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SUNDANCE 2010 – Notes from the Festival, by LisaBeth Weber – February 2010
“All the way to a Bran Nue Dae, everybody, everybody say…”

The journey through a maze of film choices at the Sundance Film Festival is determined by desire, availability, and for this writer, scheduling. It was my 5th year this storied festival and I was a Theater Manager at the 335 seat Prospector Theater.

Working a full time schedule, I was still able to see 12 films in all. The interesting addition this year was watching the first few minutes of about 20 other films and wondering how they played out. Part of the manager’s job is to check the sound levels of films and report to the projectionist. Sometimes the filmmakers want in on this process and request to speak with the projectionist or stand by in case they want levels adjusted. It was interesting indeed to experience the festival from the perspective of a manager. Here’s an overview of a day in the life:

Take a 335 seat theater, a great staff of volunteers, a hard ticket line, a wait list line, a myriad of various pass holders, and a box office. Add filmmaker, entourage, publicists, press, jury, sales agents, shuttle busses, snow, unexpected circumstances, and you have an idea of what it takes to start films on time, which is one of the prime goals at Sundance. Not to mention “mother”, who is actually a group of people that monitors all Sundance operations on the radio headsets, and who we call with any issues/problems/emergencies. With so much to remember and maintaining professionalism on the job, another manager put it best: “It’s like a duck that’s swimming along the surface of the water ever so smoothly, while it’s little duck feet are feverishly paddling underneath.” The tricky part comes at around “5 to show”, when everything is happening at once; getting ticket holders in and seated, making announcements, seeing that the filmmaker and entourage are taken care of, handling press people that “really need to see the film, but don’t have a ticket”, working with publicists, being a liaison with the film office coordinator’s, making calls to sort out last minute glitches, meeting the programmer and escorting them to the stage to introduce the film, and signaling to the projectionist to start. Sounds simple enough, but the duck analogy is definitely in play. Decisions need to be made on the spot, multitasking is an understatement, and there’s precious little time to think about it. Take the hard ticket line vs. the wait list line. Though it may seem complicated to the uninitiated, the Sundance system works.

THE WAIT LIST LINE vs. THE HARD TICKET LINE
In general, Sundance is “sold out” before it starts. To help people see films, there’s the infamous wait list line at each theater. Two hours before a film, wait list numbers are handed out, one per person. Patrons need to be back 30 minutes before the film to guarantee their spot on the wait list line. There is no guarantee that they will get in to the film, but if they’re back after 30 minutes, they go to the back of the line, even if they are number one. Meanwhile, people with “hard tickets” are guaranteed a seat up to 15 minutes before the film. The 15 minute rule is printed on the back of every ticket, but most people don’t read it. At “15 till show”, we start selling tickets to the wait list line, which can be up to 100 people at our theater. The amount sold depends on how many seats are still available in the theater. It’s up to the theater manager to determine this number, which may often sound like “sell 20, send 10, hold 10”, and so on. This is still not a guarantee that the wait list will get in. It’s all designed in the interest of starting the film on time. If everything goes smoothly, the wait list line is being fed into the theater, along with the hard ticket line. This is when the dance starts and the 15 minute rule may apply if necessary. Once the wait list line is given the go ahead, their seat is guaranteed. Everyone else gets an instant refund. To add to the excitement, sometimes we get shuttle bus dumps at the 11th hour, especially when there is weather. So a typical scenario might be a hard ticket holder arriving “5 minutes to show”, not understanding why they can’t get in even though they have a ticket. We try to get everyone in, but there comes a point when the wait list takes priority over a hard ticket holder. I’m thankful to have the rule on the back of the ticket. I prefer not to have to apply it, but it’s there if/when we need it. Of course, while all of this is happening, the manager is handling everything else described above. This is why it’s crucial to have good people on your team. I sure did, and was grateful for it every day.

AND THE FILMS BEGIN
This was the year of the “RE” at Sundance, as in REthink, REbel, REfresh, the way Sundance used to be. I had the opportunity to interview several filmmakers and producers in the true Sundance style of getting back to the indie roots from where this festival began.

