absolutely. Absolutely. Right. And I mean, you’re spot on. I mean, in terms of like, people saying, giving up, that is the worst things, you won’t get a win. And it’s like, what’s that? What’s the kind of thing I live by? It’s a quitter. never quits. And a quitter never wins. And a winner. We never


Scott D Clary  35:55

quit. But it never went winner never quits.


Dr. Rebekah Louisa  36:02

That’s it. So but also, I had some clients say, who are potential clients? I said, Oh, how’s the film? Production? Because obviously, time they went, yeah. But it’s no point do anything. Is there special was canceled? I went one out. No, it’s like having to reschedule. So again, it’s that, you know, she does tell you to submit, though, when everything’s back to normal. And that’s going to be to whatever the year, when you start back to normal, you’re going to submissions, then it’s going to be next year. So people, I think it’s all about timelines, a lot of them got to go online. If we all if you submit the film A while ago, and you got in all the festivals now running, we tend to run live, not online. It’s just one of those things.


Scott D Clary  36:44

Very good. And that’s something that I think is, like I said, it’s impacting everyone, but the people that can figure out how to navigate it right now that those are the people that are going to be winning. And that’s an opportunity for, like for sure. The one thing the other thing I wanted to ask about, I saw, you’ve brought this topic up in a few of your past interviews. So I think it’s something that you’re passionate about, but women in film, perhaps what’s holding women back in film, and why, and and what can be done to sort of help, I guess, allow women to be successful in film. I saw I saw this on one interview, and I thought it was interesting, because I’ve spoken about, I spoken about this with a few other individuals, like women in leadership positions in, for example, software sales, they’re grossly misrepresented. I know nothing about the stats about women in film. So I would love for you to just give me some stats about what’s or not even the hard numbers, but just like high level what what the environment is like for women in the industry, and why it’s difficult for women to succeed. Is it? Is it just just something that is just always been that way? Is it just a very male dominated industry? Is there? What are the reasons? or what have you noticed? And how do we help that?


Dr. Rebekah Louisa  38:05

So one thing I have noticed, no matter what goes on in the background, like with the me too, and time’s up campaigns, I thought that would maybe make a difference in terms of seeing more female, lead films directed by women, more like produced by women, too, I thought there would be a surge in that, but there wasn’t as much as I expected. So it seemed like it’s always the same, it’s talking, nothing really actually changing is hard for women to get a gig to direct a feature film, there’s plenty of short films directed by a woman loads of them, which is great, they’re doing it for themselves. There are funds just holding in some areas in the UK, and also in the US, which is great. And those of color too, which is good for the obviously with the nation. But also it is one of those things where there’s a lot of women’s support groups, and they support each other when it becomes like a little bubble. There’s never really like, you know, going out of that bubble to mix with men and you don’t have men be, you know, their assistants and they’re like, you know, hods and they’ll be the leaders doesn’t really change that much. Besides Kathryn Bigelow. There’s not a huge amount of like female directors, people can actually say on top of their head. You know, it’s something I learned in film studies. It was very much all about the men and the names Andy Warhol. Well, Maurice de Talentino Rodriguez, has anger all these people, it was always men. And there was very few with women. Obviously studying Potter, there’s kind of people there are legends, but it’s always a high percentage of men. And it hasn’t changed no matter how much people shout about it. And with me, too, I think the best thing for me too, was probably one thing going to jail when there’s lawyers that they wouldn’t even go to jail. Yeah, I think that was the best success ever. But in terms of seeing like more creativity for women, not a huge amount. I mean, even festivals have now made them space and a woman focused themed you know, like directed by women kind of themes, which is great. After me to the meet To kind of died down, the pandemic comes in, it seems to have gone back to what it was no change, really. So that’s disappointing. But I do work with some fantastic female directors, and she’s going to hopefully get her feet off the ground. She’s a visionary. She’s a big budget sci fi, and she’s got a short we’re working on now. It’s just finished called proxy. And I love her vision is amazing, she’s fantastic. And she’s done it all by just shouting at herself and doing it herself and not asking anybody else to do it for her, for a man for that reason. Which is great, you have to have that belief in yourself and the drive. And so women don’t always have that, because they say, Oh, the man’s got the role the man is doing it, which needs to be about themselves self belief,


