Rob Siegel, former editor in chief at The Onion, hit both the highest highs and the lowest lows since transitioning to Hollywood screenwriting. First he saw his The Onion Movie get shelved for year and barely appear on DVD; then last year’s The Wrestler appealed to audiences and critics alike as an unexpected comeback vehicle for Mickey Rourke. This year, he’s directed his first feature called Big Fan, with Patton Oswalt, and rather than the comedy you’d probably expect from Siegel and Oswalt, it’s a dark look at sports fandom and people who aren’t content to settle for “normal” lives. Read on for the full interview where Siegel talks about The Wrestler, directing his first feature, and why writing is much harder than directing.

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I Love You Phillip Morris is based on the true story about a Texas policeman named Steve Russell, and the relationship he falls into with fellow inmate Phillip Morris. Its Sundance premiere attracted a lot of attention because of the on-screen relationship between Jim Carrey and Ewan McGregor who play Steve and Phillip, respectively.

Producers Andrew Lazar and Luc Besson, directors Glenn Ficarra and John Renqua, and stars Jim Carrey and Ewan McGregor spoke at a press conference at Sundance, and discussed how Besson and Carrey met on the set of Ace Ventura, why the criminal who inspired the story will never see it, and the evolution of gay relationships on screen.

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Director Greg Mottola has had a Sundance-in-reverse journey since his 1996 film The Daytrippers premiered at Slamdance that year, and he then moved into the world of television directing, worked on Judd Apatow’s Freaks and Geeks followup series Undeclared, directed Superbad, one of the biggest comedies in recent years, and now is finally at Sundance with his movie Adventureland.

Adventureland was inspired by Mottola’s own experience working at a theme park in the 1980s after college, and it’s a bittersweet look at young romance. Check out our interview with Mottola after the break.

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Doug Pray has directed documentaries ranging from Hype!, about the exploitation of the grunge music scene in Seattle, to Infamy in 2005, about graffiti culture, to last year’s Surfwise, about the surfing Paskowitz family and their eccentric patriarch. Pray’s Sundance premiere Art & Copy is a scattershot look at some of the pillars of advertising including George Lois, Lee Clow, Dan Wieden, Mary Wells, David Kennedy, and the big campaigns they’ve worked on, such as Apple’s 1984, the Got Milk campaign, Nike’s “Just Do It,” and more. We talked to Pray about his planned move into narrative filmmaking, making an ad for ads, and “growing flowers in hell.”

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If you’ve been living under a rock for the past few years, or don’t have the internet available at home yet (which makes me wonder how you’re reading this), then maybe you’ve been obliviously to the explosion of fan films. These are movies produced with the intent of taking an existing property and breathing new life into it, with sequels, prequels, or “what ifs.” In some cases these films take on a life of their own, which was the case with the childhood friends who decided to make a shot-by-shot remake of Raiders of the Lost Ark with a VHS camcorder.

Author Clive Young has put together a book that charts the progress of fan films (starting in the 1920s!), and how the internet and inexpensive filmmaking tools have taken these otherwise obscure short films and fan efforts into new arenas. We talked to Young about the fan film dabbling of Hugh Hefner and Andy Warhol, the distribution future of that Raiders remake, and why fan filmmaking is a boy’s club.

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Criterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop.

The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding.

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Mumblecore, is it a bona fide movement in filmmaking? Some people believe it is. One thing is certain, for being so far outside the mainstream, filmmakers like Joe Swanberg (Hannah Takes the Stairs), the Duplass brothers (The Puffy Chair) and Susan & Arin (Four Eyed Monsters) have gotten a lot of people talking.

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Is overexposure bad for the Sundance Film Festival?
Is a reputation for schmooz bad for the Sundance Film Festival?
Is Paris Hilton (and the like) bad for the Sundance Film Festival?

We could all go on and on, right? However you choose to phrase it, the heart of the question is the same: Has the “true meaning” of Sundance become lost in the party madness?

The first wording of the question–Is overexposure bad for the Sundance Film Festival?–came from Robert Butler in a piece he wrote for PopWire on PopMatters. He doesn’t actually answer his own question, but he does raise some interesting points:

…with success has come second-guessing. Owen Gleiberman, Entertainment Weekly’s chief movie critic, has said that increasingly Sundance is showcasing films with such big names and solid financial backing that the word “independent” doesn’t apply.

Gleiberman has also written about the Sundance “bubble effect,” in which certain films generated a frenzy among festival goers and were fought over by competing distributors. The problem, Gleiberman writes, is that many of these festival favorites become real-world flops. They are “bubbles, destined to burst.”

Starting the Slamdance festival 13 years ago was obviously a way to counter the growing glitz of Sundance and the scores of people who go each year motivated by attractions other than movies.

But many people still don’t think Sundance has issues that need to be countered. Again, from Butler’s article:

Kevin Willmott, the Lawrence, Kan., filmmaker who took his mini-budgeted film C.S.A.: The Confederate States of America to Sundance in 2004, said the fest is invaluable in getting a low-budget film in front of a large audience.

“For a genuine independent filmmaker Sundance is a huge deal. The day they announced that C.S.A. had been accepted by Sundance I got about 100 phone calls from agents and other folks.”

It all comes back around to that big, hairy distribution monster, doesn’t it?

We spent our last morning in Portland wandering around the “largest independent new and used book store in the world,” Powell’s. I’ve been before, but it never ceases to amaze me. Three rambling floors of books covering an entire city block. Probably my favorite thing about the store, besides the ability to browse shelves upon shelves of books on even the most obscure topics, is the unorthodox practice Powell’s is famous for: shelving new and used books side-by-side. It’s so brilliant (and they’ve been doing it this way since 1979).

But what I was thinking about after this book-lovers orgy (while eating brunch at the very delicious Genie’s) is how Powell’s is such an anomaly in the word of on-line versus off-line retailers and independents versus big chains. Powell’s has a very successful dot com (started before Amazon, incidentally) but I want to set that aside for a moment and just look at the Burnside Street store. We’ve been conditioned to go on line if we want inventory and selection, and go to a real-life store if we want an “experience” within a community. Powell’s manages to do both at once (and I’m still trying to get my head around how the Long Tail theory fits into all of this). It’s so successful, even amidst the chains, because of its huge selection, knowledgeable and friendly staffers ready to share everything they know, and plenty of in-store events that make you feel a part of a crazy-book-lovin’ community. You leave with your books, and a story to tell–an experience.

Are there any parallels in the world of film and DVDs? A way to get the films you really want–to not be limited–yet to have an experience within a community? What’s the ideal model for theaters or DVD rental stores? Can an “experience” be created for on line consumers? (Obviously Spout thinks so…)