Speaking of roots, my first interview was centered around a film based here at home. “A town like no other". That's how filmmaker and Philadelphia resident Tanya Hamilton describes her city. A fitting portrayal, as her Philadelphia based film, NIGHT CATCHES US, premiered at Sundance in the US Dramatic Competition. The film is a gritty and compelling human "coming home" story looking back on events that happened in the volatile Black Power movement. Set in 1976 within a 10 block radius in the heart of Germantown, the character Marcus returns to his Philadelphia neighborhood after a mysterious absence. Because of the subject matter, Hamilton made a concerted effort to shoot the film at home. "There is a nationalism in Philly that is very interesting to me." The area has such tremendous authenticity that she couldn't imagine filming anywhere else. In fact, the Philadelphia location took center stage at the premiere, as producer/actor Ron Simons gave a huge shout out about the experience of making the film in Philadelphia. "The texture of that city is SO real. Anyone who wants to make a film in Philly, DO IT!" This seemingly small gesture may end up yielding great results if filmmakers were listening. A specific thank you went out to Sharon Pinkenson from the Philadelphia Film Office who was also present. Questions were taken from the audience and the energy of Hamilton's crew of producers, editors, designers, and a music supervisor was palpable. NIGHT CATCHES US has had a long journey from the coveted Sundance Filmmaker and Screenwriter Lab where Hamilton developed the script, all the way back to Philadelphia. The Lab at the Sundance Institute is a place where directors and screenwriters are able to work on their film alongside a slew of seasoned professionals in an environment that leaves the typical pressures of production behind. The film took about five years to complete, and the Philadelphia Film office was a great support throughout. Producer and University of PA alum Sean Costello put it this way. "Even up against various budget and logistical constraints, it was the right decision creatively and also financially to shoot the film in Philadelphia." Hamilton and Costello worked closely together over all five years, and their main focus was to tell this story with the time, the movement, and the culture as the backdrop. NIGHT CATCHES US puts you in a frame of mind from a different era, but it's the emotional consequence of the times that makes the film even more captivating. The subtlety is the result, as the less the audience notices, the more it works. If it had been shot in a studio setting, that unmistakable aura of Philadelphia would have been compromised. This isn’t the first film set in Philly for music supervisor/editor, Dave Golden. Golden had the same role on last year's Sundance film DARE, which was also filmed in and around Philadelphia and the Main Line, echoing the sounds of the region. To add to the evocative nature of NIGHT CATCHES US, the music was done by Philadelphia based band, THE ROOTS. Tanya was elated about the Roots being part of the film, and thought it would be "the coolest thing possible". She got her wish, and Philadelphia is well represented on the big screen here at Sundance.

MORE PHILADELPHIA MEETS SUNDANCE – The “YARD” at Sundance.
Sometimes it’s the people behind the scenes that bring the films to life. Such was the setting at THE YARD, the 100,000 square foot place to be for officially sponsored lounges. Translation, it was the coveted ticket of the festival, and yes, the place where the Paris Hilton’s went to get their swag bags. However, there was also a heck of a lot of business happening there in the art of filmmaking and schmoozing. Escaping the ticket lines and downtown hub-bub, those in the know and with the proper credential spent time at the YARD, a place where VIPS, industry types, clients and partners gathered to foster the business of indie filmmaking in a social setting away from the packed venues of Main Street. The Philadelphia Industry Lounge (the only location based lounge) was abuzz with activity. I asked some of the players what brought them to Sundance. J. ANDREW GREENBLATT is the Executive Director of the Philadelphia Film Festival and the Philadelphia Film Society. Coincidentally, he was also the Executive Producer of the film TWELVE, which screened this year at Sundance. “We’re out here to get a first hand look at films, as this is the start of our programming season.” Along with Michael Lerman, Director of Programming, the goal is to see as many films as possible. “We love bringing the best of Sundance to Philly”. Next was the esteemed post-production house of Shooters Post and Transfer, home to DIVE, the feature film division headed up by Executive Producer Andy Williams, along with Bob Lowery, VP of Feature Film development. Williams said, “We come to Sundance for the opportunity to meet with producers that we already have relationships with, and to catch up. Also, the new business component and spreading the word that a facility like DIVE exists outside a major market as in NY or LA is important. And of course, to see films. We’re both technical and creative so we want to keep a pulse on what’s happening in film. We’re here promoting DIVE as well as Philadelphia as a viable location, filled with tons of resources that exceed expectations. Filmmakers don’t always think of Philly, but there are tons of resources there, as well as tax breaks and incentives for bringing projects to Philly.” This year, DIVE did some of the visual effects for THE ROMANTICS, which premiered at Sundance. Andy takes the job very seriously as he notes, “Our work will live with the film no matter what its life is like beyond the festival.” This is evidenced by DIVE's exceptional handling of Visual Effects for the feature film "The Road", earning them a nomination for the prestigious Industry Award from the Visual Effects Society. Lowery added, "Sponsoring the Philadelphia Industry lounge at Sundance is not only exciting for the "celeb" factor at the Yard, but great for DIVE's business and the rest of the sponsors. I met and spoke to many producers and directors (some of them celebs too) who are considering projects in Pennsylvania. This will hopefully lead to them using DIVE for Visual Effects and other Film Fisnishing Services delivering more revenue to the local economy and protecting the Film Tax Credit in PA." On to Sharon Pinkenson, a familiar name both at Sundance and at home in the Delaware Valley. Executive Director of the Greater Philadelphia Film Office, it’s Sharon’s charge to bring film to the city. “Having an industry lounge at Sundance gives a real spotlight where the industry knows exactly where to find us, and the fact that they WANT to find us. They have very specific questions about how tax credits work in Philly, can they shoot for 1.2 million, or on a super low budget, etc.” She has the chance to meet with lots of filmmakers that she doesn’t get to meet at the festivals in markets like LA, etc. It helps to have great sponsors, and this year, the Philly Lounge was presented by Cashman and Associates, and was sponsored by everyone from the Entertainment Law division of Cozen O’Connor to Tastykakes.

