Sundance Film Festival Facts

February 1, 2011 By Leave a Comment
2010 Sundance Film Festival logo.

Image via Wikipedia

What happens every year in Mid-January and in Utah no less? The Sundance Film Festival.  And oh, is the festival  something to see.

What began in 1978 when disco was hot and folks focused on retrospective films and seminars by filmmakers, today includes hundreds of folks from around the world hoping to see the next big movie getting their jump start miles away from the Hollywood arena; movies that include documentaries, dramatic features and short films.

Held in Park City Utah, past festivals have included movies such as: “Little Miss Sunshine” in 2006, “Chicago 10” in 2007 and in 2009, “Push” a drama based on the book of the same name, by author, Sapphire.  This year the festival proved to be just as intriguing, perhaps even more so.

Some facts:

  • Sundance was founded in 1981 by actor, Robert Redford.
  • The festival was named after the Sundance Kid, a role that Redford played in the movie, “Butch Cassidy and the Sundance Kid.”
  • Sundance is the largest independent cinema festival held within the United States.
  • Famous films like “The Blair Witch Project,” Little Miss Sunshine,” “Sex, Lies and Videotape,” and “Napoleon Dynamite” began their careers at the Sundance Film Festival.
  • This year, there were more entries than ever before; 1,102 total. From that number 16 films were selected as winners.
  • 29 countries were involved.
  • There were 40 first-time filmmakers.
  • For the first time in Sundance history, Festival Insiders were placed throughout the festival to give direction and help to those visiting.

Festivals such as the Sundance Festival give fans an opportunity to view films long and short, eat and drink, and hopefully, get a quick view of a movie star without necessarily having to pay a hefty ticket price. This year, folks could get into the festival for a mere $15.

To “see what was playing at the 2011 Sundance Film Festival,” search google.com.

Next year’s Sundance Film Festival will be held from January 19-29.

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Putting On a Film Festival

January 28, 2011 By Leave a Comment

If you have a keen interest in film, you may want to think about the possibility of putting on a film festival in your local area. Film festivals are relatively niche events and are not exhibited often, so any event you put on will be sure to draw a crowd. However, there are a few things you can do yourself to help boost numbers and generate publicity for the event.

One important step is making sure you have a sufficient space to hold the festival. You can think about hiring out a local hall or center in your community, although if you have a university in your area, these can also be great places to put on a festival (empty classrooms can fit a lot of people, and some may already have televisual equipment in them that you are able to use). Make sure you also research fully the legal requirements for your festival and whether you need to gain permits to put it on.

After this, you will need to set a date for the event. Decide as early as you can when you want to put your festival on and once you have chosen a date, do not change it! People will get annoyed if you plan for one date for a long time and then suddenly alter it at the last minute.

Promoting your festival is a vital step to its success, and one good way to do this is with flyers. You can hand them out on the street or outside cinemas to really boost interest. You should also start promoting your event on the Internet as soon as possible. Social media sites are a great way to spread the word around and you can also make videos and short promotional films that give the details of your event.

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3 Myths of the Sundance Film Festival

January 11, 2011 By Leave a Comment

Since its inception in 1978, the Sundance Film Festival is one of the most popular and well-known festivals around the world. Originally, the festival used the name Utah/US Film Festival. The first festival was a phenomenal success, however, the budget was exceeded and the festival was $40,000 in debt. One might think that would be the end. This debt may be responsible for providing the motivation to produce another festival in 1979. Investors determined the only way to recoup their money would be on the next year’s ticket sales. The Sundance Film Festival has an interesting history and today is one of the most popular festivals. There are many myths that surround this festival.

The first myth is that Robert Redford started the festival. It is true he was involved in the beginning of the festival. The festival was actually started by Sterling van Wagenan and Utah State Film Commissioner John Earle. As the idea of the film festival developed, Robert Redford was asked to sit on the Board of Directors. This is how his involvement began with the festival.

The second myth is the festival is the festival name originated from the name of a town called Sundance. The first two festivals were in Salt Lake City and the 1980 film festival was postponed until January 1981 and was held in Park City. In 1985, the festival began under the sponsorship of the Sundance Institute. Eventually, the name of the festival was changed to the Sundance Film Festival.

The third myth is the festival is an exclusive festival, meaning only those with connections can attend. Since its inception, the Sundance Film Festival has been and continues to be open to everyone. This may be one of the very reasons this festival is so popular. If you enjoy Film Festivals, the Sundance Film Festival should be number 1 on your list.

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Size Matter: Festival Rules

December 22, 2010 By Leave a Comment

It was meant to be a quick film, contained within meager minutes. All scenes were to be succinct, offering power through their simplicity. But each day offered a new inspiration; and all scenes expanded beyond their original intents. Eventually your short movie billowed out to almost an hour — and you could find no frames to slice away, no seconds to cut. Everything instead seemed too vital. It all had to stay.

And so you send it now to a festival, certain it will be accepted. It is not the length you intended but it still remains far below the usual times. It should be appreciated.

It’s not.