Scott D Clary  40:43

so they psychologically default to what they know the industry is. Which is, which is Yeah, which is obviously not just not proper, that’s not that’s not good. So to break out of that, I think that I think that, you know, you do have these, like, these visionaries that create incredible content. And that sort of paves paves paths for other people, you know, other people that will look up to them, see the incredible things that they’re doing. And then obviously, understand, then, as you see new people coming into the industry, their perspective of the industry is not, for example, your perspective of the industry, because they came into it at a different time when there was a, you know, different people who are leading, and those are the ones that were sort of the, you know, the Tarantino’s in the Rodriguez, some of those names will change over time. But it’s definitely not quick. Because, you know, if you’re, of course, the me to movement was very good for for protecting rights and whatnot. Yeah, but it’s, it’s not, it’s not, it’s not pushing people to the pinnacle of, of, of these big names, these big roles. I’m saying that because I don’t know the names. And I, I’m hoping that, you know, you you know, all the ones that are sort of up and coming and whatnot, but I don’t know any big female director names like, you know, that we just mentioned. So I guess that it’s, it’s a slow moving change in the industry, I just didn’t realize that there was not so many names in film. And that’s kind of disappointing. I didn’t realize that industry was so male dominated, but I’m also not in that industry. So I don’t have a finger on the pulse of it like you do.


Dr. Rebekah Louisa  42:15

So I mean, they just come back to that quickly is, I think, to women who are most inspirational in the more mainstream world of film, but also stroke. Now TV is Jennifer Aniston and Reese Witherspoon, they had a show, the morning show, which obviously touched upon those issues. And me too, to kind of show it itself when it all kicked off in the background. That was quite an exceptional kind of breakthrough, I thought. But in terms of independent film, there wasn’t as you say that one name or there’s women, but it’s not like it’s low loads women, it tends to be more outweighed by men, by men, basically. So yeah, so it’s a shame, there’s not been a dramatic shift as I thought there would be with all the me to go in the background and be but no, it’s pretty much gone back a little bit to what it was not been a huge amount of progress.


Scott D Clary  43:04

Yeah, it could be and it also could be just because if you think about the names we mentioned, like like these, like almost like these, like living legends, those names took years to build, right. So if, if you have an up and coming that’s going to start creating these feature films, before they turn into a household name, they would have had to it quite literally take some time for all these films to be produced and created. Before I’ve heard of who’s who’s the who’s the lady who was doing that one film that you mentioned.


Dr. Rebekah Louisa  43:33

And oh, there’s my client, Miss


Scott D Clary  43:38

Fairbanks, so it’s a few banks. So she’s gonna have to produce a few big names a few big feature films before, like, everyone’s gonna recognize, oh, that’s a bank’s film. Right? It’ll take some time. And that’s, that’s I think that’s just the reality of the of the industry. It’s not like you can produce five feature films simultaneously, they all and three years, you’ve produced all these blockbuster heads, it takes quite literally time to build this stuff out. So it could be some there could be some names in the making. That’s that’s, that was my point there. And maybe that the end is maybe maybe the industry shifted, hopefully, the industry shifted somewhat. So that it’s not that it’s not just focused entirely on what’s already been, but there are some names that are building themselves up, and then maybe you see a shift in five years or something like that, because of the work they’ve put in over the past five years. That would be that would be that would be a positive a positive thing. Yes, exactly. Yeah. Okay, so that before I want to ask just a few more questions about your life lessons, experiences, insights, before I move back and sort of focus on you again. Was there anything about the current environment I always sort of like give the floor because I’m, I’m not smart enough to ask all the questions. So you know about current media landscape You know, current Film Festival landscape, what you’re doing? I guess even even women in film, these are kind of the three topics that we spoke about, is there anything that we didn’t sort of bring up that were really good points that we should, you know, just get on record? Or was that was that pretty, all inclusive?


