Sundance Film Festival Archive for January, 2013

Wesley Morris’ Sundance Survey

“Embarrassing because it’s almost too tender to watch, so tender that it feels private, so private that continuing to look should get you slapped with a restraining order.” Wesley Morris‘ Sundance Survey

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David Lowery On Selling Ain’t Them Bodies Saints, Co-Writing Pit Stop And Co-Editing Upstream Color At Sundance13

David Lowery On Selling Ain’t Them Bodies Saints, Co-Writing Pit Stop And Co-Editing Upstream Color At Sundance13

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Woz Would Not Employ jOBS

“I never looked like a professional. We were both kids.” Woz Would Not Employ jOBS

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Brave New Arthouse: At The Convergence

Brave New Arthouse: At The Convergence

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Noujaim On The Square, A Movie That Won’t End

Noujaim On The Square, A Movie That Won’t End

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TWC-RADiUS Takes Inequality For All For Everyone

TWC-RADiUS Takes Inequality For All For Everyone

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“The Sundance porn wave continues.”

“The Sundance porn wave continues.”

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Sundance Review: Blood Brother

Perhaps it was some deeper spiritual call, a desire to strip away the typically materialistic Western values with which he’d been raised, to find the purity in a life of giving to others rather than taking from them. Or perhaps Rocky simply found in the children of that orphanage the closeness of family and unconditional love that he lacked at home. Whatever the case, he also found he didn’t want to leave. These kids needed him, and perhaps he needed them as well.

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Magnolia Crowns David Gordon Green’s Prince Avalanche

Magnolia Crowns David Gordon Green’s Prince Avalanche

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Sundance Announces Shorts Award Winners

Sundance Announces Shorts Award Winners

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Sundance Review: Upstream Color

“Love, love Amy Seimetz’s pixie cut. Love,” I wrote on Twitter directly after the press and industry screening of Shane Carruth’s Upstream Color as a couple of colleagues disagreed loudly nearby. I meant those words as highest praise: the remarkable Seimetz is as central to the film as women in Kieślowski’s late films.

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“‎There has been NO sustained growth in women directors over the last decade in both narrative or docs.”

“‎There has been NO sustained growth in women directors over the last decade in both narrative or docs.”

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Sundance Review: Escape from Tomorrow

A pair of flirtatious young French girls catches Jim’s eye, and soon he’s following them around the park, dragging his young son along with him for the ride, and getting increasingly shameless in revealing his lust as the film progresses. How much of the girls’ flirtation is real and how much is Jim’s delusion is left to you to judge, though given the rest of what’s happening here, I think it’s maybe a little of both; regardless, it’s a lot creepy, this middle-aged man trolling after a pair of young girls, but it also makes a statement of sorts about sexual fantasy and objectification that one doesn’t expect to overtly find in a film about Disney anything.

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Barnes Coins “Porndance”

Barnes Coins “Porndance”

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“Though the filmmakers may have committed trespass when they broke Disney World’s rules and if it violated the terms of entry on their tickets, the film itself is a different matter. As commentary on the social ideals of Disney World, it seems to clearly fall within a well-recognized category of fair use, and therefore probably will not be stopped by a court using copyright or trademark laws.”

“Though the filmmakers may have committed trespass when they broke Disney World’s rules and if it violated the terms of entry on their tickets, the film itself is a different matter. As commentary on the social ideals of Disney World, it seems to clearly fall within a well-recognized category of fair use, and therefore probably…

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Another Sundance Buy: SPC Books Kill Your Darlings

Another Sundance Buy: SPC Books Kill Your Darlings

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Sundance Review: Computer Chess, Escape From Tomorrow

Andrew Bujalski’s Computer Chess and Randy Moore’s Escape from Tomorrow, two small, subversive films shot in black-and-white, will leave Park City with critical favor and audience intrigue speeding them on their way.

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USA TODAY Goes Deep At Sundance To Scratch “Catdance”

USA TODAY Goes Deep At Sundance To Scratch “Catdance”

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TWC Makes Fruitvale Stop At Sundance

TWC Makes Fruitvale Stop At Sundance

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TWC/RADiUS Admit Concussion

TWC/RADiUS Admit Concussion

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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