ONE NEVER KNOWS…
One of my favorite films was WINTER’S BONE. A dark tale set in the Ozark Mountains, WINTER’S BONE tells the story of a teenage girl who must go against the grain when her no good father skips bail and their home hangs in the balance. Old time Ozark mountain music was speckled throughout the film, and during the Q & A, an audience member asked singer Maredith Sisco if she would be performing anywhere else during Sundance. Maredith replied in her soft tones, “Well, if y’all find me a place to sing, I’ll sing!”. That was all it took to get my wheels turning. I offered to Maredith and Debra Granik, the filmmaker, that my mandolin was up in the projection booth if they wanted to borrow it. One thing led to another throughout the day, as I tried to help them find a somewhat public location to play. When that didn’t appear to be panning out, Debra decided to host the musicians at her lodging, and was kind enough to include me. A memorable jam session ensued and went on through the better part of the night. As they had an early screening the next morning, we said our goodnights, with smiles and new friendships formed. This is the true spirit of Sundance; one never knows what may happen, and for this musician, being invited to attend the jam session was a highlight of the festival. It was all the more exciting when the film went on to win not only the award for Screenwriting, but also the most coveted and prestigious award of Sundance, the Jury Dramatic Award. Hopefully there will be a WINTER’S BONE soundtrack to accompany this riveting film.

OLYMPICS – IRANAIAN STYLE
If the American men’s basketball team had to go through what Iranian kickboxer Sarah had to go through in order to prepare for the Olympics, perhaps it would be easier for me to root for them. Somehow I can’t get past the millions of dollars that are spent on salaries and training for a professional team to go to the Olympics. Swing the pendulum the complete opposite direction and you have a glimmer into what it’s like for a woman to train for the Olympics in Iran. Tenacity, fortitude, perseverance, and more are the name of the game if you want to be a female Olympian from Iran. KICK IN IRAN is a window into this challenge, taken on by 19 year old Sarah Khoshjamal, who is profiled in this documentary/expose into the Iranian culture of sports (or lack thereof) for women. Besides being required to wear hijab at all times, there are many other hurdles to overcome that seem so unjust, including requiring permission in order to train at the same gym that all the men simply walk into, and making sure that the training outfits cover every piece of exposed skin, even in the heat. The film focuses on Sarah’s relationship with her coach, Azarmehr, who she relies on more than just as a mentor, but almost as a bridge to the possible. From the coach’s perspective, it seems that she sees what her life could have been through the eyes and athleticism of Sarah. After all, as limited as it is for women now, it was even more so in the coach’s day. Filmmaker Fatima Abdollahyan takes a stark approach in her portrayal of the subject. With a raw feel to the footage, the viewer is brought inside the experience about as closely as possible. Both Fatima and Production Manager Arash Setoodeh were quite happy with the feedback from the screenings and the Q & A’s. Fatima noted, “Audiences asked amazing questions and had a genuine interest in getting information confirmed. There was a willingness to get to know new things about Iran. As closed as it may appear as a society, Iran is changing constantly and very fast, both politically and socially, even amidst the current tide.” Arash, whose visit to Sundance was his first time in the U.S., noted that getting permits to shoot the film proved most difficult and at times depended on the political situation. Fatima’s dual citizenship in Iran and Germany, as well as speaking both German and Farsi helped with production, but when Fatima first brought the concept of the film to Sarah, the project almost didn’t happen, as Sarah wasn’t really interested. Fatima was not swayed, and got in through the coach. Over a lunch meeting, the coach was convinced the film might be good for women’s sports overall in Iran, and she and Sarah agreed to participate. Still, in order to make the film, Fatima had to apply creative strategies to get permissions, who to go to first at the highest rank possible, including the Ministry of Culture. One person who was a great help was the daughter of former President Rafsanjani. The documentary was shot over two years, through the beaurocracy of trying to film in Iran. There were even times when it was difficult to bring cameras to the women’s athletic hall; bewildering to Westerners but fascinating to observe.

