Variety continues the coverage of how “subdued” this year’s festival will be. Reportedly, the cool new trend is regifting swag bags to charity. Meanwhile, IFC’s Arianna Bocco points out the should-be-obvious truth: “If people love something, they will still compete to get it, regardless of the larger economic situation.”
And the Los Angeles Times seems certain there’s a lot to love. Rather than concentrate on the negative ramifications of a recession-set Sundance, Kenneth Turan notes the number of films selected this year is still staggering, the “hubbub” over swag and celebrities is still in full force, and the quality of the films should be as high as usual.
But why worry about the economic troubles of Sundance anyway when, according to Michael Cieply at The Carpetbagger, there are more pressing matters at hand involving a complicated issue with festival films produced under waiver agreements from the Screen Actors Guild. Studios may not legally be able to pick up these films as long as there’s no contract and still threat of a SAG strike.
Fortunately, for those films that aren’t picked up, Anthony Kaufman has a focus on the DIY release alternative over at indieWire.
Apparently those Sundance attendees on their way to Park City today or tomorrow are already too late to the parties. Last night, Real World Brooklyn cast member Baya Voce kicked things off early at The Star Bar.
For those of you who don’t like the cold weather in Park City, Sundance is in negotiations to launch a version of its film festival in Abu Dhabi (pictured). Original idea was to hold the new fest in April, but it’s likely to happen later due to the current economy.
Also an effect of the recession: a leaner Sundance, with lowered attendance, smaller crowds (particularly for lack of a lot of the people who go to Park City just to hang out), and fewer parties. The Salt Lake Tribune examines all the cutbacks, including economic effects on documentary filmmaking, distribution and Sundance deal-making, and ends with a nice quote from Robert Redford: “What might be a positive is that if there is less hoo-ha, less of a circus atmosphere, there will be more tendency to focus on what it is that we’re really about, which is the independent filmmakers and the quality of the work.”
The Hollywood Reporter also spoke to Redford, who admits there are currently too many film festivals, and Sundance may eventually become obsolete as a result: “My feeling is when the day comes when we’re no longer providing the mission we started with — not creating something new for audiences, not creating opportunities for new artists to have a place to come and develop — then we shouldn’t be here, and we won’t. As long as we continue to create new advantages, we will continue, but not just to be continuing.”
The New York Times profiles The Informers and its ill-fit premiere at this year’s fest. Says author/co-screenwriter Bret Easton Ellis: “When people tell you something’s ‘a real Sundance movie,’ that’s more negative than a compliment.”
I’ve scoured the various Sundance schedules and picked out the 13 films that I’m most looking forward to over the course of the ten days in Park City. Note that this list does not include films that I’ve already seen, either at other festivals or through other means. It didn’t seem fair to mix up films I haven’t seen with those I have kind of an inside scoop on, and anyway, you’ll hear about those films soon enough — this is purely a catalog of my own current anticipations.
It’s the Philosophical Astronaut Double Feature! First, Sam Rockwell stars in Moon (the feature debut of Duncan Jones, AKA Zowie Bowie, David’s son) as a contract in a space pod, alone save for his trusty robot, who is nudged by the monotony (or, moonotony) of life in space towards an existential crisis. Then, there’s Clone, a Japanese feature executive produced by Wim Wenders, about a cloned astronaut who “flees the lab in search of his childhood home [and] finds his own lifeless body in a space suit. Mistaking it for his brother, he continues his journey carrying the body on his back.” Seriously, go read the Sundance catalogue description — it’s maybe the most evocative festival guide copy I’ve ever read. Clone is in the World Dramatic competition, Moon is a Premiere.
A bromance directed by a broad. Lynn Shelton’s follow-up to My Effortless Brilliance (and her return to Park City after taking the Grand Prize at Slamdance in 2006 for her first feature, We Go Way Back) stars Mark Duplass (The Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college buddies who reunite as thirtysomethings and end up entering an amateur porn contest. Defintiely the domestic Narrative Competition feature that’s come up most in conversation with friends and colleagues since the lineup was announced.
RJ Cutler’s portrait of editor Anna Wintour spans the nine months of work that go into the creation of fashion’s annual bible, the September issue of VOGUE. I’m bit of a sucker for fashion documentaries, but even if you’re not, one hopes Cutler (producer of The War Room, director of A Perfect Candidate) will apply lessons learned in the deep end of politics to the politics of the superficial.
indieWIRE has the full lineup for the 2009 Slamdance Film Festival, held in Park City concurrently with Sundance. Highlights include opening night film I Sell the Dead, directed by Glenn McQuaid; the much-anticipated (by virtue of title alone) Rosencrantz and Gildenstern are Undead; and Zombie Girl: The Movie, which Kevin reviewed at Fantastic Fest.
Add to My Profile | More VideosWith the 2008 Sundance Film Festival now but a memory, Joe and Ronnie return to the site of their first video dispatch and sum up their week in Park City. This is the last of their Sundance video dispatches, but if you’re worried about going through Joe and Ronnie withdrawl, don’t be: Butterknife premieres here on Spout tomorrow. Visit the Butterknife page, mark your calendars, tell your friends, etc etc.
Previous Sundance video coverage from Joe and Ronnie:
On Friday night, Park City endured a brief but hysteria-inducing blackout. The next morning, Joe and Ronnie assess the damage, and ask a zealous festivalgoer the question: “What is it that makes you want to hug a celebrity?”
Previous Sundance video coverage from Joe and Ronnie:
Will the strike motivate buyers to stock up on content, or will the rough recent art house climate discourage them from picking up all but the safest work? When it comes to the marketplace at the Sundance Film Festival (which begins today), all that seems certain is that star heavy, light-leaning comedies like What Just Happened? and Sunshine Cleaning are expected to have an easier time leaving Park City with a deal. So, in other words, no news to report yet.
AMPAS is planning two separate Oscar shows: one in case the WGA makes nice with the studios or grants them a waiver to use writers, and an “alternative” strike-proof telecast. Oscar telecast producer Gil Cates is keeping quiet on what form the “alternative” show could take, but Variety speculates that it would probably “rely on industry heavyweights penning their own speeches and presenting the awards.”
“Anticipation of a DGA deal is amping up the pressure from all sides on the leadership of the Writers Guild,” says Dave McNary. The AMPTP is expected to hand down an offer this week, and writers are apparently threatening that they’ll resign from the WGA and go “financial core,” allowing them to go back to work without union protections, if the DGA rejects it out of hand.
Slamdance has announced their 2008 lineup. On first glance, three documentary titles immediately pop out:
I Think We’re Alone Now (Documentary Feature Competition): Labeled “stalkers” by the media, Jeff and Kelly profess their love for the 80’s pop icon, Tiffany.
Spine Tingler! The William Castle Story (Twilight Screenings):A chronicle of the last great American showman, filmmaker William Castle, a master of ballyhoo who became a brand name in movie horror with his outrageous audience participation gimmicks.
Wesley Willis’ Joyride (Documentary Feature Competition): An underground rock icon and revered artist, the late, great Wesley Willis attracted and offended people from all walks of life. The film follows the prolific and controversial artist on his journey from obscurity to cult hero.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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For those of you who don’t like the cold weather in Park City, Sundance is in negotiations to launch a version of its film festival in Abu Dhabi (pictured). Original idea was to hold the new fest in April, but it’s likely to happen later due to the current economy.
Will the strike motivate buyers to stock up on content, or will the rough recent art house climate discourage them from picking up all but the safest work? When it comes to 
