Sundance Film Festival 2008 – Five Key Trends and Must-Knows for Indie Directors and Producers

 

The Sundance Film Festival, however immovably in its mid-twenties and experiencing every one of the normal emergencies, is one of the world’s most significant film scenes. It’s been said that what plays well up in the mountains of Park City this year will stream into the Hollywood standard by the late spring after straightaway. On the off chance that this is valid, the 2008 cycle of the celebration passes on us with a great deal to contemplate. The following are 5 things to bite on as American films face what is reasonable a critical year.

 

  1. Inconvenience in Hollywood isn’t really uplifting news for indies. At the start of the celebration the Writer’s Guild strike ruled discussion. Prognosticators 텍사스홀덤a purchasing free for all at Sundance 2008 as studios looked apprehensively for movies to fill their possibly vacant delivery record. Be that as it may, simultaneously, savants rushed to highlight last year’s widespread overspending and anticipated purchasers would be wary.

 

All in all, what was the deal? Not much. After an underlying frenzy, more than $25 million worth of arrangements were inked at Sundance ’08. While this pales contrasted with the $53 million gave up at Sundance ’07, we can think about 2008 as a re-visitation of mental stability.

 

  1. Of the 17 movies sold at Sundance…8 were narratives. As a matter of fact, every one of the movies to sell in the typically mad first end of the week at Sundance were narratives, persuading numerous to think that the current year’s commercial center would be a failure. Yet, regardless of whether costs were down a piece for shows, pundits and crowds concur that the American narrative is as imperative as could be expected, and, surprisingly, after the frustrating film industry execution of last year’s Sundance docs (MY KID COULD PAINT THAT, IN THE SHADOW OF THE MOON) there is as yet an exceptionally solid market.

 

  1. The Webolution isn’t being webcast. “The issue at hand is obvious to everyone the business should adjust to new media or face elimination. The present studios and free movers are at last embracing the test of porting content and income to new circulation procedures. Join Hollywood power merchants and new media whizzes to examine their methodologies for the Web.”

 

That is from the authority Sundance Film Festival Guide and the prologue to the much-hummed about board “Webolution!”. Netflix, Veoh.com, Joost.com, Hulu.com, the MPAA, and MTV were completely addressed.

 

Unfortunately, nothing was settled.

 

The enormous remove: the US needs to accomplish other things to motivate the sort of admittance to rapid web the remainder of the created world appreciates. A few observers have expressed, contrasted with Europe, Japan, and Korea, the US is a “broadband third world.”

 

Notwithstanding the board and the frenzy about the web, this year Sundance is downsizing its internet based contributions. Its Online Film Festival, sent off in 2001, has essentially vanished. In 2007, Sundance’s site offered almost 50 movies constantly throughout the celebration; this year, it’ll show only one for every one of the celebration’s 10 days.

 

  1. Who truly runs Sundance and can any anyone explain why nobody likes Sony Pictures Classics? There have been thunderings for various years now that business specialists (or merchants) could have excessively much draw at Sundance. Dealmakers like Cinetic Media, William Morris, Submarine Entertainment, and the CAA (Creative Agency Artists) come to Sundance to address movie producers and to fuel the offering war heaters. Does a Cinetic blessing get you into Sundance? Presumably not, yet the yearly Cinetic Sundance Party is most certainly where you need to be once you arrive.

 

This year the representatives had Sony Pictures Classics’ number. While Fox Searchlight and Focus films paid the most for films ($10M for HAMLET 2, and $5M for CHOKE, individually), SPC was the most dynamic, gobbling up three shows this year: FROZEN RIVER (repped by William Morris Agency), BAGHEAD (repped by CAA), and THE WACKNESS (repped by Submarine Entertainment). So for what reason are bloggers set up to brawl? Sony Pictures Classics has a terrible history delivering and promoting Sundance films (JUNEBUG, LAYER CAKE, PERSEPOLIS), and it is normal that SPC will bungle these group top picks.

 

This side of Sundance has consistently gotten a ton of talk, yet this year it is by all accounts getting, basically because of the endeavors of bloggers, the sort of examination that will assist it with developing in accordance with Sundance’s imaginative desires.

 

  1. New American Realism rises to… drugs? For pundits, reporters, and most bloggers, there was a great deal to celebrate at Sundance 2008. Manohla Dargis (New York Times), changed to what she called the “development of another American authenticity,” lauded the Sundance crop this year for pointing a far past the twee and solipsistic, the pillars of Sundance Film Festivals past. And yet, Todd McCarthy, in Variety, can’t resist the urge to remark on the number of movies this year include that characters having a go at, coming up short, succeeding, or contemplating getting high. American narratives might be amidst a renaissance, and the treacheries of the world might call for much nearer examination, yet the tales America is telling itself appear to be abandoned between a frantic holding tight to the stripped down of involvement and the wisps of self-daydream.

 

The jury prizes went to TROUBLE THE WATER, a marvelously cozy narrative on the repercussions of Hurricane Katrina (still unsold as of this composition), and to FROZEN RIVER, a show about migrant pirating across the United States/Canada line (offered to Sony Classics for short of what 1,000,000). The crowd grants went to FIELDS OF FUEL, a narrative adjoin American dependence on oil (still unsold as of this composition), and to THE WACKNESS, a satire show about New York pot vendors (offered to Sony Pictures Classics for under 2 million).

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