AND NOW FOR SOMETHING COMPLETELY DIFFERENT.
Disclaimer: I love documentaries. I love seeing a detailed view into cultures not typically open to observation. I love learning and going in depth alongside a great doc. Having said that, I must say that perhaps my favorite film at this year’s Sundance was not a doc. In fact, it was a crazy, wacky, hysterically funny musical from Australia that kept the entire audience rolling in laughter throughout. With the filmmaker, Rachel Perkins, approving the description, “Australia meets Bollywood”, BRAN NUE DAE is a wild and wacky ride all the way to and from the little town of Broome, Australia. Geoffrey Rush is the only widely known actor, but it’s hard not to fall in love with each of the unique characters in this fun, funny, and visually colorful film. Despite the humor, there is an underlying socio-political message about the bigotry that still exists toward Aborigine’s. However, when the message can get through while making people laugh, perhaps it’s the true testament to the offenders looking like the fools they are. This film could be a hit if enough people get to see it. Check out the soundtrack on www.bandit.fm.

MAKING BEAUTIFUL MUSIC TOGETHER.
It’s a well known fact that music can make a film come together. From the band ‘The Roots’ in NIGHT CATCHES US, to the effervescently lilting songs in BRAN NUE DAE to the Ozark Mountain Music drawing in the emotional texture of WINTER’S BONE, to the telling songs of solidarity in FREEDOM RIDERS, it is clear to this singer-songwriter that music helps convey the story to the audience whether it’s in front of or behind the scene. FREEDOM RIDERS is a documentary about a group of brave civil rights activists. In 1961, the Freedom Riders decided to challenge continued segregation by riding busses down south to see which laws were in place and which were not being respected. A powerful portrait into a time gone by that is yet, so recent in our lifetimes. Filmmaker Stanley Nelson has created a beautiful, educational, and important documentary, attaining original footage never before seen. Being at Sundance added an interesting layer. The film screened at the Temple Theater, which is actually a reform temple year round. Because of its location slightly outside of the Park City limits, virtually everyone who saw the film ended up on the bus back to town. On a personal side note, I’m often affected by film in a way that’s hard to describe, sometimes resulting in feeling like I’m in the film, and/or occasionally writing a song based on a film. In this case, it was a matter of just being in the moment, and as I was on that very crowded bus with everyone who had also just seen FREEDOM RIDERS, I simply started singing one of the songs from the film that the Freedom Riders sang on their journey. “Hallelujah, I'm a-travelin',
Hallelujah, ain't it fine?
Hallelujah, I'm a-travelin',
down Freedom's main line.”. About a dozen people joined in with me, and it was with the greatest respect and honor to those that rode the busses in 1961 in solidarity that I sang.

UNTIL NEXT YEAR…
So another Sundance has come and gone. Who knows which films will go on to be the next PRECIOUS, or the next ONCE, or the next LITTLE MISS SUNSHINE. All I know is, I hope that it’s a BRAN NUE DAE for film in the year of the RE-Sundance.

Film capsules for the rest of the films I saw….