Dr. Rebekah Louisa  45:19

My key thing was CB 19, was COVID. Because I think it’s also a lot of people are buying into the fear, which they’re being fed. And I think if, if you just literally removed from the drama and don’t buy into it, really see your film, flourishing. And to not presume or assume without actually speaking to somebody about it that works in that field every day. And that was my key thing. I think a lot of it is about Self belief comes into these kinds of things that a pandemic happens. Because I’ve actually, the business has grown a lot since I’ve been in, oh, in UK, because I’ve got a list of things I wanted to do. And I managed to put those in place that was like launching my blog. And then we launched an online course in September been putting that all together in place, we’ve got new clients, and it’s been doing really well. So it’s like another, like another month in the in my office, really, you’ve been really busy, but just not flowing, we’ll go into festivals. One thing I would also add into that is, is maybe off the topic a little bit in terms of important points. But I think it’s also important to round oneself with filmmakers, and creative types. Because in this industry, it is a bit mad. And it’s important to just stay grounded, and meditate as you can. And to not kind of like adjust yourself or buy into kind of any drawing or any self belief. You have to believe in your vision, both as an entrepreneur, as a business as a filmmaker. And if because if you don’t speak and you believe or people’s kind of gossip, or you just take everything that what you believe is the truth. You’ll end up being stuck and not grow. And you’re gonna be thinking small. So I was bringing Shanti meditation every day into entrepreneur life.


Scott D Clary  47:10

You spoken about this is a really good, okay, so this is a really good point, because I want to ask you a little bit more about what you’ve learned over your career and just sort of like advice that you give people. But let’s speak about spirituality limiting beliefs that you incorporate. So what does that mean to you and, and maybe just describe how you incorporate spirituality and removing those limiting beliefs from your own mind so that you can be successful.


Dr. Rebekah Louisa  47:32

So back when I first started my company up in the early days, it’s like when I moved to London, and people always said that filmmakers have no money, and we were able to afford your services, and you couldn’t do it any like a high price what you worth. And I thought to myself, at one point almost believed it almost. And then I said to myself, when I saw my mentor for the first time, I said, my business won’t work anymore. Because people say filmmakers have no money at a charge, like 60 pounds for the our session. And she said, Well, that’s a limiting belief. She says there are people that can afford your rate and your full worth, you just have to attract them and find them, they do exist. There are some that haven’t got any money. That’s true. But there are some a lot of them that do. So you need to think big and stop thinking small. And also turn that around, said to me a golden rule she said is that when you have a limiting belief pop up, remember, that isn’t true. It’s a belief, there’s no factory, you can turn that around, you just told me nobody can afford your service, you have to charge a lower fee than people that can and if you charge that lower fee, they’ll wonder why not charging a higher fee, because their energy is much more like a mountain level than it is say the ground level. So think bigger, and your energy will raise your vibration. And when I did that, everything changed. And in between that as well is that I used to be very, very in a region that really anxious and had like panic attacks and Fallout. But then as I was because I had so much fear in me because I didn’t know how to co create with the universe and how to, like, you know, work as a team to get the results to manifest without having the ego drive me and being selfish and being grateful. So when I learned how that worked through various books, but also with mentors and guides, and I then realize where I was going slightly wrong east, then when I put that into alignment into place, sort of all come together. One thing was letting go,