Festivals seeking short films will not allow entries to ramble on, hovering at the hour mark and ruining their scheduling. Individuals hoping that the merit of their work will earn them recognition will be (highly) disappointed. No movie that extends beyond 20 minutes will be allowed entry into the majority of festivals; and even that number is often too much.

The most craved length for these formats is under 10 minutes. And the reason for this is obvious — festivals wish to offer their audiences as many films as they can. Each hour is to be filled with new genres, new styles. When that hour is dominated by a singular movie, however, the entire purpose of the event is lost. There can be fewer viewings and fewer chances to discover an exciting project.

Individuals therefore must recognize the importance of size. Never assume your work will be selected (even if it’s too long) simply because it’s unique. It won’t. Instead it will be replaced with a piece that follows the rules. Entering short film festivals requires an understanding of time and its demands. You must remain true to the format.

Try to narrow your frames to 10 minutes. If they refuse to be edited, consider abandoning the notion of small films entirely and create an epic instead.

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The Film Festival Folly

December 21, 2010 By Leave a Comment

A letter sits upon a table, its words black and bleak. There are creases folded deep within the pages, a nervous origami — proof of your displeasure. It’s a rejection of your film, a refusal to consider the frames. You’ve been denied entry (again) and the consequence is a sigh, a scowl. You can’t understand this. A movie should be accepted by all, recognized for the brilliance that it is. Each scene has been carefully crafted, rendered with the utmost diligence and affection. And yet none have been willing to screen it, have deemed it instead unsuitable.

There is no reason for this, you believe. There is no… sense in it. Your movie should be receiving standing ovations, not dismissals. You can’t comprehend the lack of logic.

The truth, however, may be all too simple.

When selecting potential film festivals, you chose only the ones that were famed. All hope was placed upon being allowed to showcase your movie on the world’s greatest screens. There were no thoughts offered, however, to the issue of relevancy.

No film — no matter how spectacular, how special — is an ideal candidate for every festival. Each of these events is unique, meant to display specific kinds of genres and styles. If you fail to meet those standards you will not be chosen. This is an unfortunate fact, and it’s one too many directors forget in their quests to succeed.

All movies must reflect the tone and topics of the festivals they’re shown in. All elements (from the length of a piece to the category it falls within) must be tailored correctly. If your project does not abide by the standards, it will not be allowed to participate. And this must be understood by all.

Your love of your film is admirable. Your refusal to respect the rules of festivals, however, is not. Recognize the parameters and then work within them. Find the venue that is best for you.

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The Audience Consideration: Festivals

December 19, 2010 By Leave a Comment

It’s the slow fade of a screen, the flickering scroll of credits — your film is finished and you’re now awaiting the response of the crowd. It will surely be spectacular, you believe. Your efforts were valiant, producing celluloid that could never be denied. The script was perfect; the acting was superb; and the metaphors were carefully presented. It was an exploration of the human condition, bounding between genres and styles. All will be impressed and you grin, expecting applause.

It… doesn’t come.

The festival-goers are instead quiet, staring down at the floor, their tickets. Their expressions are baffled; their approval has disappeared. And you slink down in your seat, humiliated by the utter apathy of it all.

This is every director’s greatest fear. It is also one, however, that can be avoided.

Choosing the appropriate festival is essential for all filmmakers. While your project may be accepted by many venues (offered that exclusive entry), this does not mean that you should simply offer it to any screen you can. There must instead be an understanding of the audience and their expectations.

Festivals are unique — their purposes are to showcase differing styles and topics, the specialized formats. Movies therefore are meant to reflect the tone of the events. They are to be relevant, relatable. And, when they are not, the viewers will react with disappointment (or even hate).

You must therefore recognize the intentions of every festival. Know what they traditionally emphasize. Discover the past winners, the notable entrants. Understand what the audiences gave most responded to in the past and then compare all of these films to yours. The point is not to mimic them; it is instead to stand comfortably beside them, blending within the expectations.

Consider who shall watch your movie and what you wish them to feel. Find the festival that offers the opportunity to reach these viewers, rather than choosing one that will only provide dull reactions and misunderstandings.

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Persisting, Always: Filmmakers

December 17, 2010 By Leave a Comment

Perfection has been achieved. This is your most certain belief — guiding your every action, your every thought. You have slaved through the hours; you have dedicated all efforts to frames. A film has been created and you’re sure that all will brand it a masterpiece. You merely have to submit it for consideration and the festivals will soon be battling each other to claim it.

But such claims never come.

They are instead replaced to rejections, the easy dismissals. Your project finds no adoration within the festival circuit. It is instead refused, thought to be unworthy.

And you want to weep — but you can’t.

The truth of crafting cinema classics is that the process isn’t an easy one. While you may be certain of your own superiority, others may only hesitate. There will be rejections. There will be chides. You will face a wave of criticisms… and you must accept them all.

Because few films have the ability to earn instant acclaim. Most are instead defined to apathy, the complete lack of praise. You will be forced to endure mockery; and persistence is therefore necessary.