WAITING FOR SUPERMAN
A documentary about education. Will prove to be an important film that needs to be seen. It WAS seen in my theater by a full house including Bill Gates, Bob Redford, George Soros, and Michael Moore, though teacher Geoffrey Canada was really the hero of the day. Filmmaker Davis Guggenheim (An Inconvenient Truth) is back, with an honest look at the state of education, teachers, unions, tenure, charter schools, and the parents and children who walk through the maze of the good, the bad, and the unjust.

WASTELAND
Vic Muniz is an accomplished and sought after artist in NYC, whose Brazilian roots and desire to help his people back home culminate in this “trash turned art” documentary. It is focused on the “pickers” in Rio De Janeiro, who work in the largest landfill in the world picking recyclable materials in a country that doesn’t think recycling is important enough to be law. Muniz creates art with the trash, and invites the workers to be an integral part of the project. The result was an acclaimed art show that raised money for the workers to develop a recycling center and pursue their dream of making a difference and helping the planet, all at the same time.

THE COMPANY MEN
Starring Ben Affleck, Tommy Lee Jones, and Chris Cooper, it’s a star studded cast in a film that illustrates “the bigger they are, the harder they fall” as corporate big wigs who think they’re untouchable learn otherwise. The drama comes in what they choose to do about it. Leave the golf clubs at home and take a deep breath. It’s gonna be a long ride downhill.

CASINO JACK & THE UNITED STATES OF MONEY
Money, corruption, lobbying, and the making of a mad genius whose greed got the better of him in the long run. This documentary exposes Jack Abramoff and how he was able to steamroll over unsuspecting prey as well as those in collusion. The film could be shorter, but so could have Abramoff’s reign of deceit.

HOLY ROLLERS
Hasidic Jews traffic drugs from Europe to NYC. Inspired by true events. Imagine that. A narrative, not a doc. Filmed on location in NYC and Brooklyn, During the Q & A, I asked if they shot on Saturdays. They did. Imagine that. Interesting to note that the true events took place before 9/11, and the tightening of airport security. Imagine that.

8. THE MORMON PROPOSITION
Being that Sundance takes place in Utah, this film was in high demand. Decidedly biased, the film casts the stern eye on the Mormon Church’s unabashedly striking force to uphold Proposition 8 and ban Gay Marriage. The money spent on this is staggering. The facts are clear; the separation of church and state isn’t.

SON OF BABYLON
Portrayed more as a docudrama, a grandmother and her grandson trek across the unforgiving lands of Iraq shortly after the fall of Saddam in search of the boy’s father. The slow desert setting creates a stark and chilling tone as the realities of a war torn country become in focus.

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LisaBeth is available to share her experiences about the festival, and to consult in “the art of Sundancing”. For more information, please contact her at create@lisabethweber.com.

ABOUT:
New Hope, Pennsylvania artist, freelance writer, and musician LisaBeth Weber is known for her popular and unique handmade CAUSE PINS. Her pins have been seen on the lapels of Hillary Clinton, Gloria Steinem, Madeleine Albright, Rosalyn Carter, Mia Farrow, Blair Underwood, and many more. In 2008, LisaBeth was selected by the office of Congressman Patrick Murphy to create an ornament for the WHITE HOUSE CHRISTMAS TREE, and she was invited to the White House for an artist reception. Her freelance writing work has included magazine articles, copywriting, and web content. She was a Theater Manager in her 5th year at the 2010 SUNDANCE FILM FESTIVAL, was a guest blogger from Sundance for nbcphiladelphia.com, and has worked in Filmmaker Guest Services at the Philadelphia Film Festival since 2002. Her latest venture is www.freelancepicnic.com, where she blogs about entrepreneurs and freelancers of all types. LisaBeth serves on the Board of Directors of the Women's Business Forum of Bucks County. Her latest CD, THE FIRE TOWER SESSIONS, was produced and engineered by Grammy maker, BIL VORNDICK (Ralph Stanley, Bela Fleck, Alison Krauss). She and music partner Maggie Marshall have opened for Nanci Griffith, Ralph Stanley, Dave Grisman, Roy Clark, and over 50 others, along with having two songs featured on NPR’s CARTALK. LisaBeth has completed three walking marathons (26.2!) for the Leukemia/Lymphoma Society, and has spent time doing volunteer writing for the National Search Dog Foundation. She is also an illustrator and photographer, and has her own font with the INTERNATIONAL TYPEFACE CORPORATION, called
ITC “weber hand”, which can be seen at www.fonts.com.