The Connecticut Film and TV Alliance will be hosting the CT Film & TV Conference 24 on Saturday, Nov. 9, from 4 p.m. to 10 p.m. at Goodwin University in East Hartford. The conference is “an educational, live, in person networking event for people in the film, media, and entertainment industry,” according to a press release from the alliance.
The conference will feature four educational panels, 16 VIP interviews and will have nearly 50 featured guests, including screenwriters, musicians and producers. The conference will also include talent showcases, such as live music and actor monologues, project pitches, visual demos and many other booths and networking areas.
According to Alessandro Andriulli, the producer of the conference, a variety of topics will be covered in the four educational panels. The “Film and TV Unions Panel” will talk about pathways into the unions and the benefit they provide to workers. The “Movers and Shakers Panel” will discuss new productions happening now and into the future and job opportunities in CT. The “Production Team Panel,” hosted by Shadow Vale Productions, will talk about past, present and future projects for the team. The “Education in Film, TV, & Digital Media Panel” will cover current educational programs in film and television, which will include multiple University of Connecticut staff members as panelists.
“What makes this event special is the sense of community you get after attending. The scariest thing about trying to get into the film and television industry is the belief that you are alone on that journey,” Andriulli said in an email. “The Connecticut Film & Television Alliance is an organization that is more of a community of support for those interested in or already a part of the film and television industry.”
Andriulli talked about what people will learn and get from attending this conference.
“You will learn about all of the active initiatives the alliance is involved with to make it easier for you to find jobs, resources for your projects, and a community to support you on your journey,” Andriulli said. “You will also meet film and TV union leaders and hear about ways into those unions. There will be conversations with industry professionals, live music, actors performing monologues, VIP interviews with leaders of our industry, project pitches, trailers, and a ton of networking opportunities.”
Neal Thomassen, the executive director of the conference, also added that “this conference is more than an event—it’s a thriving hub for Connecticut’s film and TV industry. Here, filmmakers find their crew, talent, and the essential resources they need to bring their visions to life, from concept to distribution.”
Andriulli talked about how he first got involved with the event and what he would recommend to people interested in film or TV.
“My best recommendation is to attend,” Andriulli said. “You will not regret it. I started as a photographer for this event almost 20 years ago and now I am one of the event producers. I believe in what we are achieving. When I attended for the first time, I was blown away by how approachable all of the important event guest speakers were. I really felt welcomed and that this was the place I belonged.”
The CT Film & TV Conference was originally called the Film Industry Mixer and began annually in 2006, but ended in 2013. Over the past year, Thomassen and Andriulli worked together to bring back the conference in association with the CT Film & TV Alliance.
The CT Film & TV Alliance is a non-profit organization that aims “to support existing film festivals and events in Connecticut,” according to Andriulli.
For more information about the CT Film & TV Alliance and the CT Film & TV Conference 24, visit the alliance’s website or the conference’s website.
NOT SUGGESTING THAT ANY PARTICULAR PERSON OR GROUP IS REPRESENTED HERE, but this from Inside Investigator and Film Industry Watch was enlightening:
Key point to consider, to quote from the detailed and intensive Inside Investigator: Another concern is regarding the industry, overall: if the [tax] incentive were to remain and improve [in Connecticut], how can it overcome the next hurdle? That is, is there something magical that some of these Connecticut [film] “leaders” know about bringing the [floundering film] industry back that Hollywood, the networks, the studios, and the streamers don’t? If there is, there are an awful lot of people and companies who would like to know.
The “Pay-to-Play” Mixer and Festival Model
Investigative reports and industry watchdogs identify systemic, exploitative networking environments operating under the guise of legitimate local industry growth:
The Pitch: Promoters partner with local universities, arts organizations, and city officials to host high-priced mixers, workshops, and networking events. They promise struggling creatives a “pipeline” to major production markets.
The Reality: These events are heavily criticized for functioning as a closed-loop cash grab. Organizers scrape data from IMDbPro or cast calls to target local independent filmmakers, writers, and actors.