Do not allow yourself to lose faith. Do not succumb to the strain. You must maintain your assurance in your skills and your project. There will be complications — but these must be overcome, countered with determination. Don’t let a singular rejection (or more) destroy you. Simply seek out other festivals, other venues, and find one that will understand your intentions. Filmmakers must be willing to recognize the inevitable failures before they can find the craved success.

Your movie may be brilliant. It may also, however, be misunderstood. It’s vital therefore that you continue with your project — search for the proper audience and the proper event. Don’t allow yourself to become overwhelmed by worry. Believe instead in what you can accomplish and what you wish to achieve.

Be confident in your abilities. Be supportive of your work.

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The Entry Dilemma: Festivals

December 16, 2010 By Leave a Comment

It is a film of exceptional beauty. It is a work of undeniable appeal. You have crafted the rare masterpiece, devoting yourself to cinema for long months. Such time was worth all costs, however — because the finished project is one you wish to share with the world. You merely need the appropriate showcase for it.

But there arrives a sudden dilemma: the festivals that would best receive your work (the ones most internationally known and therefore able to offer far greater appeal) demand entry fees; and you are uncertain of whether you can afford such things or whether you should even try.

The answer is a complicated one.

The world’s most prestigious venues — the Cannes Festival, the Sundance Film Festival, the British Urban Film Festival and more — require fees. No project may given to them without first offering dollars (and these amounts can be considerable). For many fledgling directors the notion of devoting their already weak funds to this seems unworthy. There are, after all, many other reputable events that demand nothing beyond a completed movie. No money is needed.

For those wishing to reach a larger audience, however, the entry fee may be the only solution.

When considerind festivals you must be aware of your intentions: is the purpose to simply seek a screen, to be accepted? Or is it instead to gain total notoriety, wanting to meet the giants of the cinema industry? The distinction between these two philosophies is vast and must be understood.

And, should you desire more than the smaller venues, you must then submit to the need for fees. These will demand your time, effort and pleading (asking others to help you generate the necessary amounts); but they can also reward you with great exposure. The results can be gratifying — and immediate.

You must first simply recognize what you desire and how much you are willing to provide to shape those desires into a reality.

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Persevering: Women in Film

December 14, 2010 By Leave a Comment

A door opens, revealing the crowded corners of a room, the nervous rustle of resumes: it is an intimidating sight, with desperate directors all vying for the same position. Only one can claim it, but all will try. And you hope to be the one who provides the most appealing ideas, the budget conscious solutions. This is a small film (independent and without the studio sanctions) but you wish still to offer your support. The script appealed; the premise intrigued; and you’ve already generated endless possibilities. You merely need the chance to prove them.

That chance isn’t offered.

Because — despite your impressive notions, your eagerness to please — the production team decides to favor someone else: a director of far less caliber but far easier masculinity.

The sad truth of cinema (from the tiny productions to the grand Hollywood events) is that women are often overlooked, deemed inferior by simple virtue of their gender. There is a stigma linked to females, branding them too indecisive and too incapable of creating films. They are thought to be competent only with the traditional roles — such as acting, costumes and design. They’re too often refused positions of power.

And this is enough to make many women consider fleeing the field entirely. They assume no rewards will be offered, that no values can be found. But, despite the difficulty of breaking the cinema standards, there have been victories throughout the years; with females contributing much to direction, production and screen writing. There are chances to succeed.

Women must simply persevere and seek them out.

It is an too easy thing to quit, to believe all hopes are gone; but females can achieve power in the world of cinema. They must merely devote themselves to searching for it, refusing to give in to the assumptions of gender. All triumphs will be earned… and perhaps will be more satisfying because of it.

Prepare for a challenge. Prepare for diligence.

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The Network Value: Festivals

December 11, 2010 By Leave a Comment

It’s the exchange of ideas, the whirls of conversations: you are surrounded to directors and producers, actors and screen writers. The new Hollywood royalty (all brimming with exciting concepts, new styles) fills a festival. Their films are being shown; their philosophies are being accepted. And you are caught in the middle of it all, listening to all you can, trying to glean industry knowledge. You have even managed to trade quips with the clever cinephiles, offering your own insights into movies.

It seems to be the perfect night — until someone asks for your business card and you have none to give.

Traveling the festival circuit is essential for all up and coming filmmakers. Projects must be promoted; connections must be made. The intention is to gain exposure for your work and yourself. But that can’t be properly accomplished if you are not prepared to network.

Understand that these events offer more than a chance to showcase your film. They instead provide access to the movie industry — with all studios and financial backers watching closely, wanting to discover (and claim) the latest talents. You must therefore be ready to provide more than a smile.

Be certain that you carry copies of your resume, a stack of business cards, packets regarding your work and any other forms of contact information you can provide. Not all of these will be necessary to offer to every single individual; but you must simply be ready for any request. Network as you move throughout the festivals. Forge relationships that could one day earn your film wide exposure. Make sure your name, phone number, web site and email address are always known. This is essential.

Festivals are not merely excuses to receive praise. They instead enable you to seek out help for the future. But such help will be impossible to receive if you can’t provide the appropriate information.

Be aware of others and be prepared to promote yourself.

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