Daily Loaf

Jerad Ford: Talking about Movies

Jerad Ford

For me, Sundance has been a once in a lifetime experience. Being in Park City surrounded by thousands of people who are all here to watch films and to support independent cinema is very exciting, because everyone is here for the same cause, to support art. Everyone is willing to talk about movies and trade stories about their experiences here. it’s easy to find out which films are good and and bad just by catching the bus and striking up a conversation or even just listening to other people talk about films. I certainly didn’t expect to make friends with two middle aged men, Jim and Rene, who told me they had been coming to the festival for the past twelve years. But that’s just the kind of thing that happens, you’ll be standing in a line for something and soon you’re discussing all of the films you’ve seen and haven’t seen. I ended up talking to both Jim and Rene a handful of times during the festival, as I always seemed to find them at my screenings. Both of them wished me good luck in making films, and they promised they would keep an eye out for a film by me at Sundance after five years or so.

Rajeev: Get out of the Condo!

Rajeev Rupani

The festival in itself was a great event for me to meet individuals who were really enthusiastic and emphatic about independent cinema. While having conversations with these people, in theater ticket lines, I learnt about some famous independent filmmakers and some movies that are a must-see. Meeting some of the staff members and volunteers, at the festival, gave me a chance to get information on how the festival worked and the manner in which it was set-up. I felt that talking to and interacting with as many people possible provided me with insight and good educational information on the world of independent cinema. The only downside of the festival was that the transit system took a while getting used to because the shuttles would not follow the simple pattern provided in the guidebook. As an official Sundancer – at this point – my advice would be to enjoy the festival as much as possible and interact with people as much as you can. If you are sitting at the condo and have a bunch of free time, just go down to Main Street, or take a chance on a film that you can waitlist for. Some of the best movies that I have seen here so far were either on impulse or because a friend convinced me to go along with them. Don’t spend your time sitting in the condo or watching television, you can do that in Florida, be outgoing and make some new friends in the group that you are with: I did and had the best time of my life. The festival is the opportune time to learn and experience the most that you can about this very unique branch of cinema, and this can be an experience that will last a lifetime.” Read the rest of this entry »

It’s Saturday night in Park City and another festival is winding down.  The first weekend of the festival is always the most chaotic and crowded.  I find the second weekend more pleasant even if it is a bit sad to see things coming to a close.  Shuttle buses are less frequent, people more relaxed.  For the first time in ten days it is snowing, and with the weather everyone seems to be mellowing out, finding some place to stay warm.

I had a ticket to the Grand Jury Prize Documentary Award winning film – and had settled down into a cozy seat in the Library theater, waiting for the announcement as to which film it would be.  I was slightly disappointed to hear it was something I’d seen just yesterday – I’d been hoping to catch something I’d missed – but in hindsight the award makes complete sense: Ondi Timoner’s We Live in Public was disturbing but brilliant, a powerful portrait of an internet pioneer with a remarkable vision of the future we are living now.  Unlike many of the documentaries that played at Sundance this year, this one (by the director of Dig!) makes inventive and entertaining use of the possibilities of the medium, and was definitely not made for a PBS audience.

I’ve seen just over 30 films here in Park City, at both Sundance and Slamdance, and in my opinion this is the strongest lineup I’ve encountered in the years I’ve been coming to the festival.   Read the rest of this entry »

Greg Mottola

Greg Mottola got his start at the Slamdance Film Festival in 1996, when he won their Grand Jury Prize for his debut film Daytrippers. Since then, he stuck with television for several years and got to know Judd Apatow during his 3-episode stint as a director for Arrested Development. He made it big behind the wheels of the Apatow-produced and critically acclaimed raunchy teen-sex comedy blockbuster Superbad.

Now he’s back at the festival that snubbed his first flick, with one of the most anticipated premieres of Sundance 2009: Adventureland, a semi-autobiographical ’80s nostalgia piece about a recent college grad who lands a lame summer job and has the best time of his life. The film will have its world premiere in Sundance’s massive Eccles theater, January 19th. At least one of us is sure to see it and let you know what we think — it probably won’t be me, since I usually try to avoid seeing films at Sundance that I know I could see a few months later in the local theaters, and this one definitely fits that bill. For those who can’t wait, or who want to whet their appetite for our review, take a look at a few of the following clips of the film, freshly picked from the web: Read the rest of this entry »

Editor’s Note: Nate Andersen’s Eckerd College film class is preparing for their trip to Sundance, during which they’ll be blogging for Creative Loafing. Former student Ryan Conrath, who’s now in film school, sent them this open letter:

Sundance is for many just an idea. It’s something that looms over countless student productions. It’s a running joke in film school: “When we get into Sundance…” In another sense, it’s also taken very seriously. It was a big deal when a colleague’s film got into Slamdance. The same guy’s movies have even been shown at Harvard and Cannes. But to my knowledge, Sundance still remains for him the elusive beast that it is for thousands upon thousands of expectant students and professionals.