Scott D Clary  49:32

was it I was gonna say because when people when when people listen to this, sometimes it’s hard for them to conceptualize if they’re not, if they don’t understand how to remove limiting beliefs. If you know you, you hear the words, alignment, you share the words manifesting and it’s very confusing people that haven’t understood or researched or whatnot. So I think that when I when I hear this stuff, I sort of want to provide context. And a lot of it is is just I don’t mean to simplify it, but not stressing about things knowing that, like, there’s so many, there’s only, there’s so many things in your life that you stress about that you shouldn’t stress about, like knowing that whatever decisions you make, as long as you’re moving in the right direction like that, they will, they will work out per se, I’m not phrasing it properly, but it’s really just like trusting the process is probably the best way to put it. And really just and really just, you know, if you if you know, that you’re putting in your 100% effort, if you are, if you’re moving in the right direction, the small things just stress you out, you have to let go of those because you know, that you’re moving towards your end goal, even if it isn’t as quick or even if you have some losses or failures, and, and what the way I and you can correct me if you think differently, but I don’t want to put words in your mouth. But the way I envision manifesting and the way that I envision alignment with with the universe, so to speak, is really just making sure that every action I take every thought that I take is in line for my end goal is meant to be. And when you have that constant mindset of end goal, long term, like Northstar metric, so to speak, the small things, they become very small, they become non important. But also every action you take subconsciously will be towards that end goal. And I think that if you incorporate that into your life into your day, and you’re always sort of pushing forward, and that’s what creates success after you know, 510 years. That’s my that’s my that’s the best way that I do it. And when I break it down for people to help understand, like when people mentioned manifesting and whatnot, because I think that I only I only provide context, because the second somebody is manifesting, I think they think that, you know, like the secret. And if you think about a $5 bill, you’ll get a $5 bill, but there’s so much more to it than that. So I just wanted to sort of break it down. I don’t know, if you if you disagree or agree, feel free to comment, but that’s just my my, I guess, layman interpretation of how best to think about it if you haven’t done a lot of in depth research into it.


Dr. Rebekah Louisa  52:03

Yeah, no, I agree with that. That’s what that’s what how you squat that process. What’s the thing that I add to it is to whenever you write your goals and your manifestation you set what you want to achieve and your intentions is more than one thing I was always told was to make sure that it isn’t selfish. Yeah, I want to be a star I want to get this is always say it’s for other people as well. Like it’s for not just you, but also for others. And you’re helping the world and services and putting the service out there. Others are not just all about you. I think it’s like when you there’s a book called energetic selling and branding. And then if you kind of close a deal with a client is comes all about you. And it’s forcing them to say yes, because you want that deal, going to feel their energy, and they’re going to want to work with you. Whereas if you say like so what do you want, we can help you this way, we have this and we have this other service, this can really help you achieve the goal in this way. And I’m very passionate to do it for you love to work on it, it becomes neutral alignment. It’s all much just trying to get the sale, she wants to get the books up and you know, whatever, whatever reason you desperately for it. And I feel that energy and it’s the wrong energy to have. And I learned that the early days. And also now is that I think Ah, okay, that makes sense. And also letting go because in that process as well. So example people things always circle back round, one of my mentors told me, so I had a client in the day who has become a client. And she reached out to me and said, Why is my film not getting to festivals, and was asked why. So I told her why. And then I said the best service with a service for you. And then she said, although got Rena budget, do you have any kind of discounts and I said, Well, I could do this package for this package and the speed and the sugar wire to get back. But then she came around and said I’d love to work for you on this thing can really help me and I, I just let it go. I said well, I’ve got given the best offer, I’m not going to go to lowest point where makes me look desperate. I’m going to the point where I’m going to help folks I want to help this film get seen because it is really sweet. And she’s an actress and wants to get back out there. She’s you know, she’s got good agent, she’s in Starship Troopers, all this kind of thing. And she deserves it. And I thought well, I’m given the best offer. And then I can then circle back around. Maybe someone else comes to replace that and go in that process if I didn’t forget that it was there, but I just didn’t everyday think about it.


Scott D Clary  54:20

That’s smart. And it’s also it’s also important to understand that when you’re coming from a place of desperation and just like that self, I guess only only driven by self, um, you the the passion, it’s not even passionate, it’s almost just like greed to that point. At that level. It burns out and it’s you can’t maintain it. You can’t maintain it if it’s if it’s for like, I always again, just another parallel for context that you could be working making, you know, in a career $200,000 which is which is an incredible salary salary for most people. And if You hate your work, you’re, you’re going to, you’re going to hate your life. And, yeah, no, and you’re and that’s why, you know, maybe the maybe 200,000 is a is a lot of money for a lot of people. But I mean, let’s bring it down to a more practical level, if you’re working in a, in a job, a lot of people change jobs for $10,000, or even $15,000, they take that bump up, right, they think it’s gonna make their life so much better. But I always advise against just jump, of course, if the job’s great and you and you want to work there, that’s fine. But do the due diligence and understand that the 15,000 10,000 is not going to make your life that much better. There’s a lot of other factors that could impact your life and, and how happy you are. Exactly, and $15,000 at a job you hate, you’re gonna you’re, you’re not going to enjoy your life. So. So I think that, you know, if you don’t have those reasons why you’re passionate, if you don’t, even as an entrepreneur, right, if you go through, if you go through all this, like, just really the shit, like for 10 years, and you can, well, you won’t last 10 years, if you don’t, if you’re not passionate about what you’re doing, you’re gonna burn out, you’re gonna quit. And and especially as an entrepreneur, like you have, you have years of not making a lot of money before before it’s realized you better not be doing it for the money day one are ordered on the it’ll never last. So that’s all very, it’s all very applicable. And it’s smart to be reminded of that, I think that a lot of people, you know, yes, it’s very easy to very easy to jump into something for the money. And obviously, it’s not saying that if you can’t, I want to be so sensitive right now, people are laid off, and people are, you know, having a hard time putting food on the table. So obviously, if you need to take something to to make sure that your needs are met, you know, your shelter, your food, food, your safety, it’s fine. But I mean, in a regular environment, when when the economy isn’t crashing, and you do have luxury to some extent to make a choice. I would say always focus on things that are long term you’re passionate about that you can be happy about. Because that’s really what’s going to make you know, that is the the secret of happiness in life.


Dr. Rebekah Louisa  57:03

Exactly, exactly. It is. That is that’s what the secret isn’t happiness, but also an entrepreneur, because it means that you are obsessed with your business. And you really want to solve that pain that that potential client of yours has. Obviously the pain that my clients have is where do I submit? How do I do it? What do I do? When do I do this? COVID-19 happened, lots of questions you have to be there for and if you remain grounded and know your stuff they’re going to need and help them resolve that pain.


Scott D Clary  57:34

The only other question that I wanted to ask. I saw one point in your career, you were a lecture and mentor at Middlesex University. Yeah, um, so you speak with a lot of of young students of I’m assuming young and aspiring filmmakers, writers? What is one piece of advice that you would give them? That perhaps you could even say you would tell your younger self?


Dr. Rebekah Louisa  58:04

That’s a good question. And one thing I would always say would be to, one is believe in yourself. And two is always have a plan. Whether it be 10 year plan, you can work on that started up and go backwards. That belief is the key thing, because there were people who were saying to me that the business wouldn’t work, they’re off the ground. They were maybe subconsciously, they without knowing was like, you know, nothing my self worth and self belief. But then I just thought, hang on, it’s an opinion, not a fact, his opinion on Australia, stay true to me. And what I believe what I want to do is that will be what wins, and I won’t give up. So it is really standing firm, and believing in yourself.


