By MCN Editor editor@moviecitynews.com

Sundance’s Overview Of The Dramatic And Doc Announcement

Posted Wednesday, December 1st, 2010 - Comments Off on Sundance’s Overview Of The Dramatic And Doc Announcement
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After traveling the globe in search of new talent and work, watching countless films, and hours upon hours of debate with the Programming team, the day has finally come when we announce which films will play at the 2011 Sundance Film Festival in January. With more than 10,000 films submitted this year, we have had to make some very tough choices. Yet in the end, I’m excited about the way the program has come together. It’s an incredible honor to introduce these films and filmmaker…these are the stories that will define not only our Festival, but also the cultural year ahead.

—John Cooper, director of Sundance Film Festival

Sundance Institute announced today the lineup of films selected to screen in the U.S. and World Cinema Dramatic and Documentary Competitions for the 2011 Sundance Film Festival. In addition to the four Competition Categories, the Festival presents films in six out-of-competition sections to be announced on December 2. The 2011 Sundance Film Festival runs January 20-30 in Park City, Salt Lake City, Ogden and Sundance, Utah.

On Day One, the Festival will forego the convention of one opening night film and instead screen one narrative film and one documentary from both the U.S. and World Cinema competitions, as well as one shorts program.

John Cooper, Director of the Sundance Film Festival said, “The Festival is a challenge to narrowly define. It is all at once exciting, fun, crazy, engaging, visceral, and sometimes even painful. We can explain storylines, we can share what we know of each artist’s unique journey, but ultimately what we will experience for 10 days in January is different for each of us. It’s the spark from the filmmakers – their passion – that brings 200 unique worlds to life and, in turn, ignites the audience. The films, conversations, encounters are there to experience. And that’s what makes Sundance so magical.”

Said Trevor Groth, Director of Programming, “Knowing how difficult it is to get a film made anywhere, and given that the number of submissions was higher than ever, it is a testament to the passion and creativity of filmmakers everywhere that they are able to preserve and stay true to their vision. The caliber of films submitted this year was exceptional and made for exhilarating discussion among the programmers. Now that discussion gets turned over to the audience.”

For the 2011 Sundance Film Festival, 115 feature-length films were selected, representing 28 countries by 40 first-time filmmakers, including 25 in competition. These films were selected from 3,812 feature-length film submissions composed of 1,943 U.S. and 1,869 international feature-length films. 92 films at the Festival will be world premieres.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon