Sundance Film Festival Archive for January, 2011

The Four Sundance Intros By Jeremy Konner That Got Yanked At The Last Minute

The Four Sundance Intros By Jeremy Konner That Got Yanked At The Last Minute

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Sundance Dispatch: It’s a Wrap

Another Sundance Film Festival has wrapped, and I have to say, it was a helluva good year to be in Park City. The logistical nightmare of the P&I line the first five or so days of the fest was a serious pain in the ass, but overall I’d have to say this year’s Sundance programming…

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Sharkey Sez Sundance 2011 Was The Coming Of Ages

Sharkey Sez Sundance 2011 Was The Coming Of Ages

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For Filmmakers, The Best, Most Optimistic Interview On The Last Day Of Sundance

For Filmmakers, The Best, Most Optimistic Interview On The Last Day Of Sundance

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Brit’s It: Fueling The Brit Marling Fire

Brit’s It: Fueling The Brit Marling Fire

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Sundance Review: The Future

What do you do when you’re paralyzed by fear of failing, of moving forward into the future, of getting older? Of facing the fact that you have a finite amount of time to do everything you ever wanted to do, or thought you would do with your life, but realizing suddenly that you’re nearing the…

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Bad Press Makes Sundance Returnee Dito Montiel “Nuts”

Bad Press Makes Sundance Returnee Dito Montiel “Nuts”

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Alfred P. Sloan Award To Another Earth

Alfred P. Sloan Award To Another Earth

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CHERIEN DABIS WINS 2011 SUNDANCE/NHK INTERNATIONAL FILMMAKER AWARD

CHERIEN DABIS WINS 2011 SUNDANCE/NHK INTERNATIONAL FILMMAKER AWARD

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Another Sundance, ANOTHER EARTH

After Thursday night’s Library screening of Another Earth in Park City, lead-co-writer-co-producer Brit Marling and director-cinematographer-co-writer-co-producer Mike Cahill take questions. More reviews, including of this Fox Searchlight acquisition, Martha Marcy May Marlene, The Redemption of General Butt Naked, I Melt With You, and dozens of photographs, after the festival’s end: there’s so much to do, writing…

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The Future Is By The Roadside

The Future Is By The Roadside And – Motion Film Group Travels Gun Hill Road Plus – Pariah In Focus

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IFC/SonyPWA Find Salvation For $1.5M

IFC/SonyPWA Find Salvation For $1.5M

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Dargis Dispatches Sundance

Dargis Dispatches Sundance (And The Times Doc, Too)

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Sundance USA Preems In 7 Cities Thursday Night

Sundance USA Preems In 7 Cities Thursday Night

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Nim Picked Up By Roadside

Nim Picked Up By Roadside

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Dada Films Takes The Last Mountain

Dada Films Takes The Last Mountain

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Sundance Review: The Catechism Cataclysm and Septien

The Catechism Cataclysm One of the weirdest — and funniest — films I saw at Sundance was The Catechism Cataclysm. I’m not sure it’s even possible to discuss this film in a way that makes sense, because I’m not sure the film itself even does make sense, but it sure as hell made me laugh…

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Sundance Reviews: Vampire and Codependent Lesbian Space Alien Seeks Same

Simon’s not a vampire, not really. He’s just a guy who digs the taste of blood, who’s drawn to killing girls in this particular way, and in particular, he’s very invested in the idea that he is not a bad guy, but a good one. He’s helping these girls, not hurting them — even though he knows on the other hand that’s not exactly what you might call “objectively true.”

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NapervillePatch Sez “Meet Naperville Central Grad Joe Swanberg, Master Of His Own Movie Universe”

NapervillePatch Sez “Meet Naperville Central Grad Joe Swanberg, Master Of His Own Movie Universe”

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Sundance Review: The Lie

Josh Leonard’s adaptation of The Lie, T. Coraghessan Boyle’s 2008 New Yorker short story, is an excellent take on the tale of an idealistic young couple whose lives have veered away from the values they had when they first met, after an unexpected pregnancy forces them to shoulder the responsibility of parenthood.

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Quote Unquotesee all »

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