Scott D Clary  58:49

Another another question I like to ask where do you go to grow yourself? So you have books that you enjoy podcasts, audibles mentors, things that you could, you could recommend people that are listening, they go check out and it could be for film, it could be for just you know, you mentioned you read some stuff on, on on limiting beliefs on professional and personal growth. So do you have any any titles or any names of people that people’s real


Dr. Rebekah Louisa  59:14

chat? Yes. So I definitely recommend a podcast called How to Fail, which is for entrepreneurs and you can find it everywhere, you know, like Google, iTunes, Spotify, the whole lot, it’s on there. That’s really good because it is for entrepreneurs. And it’s saying, you know, not to be scared of failure because how good it is. You do it to help you grow and to go the next step. In terms of books, I have a few books that I like and there’s one in particular and this is a really good one people to research and read when talking about the station kind of process. So it’s called cosmic ordering made easier by Ellen watts, UK author, UK based publication, but she was the one that taught me about cosmic ordering. It’s kind of similar to manifestation to a degree but the smaller you ask the universe what you want, and it really helps you sharpen your perception when you see the orders come in. So no, it’s weird, but I’ll explain it. So for example, she says stocks in, in the book about how you basically order to start off by doing car parking, say to the universe is what I really love and appreciate is to get a parking space on arrival to Latin High Street. The good of all concerned wasn’t the end. So you know, so it’s all of those needed. And obviously drive down the road you like, Well, okay, let’s see where the parking spaces and there it is, is either empty waiting for your car just pulls out, you go in. And then the other stuff happens to and how you think about how to how to word these things, how to be not selfish, and how to be not loaded, loads the things in there. And I do that every single morning, when I do my goal was what I wanted to achieve, I put it into an order. So for example, did today. I said this morning, when I got up about six, I said we’d love and appreciate is one of my films to get into a film festival. The good of all concerned. So people say that all the bigger festivals, giving you invites now was kind of thing, limiting belief. What comes in seven hours later was an invite to Film Festival at the moon. I didn’t know they’re going to get back to me today. But they did. So let go of all expectation in terms of which festival which film, and I try to plan it and interfere. It is literally just what smell come in and out. Look forward to the surprise. So that is a great book. It’s on like amazon.com and NACA UK for sure. But it really is a good technique to do so differently, how to ask for things, and how to up the universe and CO create. And then also, as I said it sharpen your perception. So when you see what is coming into the coming different way to what you might expect, you actually get sharper in how you look at things. And also that helps your business by extension as well.


Scott D Clary  1:01:45

That’s those are all those are all the questions I have. Was there. Was there anything I guess the only question that I have left is if people want to connect, or they want to find out more about you or maybe some of the films you represent or whatnot, where would they go


Dr. Rebekah Louisa  1:02:00

.So the best place to go for that information, they can listen to my podcast, they can listen to mine, so they can read my blogs. And they can all about me my story that which kind of said was a little bit more about me and my team and also the films that work on which is my website. That is the film festival dr.com And you can grab me there on email, WhatsApp, whatever,


Scott D Clary  1:02:25

so long as the podcast is there too.


Dr. Rebekah Louisa  1:02:28

Yep, the podcast is there in the podcast tab in the blog, and shop which has ebooks as well you can get an audiobook and I’ll soon be launching in September an online course which is four weeks called VIP thunders, tribution, which is all about how to implement that strategy, winning together your sales strategy, your festival plan, your marketing plan, PR, and it’s all for those who are new or established, everyone can join. It’s master classes twice a week.


Scott D Clary  1:03:00

That’s all for today. Thanks again for joining me on another episode of the success story podcast. You can download or stream this podcast wherever podcasts are available, including iTunes, Spotify, Google, Stitcher, I heart, radio, and many others. You can also watch his podcasts on YouTube. If you haven’t already. Please subscribe and share this podcast with your friends, family, coworkers and peers. Please leave us a rating on iTunes takes about 30 seconds as it allows other people to find our podcast and lets our amazing guests reach even more people with their message. And remember any rating is fine as long as it contains five stars. I’m Scott Clary from the success story podcast signing off


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