Wait-list line in front of the Eccles Theatre.
Photo D.W. Leitner
Sundance remains the preeminent festival for independent filmmaking anywhere. I ought to know. Iâ€™ve attended virtually every one since 1987.
In past years Iâ€™ve written daily blogs from Sundance for Millimeter, but this year, with a dramatic feature in the New Frontier section (my sixth Sundance premiere as producer), reporting wasnâ€™t in the cards. So Iâ€™ve decided to dedicate the next four columns to a look in the rear view mirror at Sundance 2010.
In these paragraphs Iâ€™ll note tech trends and shifts in the culture of indie filmmaking, last-minute techniques invoked to finish our own super low-budget film, differences between cinema and video as elaborated by legendary editor Walter Murch before a packed morning session at the Filmmakersâ€™ Lounge, and a brunch on Main Street I had with Illya Friedman of Hot Rod Cameras, for a sneak-peek at his Canon EOS 5D Mark II mod for PL-mount lenses.
Sundance was once a laid-back gathering of the indie film tribe in a declining 19th Century silver mining town. Then came Miramax, Hollywood, a dot-com bubble, the 2002 Winter Olympics, major corporate sponsorship. As quaint Main Street was doubled in length, development exploded in the surrounding Wasatch Mountains. A local library, a high school, a hotel, a racquet club, even a synagogue were pressed into service as screening venues for the ballooning festival. more