Does Film Festival Networking Actually Lead to Paid Gigs?

We’ve all heard the pitch, right? Film festivals are the place to be. Rub elbows with industry pros! Network your way to your next gig! Get discovered! It sounds great on the brochure, often accompanied by pictures of smiling people clinking glasses. But let’s be honest – how many of us have gone, collected some free pens, watched great films, had awkward conversations, and left wondering if any of it translates into actual, paying work? Is it valuable connection-building, or just expensive fluff designed to sell passes and rack up submission fees?

Sometimes, though, it actually works exactly as advertised. Case in point: producer Robert Andrus and his experience at the Utah International Film Festival (UIFF).

Andrus isn’t new to the scene. He had his rom-com “Masquerade Mix-up” screening at UIFF and was involved in several panels. Like most producers juggling projects, he was already thinking ahead to his next feature, a paranormal horror called “The Dead of Night.” And crucially, he went to the festival with a purpose beyond just promoting his current film – he was scouting.

“For ‘The Dead of Night,’ I had specific gaps to fill,” Andrus shared. “I needed key cast members, yes, but also vital crew like a sharp Production Designer and reliable camera assistants. The festival environment was perfect for this.” But Andrus wasn’t just looking at credits. “Skills are essential, obviously, but personality and fit are huge. I need people who mesh with the existing team’s flow. You can get a sense of that at festival mixers and Q&As in a way you just can’t from an email or a resume.”

His upcoming film, “The Dead of Night,” sounds like classic, chilling stuff: a couple moves into a new home after a tragedy, hoping for a fresh start, only to find themselves plagued by unsettling phenomena that escalate beyond a typical haunting, warping their sense of reality. To bring this vision to life, Andrus needed the right team.

While he had core collaborators from previous projects, UIFF proved fertile ground for finding fresh talent:

• Elijah Amodt: Andrus noticed Amodt’s presence and professionalism while he was hosting podcasts and presenting awards at UIFF. That visibility and energy led to Amodt being cast as Sam in “The Dead of Night.”

• Ashley Coles: Her powerful performance in “I Be A Witch,” which won awards at UIFF in 2024, caught Andrus’s eye. She’s now cast in the horror feature. Bonus points: Ashley also snagged the Best Short Screenplay win at UIFF in 2025. Talent clearly finds a spotlight there.

• Spencer Jarman: Seen in the locally produced horror “Water Babies” which made the rounds at multiple Utah festivals, Jarman landed a role through that circuit visibility. This is Spencer’s third horror film. Will he survive to the end?

• Ariel Jean: Fresh off winning Best Production Design at UIFF, Jean got on Andrus’s radar again (the first time was on Rite of the Shawman) and became the Production Designer for “The Dead of Night,” shaping the film’s crucial look.

• Alex Steiner: Steiner also connected as a Camera Assistant on “Rite of the Shawman,” and he and Andrus hit it off. Steiner has since worked with Andrus on several projects, including “Undone,” “Masquerade Mix-Up,” and now “The Dead of Night.”

• Brittney Hale & Tanya Price: Andrus discovered both talents through the feature film “Revelations” which screened at UIFF. Hale’s work impressed him, leading to her joining the crew. Price, who produced and acted in “Revelations,” met Andrus through the festival connection and was cast as Sharon in “The Dead of Night.”

It’s not just about finding newcomers, either. Actors like Rachel Bennett, Dan Fowlks, and Charla Bochicciccio, who have consistently earned nominations at UIFF and other Utah festivals over the years, have proven their skills and landed roles in several of Andrus’s recent productions. Their sustained presence and recognition within the festival ecosystem clearly paid off.

And lest you think it’s a one-way street where only producers benefit, Andrus himself credits festival networking for landing him work on other productions. Meetings at various Utah festivals led to gigs on films like “Alien Country,” “Black Diamond,” “Trim Season,” “Slay Ride,” “The Ali’i King,” and “The Witch of Wander Lane.”

So, what’s the takeaway here? Robert Andrus’s story isn’t some isolated miracle. It’s an example of what can happen when filmmakers engage genuinely with the festival circuit, especially at focused events like the Utah International Film Festival. These aren’t just screening platforms; they are concentrated hubs of talent actively looking for their next collaboration.

The lesson seems clear: if you’re serious about building a career in independent film, submitting to festivals is just step one. If you get in, go. Don’t just show up for your screening and leave. Attend the panels, watch other films, hit the parties (even if you’re an introvert, try!), and talk to people. Be genuine. Be curious about their work. Make real connections. Because as Andrus’s experience shows, the person you chat with over cheap wine and mini quiches might just be looking for someone exactly like you for their next project. Or, you might find the key collaborator you’ve been searching for.

Forget the fluff narrative. Film festivals, approached strategically, can be powerful accelerators for your career. The Utah International Film Festival seems to be fostering exactly that kind of environment. Maybe it’s time to stop wondering and start connecting.