The Exploitation: Instead of generating real careers, these events often treat students and local creatives as low-cost labor or paying customers. Any gigs resulting from them are frequently unpaid, short-term, or highly exploitative.
IN THE ABOVE COMMENT: NOT SUGGESTING THAT ANY PARTICULAR PERSON OR GROUP IS REPRESENTED HERE, BUT THE FOLLOWING EXPERIENCES OF EVENTS IN CONNECTICUT REFLECT THE FEELINGS IN THE COMMENT.
NOT SUGGESTING THAT ANY PARTICULAR PERSON OR GROUP IS REPRESENTED HERE, BUT THE FOLLOWING EXPERIENCES OF EVENTS IN CONNECTICUT SAY THIS: Upselling Tactics: Events are sometimes used as bait to sell attendees unaccredited training or bloated career guidance packages.
Exaggerated Credits: Be wary of individuals or groups in smaller markets who inflate regional or student productions to look like major studio features.
Prey on Dreams: Organizers heavily target higher education students and green newcomers looking for a “creative pipeline” into the industry.
Inflated Attendance Roster: Promoters structure large group photos or tout massive headcount data to look legitimate, while actual film professionals are entirely absent.
Fake Industry Credentials: Organizers or attendees inflating their credentials
NOT SUGGESTING THAT ANY PARTICULAR PERSON OR GROUP IS REPRESENTED HERE, BUT THE FOLLOWING EXPERIENCES OF EVENTS IN CONNECTICUT SAY THIS:
Exorbitant Fees: These groups charge steep attendance fees for basic mixer events or ask for high upfront costs (such as $700) for “mentor services” or guaranteed IMDb listings.
The Loophole: Because CT has a small, tight-knit film landscape, these organizations frequently shutter when heavily criticized, only to immediately resurface under brand-new names while utilizing the exact same tactics.
Institutional Laundering: Some of these predatory networks tie themselves to local universities or community organizations, masking themselves as “creative pipelines” that primarily use students and green filmmakers as source revenue or free labor.
The “Industry-Adjacent” Trap: While Connecticut features an active commercial, broadcast, and corporate video ecosystem (driven by ESPN, WWE, and NBC Sports), standalone film jobs are scarce and rarely involve “mystery” recruiters
Film Industry Watch operates a $24,500 Source Protection Fund that offers financial rewards of $100 to $5,000 for independently verified whistleblower reports exposing corruption, nepotism, and financial misconduct.
This whistleblower initiative comes amid intense public scrutiny over the film industry in small film markets as in Connecticut, where multiple state audits have exposed systemic mismanagement of public funds, improper tax credit distribution, and exploitative networking loops.
The Whistleblower Reward System
The Film Industry Watch Whistleblower Fund specifically targets transparency failures in public film funds, film festivals, screenwriting labs, and award sections.
Reward Structure: Payouts range from $100 to $5,000 per report.
Prerequisites: Tips must undergo strict editorial verification and lead to published articles, legal proceedings, or massive organizational overhauls.
Compensation Basis: Rewards reflect the professional or personal risk taken by the whistleblower, not the tip itself.
Anonymity: Sources are required to use secure, untraceable communication methods to shield their identities.
NOT SUGGESTING THAT ANY PARTICULAR PERSON OR GROUP IS REPRESENTED HERE, BUT THE FOLLOWING EXPERIENCES OF EVENTS IN CONNECTICUT REFLECT:
As Gabriel Moreau of Film Industry Watch says in his interview with Wade Major of the Hollywood Heretic, Q&A, Film Industry Watch: A New Grassroots Operation Looks to Rein in Industry Malfeasance:
“. . . we encourage everyone to submit stories of corruption, conflicts, and any form of industry nonsense, ensuring to include as many details, names, and evidence as possible. We commit to publishing this information on our website. Knowing that their actions will be spotlighted and that their names could appear on platforms like ours might deter individuals from engaging in such behaviors. Even a 5% improvement in the industry represents a significant step towards positive change. The principle that ‘Democracy dies in darkness’ applies to all positive values, including fairness, transparency, and accountability.”