Again, as an idea, Sundance is probably the most powerful force in American film today. It is almost more of a bragging point to say that your movie got into Sundance than it is to say it was optioned by Hollywood. Read the rest of this entry »

I will never be the same person again. Sundance marked a transition in my life, and there is no turning back. I cannot escape the vortex into which I have fallen. I have always liked movies (I rarely ever saw one I did not like) but never realized that they would be my life’s ambition. And that is how Sundance changed my life: It opened my eyes.

I did not try to go star gazing. I did not try to make it into any fashionable parties. I threw away all the bull that goes along with Sundance and got to its essence. I completely immersed myself into each film I saw. So much so that I do not know if I could remember all the films I saw. Some stuck in my mind: a gay zombie movie [Otto, or up with Dead People], a great baseball flick [Sugar], and a documentary outlining the country’s economic collapse [IOUSA] (”hate to say I told you so” comes to mind), but the entire experience changed me. I thought, “wow, not only is this the greatest thing that has come into my life, but I can do it too.” And so it began, my rocky but enthused trip into trying to make films. How will it all turn out? We will see.

Algenis Perez Soto plays a Dominican pitcher in Iowa in "Sugar"

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A girl plays by the rapidly eroding shoreline, in Everything's Cool

Sundance has had a green streak for a long time. It goes deeper than the new line of organic cotton festival wear, and the reliable influx of hybrid vehicles into town for the week. Films like An Inconvenient Truth, Blue Vinyl, Everything’s Cool, The Unforeseen, Who Killed the Electric Car, Fields of Fuel, Flow, Manufactured Landscapse, Up the Yangtze all premiered at Sundance over the last few years and all focus heavily on themes of environmental change and of connections between people and their environments. The festival’s related commitment to Native American stories goes back to its beginnings.

I always pay close attention to such films because of my involvement with Eckerd College’s “Visions of Nature, Voices of Nature,” Environmental Film Festival, that I have co-directed along with its founder Cathy Griggs for the past three years, and that began as a Native American film festival. For several years, we have tried to supplement the February lineup with at least one film that had just shown for the first time at Sundance. Last year it was Up the Yangtze and The Unforeseen (which played Sundance in 2007), and before that we screened Everything’s Cool. It goes beyond documentary. We have also screened fictional feature films from Sundance, films in which place plays a prominent role, such as Chris Eyre’s Edge of America, Jake Mahaffy’s War, and Kevin Wilmott’s CSA: Confederate States of America. (Kevin Wilmott is back again this year, with a western that I discuss below). We’ll see whether we can manage to pull it off again this year.

There are lots to choose from… Read the rest of this entry »

Tromadancers on Park City, Main Street

Alongside the main festival, several other smaller film festivals have grown up in Park City during Sundance – giving the film lover a wide range of choices for films ranging from no-budget oddities to unique and compelling gems that might otherwise go unseen. Festivals with names like X-dance (extreme sports films), Tromadance (look up Troma films if you really want to know), and Nodance (taken over by Forrest Whittaker in 2002, but currently on hiatus), Roadance (that screens films on the side of a moving truck), Slumdance and Lapdance (you may be starting to see a trend), have come and gone, but the enduring alternative to Sundance has been the Slamdance Film Festival, running since 1995 and getting bigger and better every year. In fact, while Chris Nolan of Batman fame was put on the map when he played Memento at Sundance, it was Slamdance that gave him his first big break, screening his debut film Following in 1999.

Started by a group of filmmakers who, for whatever reason, couldn’t get their films into the increasingly competitive bigger-name fest, it has now become extremely competitive in its own right. One of the unique things about the festival is that in the competition screenings they show only films without prior theatrical distribution and with budgets under $1 million, from first-time feature directors… Read the rest of this entry »