Cynematik • Cyndi Greening

BY CYNDI GREENING, PARK CITY (USA) — According to Director Christopher Zalla, “On the surface, PADRE NUESTRO is a suspenseful drama about stolen identity. But on a much deeper level it’s a film about family relationships and the ambiguous nature of morality. At the heart of the film lies the visceral labyrinth of deceptions and frustrated hopes that is New York City – a place where most people are outsiders and family becomes defined by relationships not based on blood, but on shared experience and the need for connection.” I really connected with this film and, clearly, the dramatic jury panel did as well. Superbly acted, exquisitely shot and beautifully edited, PADRE NUESTRO was a pleasure on many levels.

At the end of the screening of the film at the Racquet Club, there was an excellent Q&A in which Zalla discussed his background, the source of his story, the visual decisions that were made and the strength of the cast. While I don’t typically go up to speak to the filmmakers, I felt strongly enough about this film to endure the post-screening mob scene. I waited for the other earnest well-wishers to finish and approached Zalla. “I just wanted you to know,” I said, “This is the BEST film I’ve seen in the festival.” He smiled modestly. “That means a lot to me.” Later, my 19-year-old son told me that the film almost brought him tears. The scene that Zalla describes about the father taking pride in his “son” was moving. To learn more about the film, check out the Q&A below and be sure to go see it when it comes to town.

PADRE NUESTRO Post Screening Q&A

Podcast on Tuesday, 30 January, 2007
Recorded 26 January 2007 Sundance Film Festival

PADRE NUESTRO Q&A - Large - Direct download link
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BY CYNDI GREENING, PARK CITY, USA — Since Sundance is the premiere film festival in the U.S., it’s not surprising that there are some great rich media options to better experience the festival. Here are links to some of the best offerings:

Meet the Artists offers short two or three-minute introductions to many of the film directors. You can view them sequentially (hit the small “NEXT” button on the lower left or (if you fully expand the viewing window) you can click on the name of the person you’d like to know more about. Some are more compelling than others. I thought the Q&A we got with PADRE NUESTRO’s Christopher Zalla was more revealing than this clip … but, others were quite interesting.

View the Shorts Online allows you to peruse some of this year’s selections. According to the programmers, over 4400 shorts were submitted. Only 72 were chosen. In their opinion, this is some of the best filmmaking in the world.

In the realm of simply amazing, the Sundance 2007 Podcasts can be downloaded for FREE at the iTunes store. You can listen to the Panel Discussion on MOVIES THAT MATTER in its entirety. The HISTORY IS MADE panel is also posted. These are great, great, great learning tools.

In year’s past, I’ve been gathering podcasts and videocasts of Sundance Q&A’s. You can monitor the CyndiGreening Podcasts at this link. I’ve got to locate the videocast link, yet.

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BY CYNDI GREENING, PARK CITY, USA — The official list is out and I’m excited to say that we saw many of the recognized films of the festival!! We have video of the Q&A sessions of many of the award-winning films. Without further ado, here is the list.

Grand Jury Prize, Dramatic: PADRE NUESTRO, directed by Christopher Zalla

World Cinema Jury Prize, Dramatic: SWEET MUD, directed by Dror Shaul

Audience Award, Dramatic: GRACE IS GONE, directed by James C. Strouse

World Cinema Audience Award, Dramatic: ONCE, directed by John Carney

Directing Award, Dramatic: Jeffrey Blitz for ROCKET SCIENCE

World Cinema Dramatic Competition Jury, Special Jury Prize: THE LEGACY, directed by Géla Babluani and Temur Babluani

Excellence in Cinematography Award, Dramatic: Benoit Debie for JOSHUA

World Cinema Competition Jury, Special Jury Prize: HOT HOUSE, directed by Shimon Dotan

Grand Jury Prize, Documentary: MANDA BALA, directed by Jason Kohn

World Cinema Jury Prize, Documentary: ENEMIES OF HAPPINESS, directed by Eva Mulvad and Anja Al Erhayem

Audience Award, Documentary: HEAR AND NOW, directed by Irene Taylor Brodsky

World Cinema Audience Award, Documentary: IN THE SHADOW OF THE MOON, directed by David Sington

Directing Award, Documentary: Sean Fine and Andrea Nix Fine for WAR/DANCE

Documentary Jury: Special Jury Prize: NO END IN SIGHT, directed by Charles Furguson

Documentary Editing Award: Hibah Sherif Frisina, Charlton McMillian, Michael Schweitzer for NANKING

Excellence in Cinematography Award, Documentary: Heloisa Passos for MANDA BALA

Special Jury Prizes for Acting: Jess Weixler in TEETH, Tamara Podemski in FOUR SHEETS TO THE WIND

Special Jury Prize for Singularity of Vision: Chris Smith for THE POOL

Waldo Salt Screenwriting Award: James C. Strouse for GRACE IS GONE

Alfred P. Sloan Prize: DARK MATTER, directed by Chen Shi-Zhen

Sundance/NHK International Filmmakers Award: Lucia Cedron for AGNUS DEI, Caran Hartsfield for BURY ME STANDING, Tomoko Kana for TWO BY THE RIVER and Dagur Kari for THE GOOD HEART.

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BY CYNDI GREENING, PARK CITY, USA — According to The Hollywood Reporter, Reuters, the New York Times and blogs like GreenCineDaily and IndieWire, the following Sundance 2007 films have been acquired thus far:

Dan Klores’ documentary CRAZY LOVE was acquired early in the festival by Magnolia Pictures. Toward the end of the festival, they also acquired Dan Bush’s THE SIGNAL.

Sean and Andrea Nix Fine’s Ugandan WAR/DANCE and Robinson Devor’s ZOO were acquired by ThinkFilm. Thinkfilm and Discovery Films jointly acquired distribution rights to David Sington’s IN THE SHADOW OF THE MOON.

Amir Bar-Lev’s MY KID COULD PAINT THAT first brokered TV Rights to A&E and then earned $1.8 million in a distribution deal with Sony Pictures Classics.

Jennifer Fox’s FLYING: CONFESSIONS OF A FREE WOMAN went to the Sundance Channel, as did Laura Dunn’s THE UNFORESEEN.

The late Adrienne Shelly’s WAITRESS and George Ratliff’s JOSHUA were acquired by Fox Searchlight. WAITRESS sold for $4 million.

Cherie Nowlan’s CLUBLAND was picked up by Warner Independent.

The Weinstein Company took LA MISMA LUNA for $5 million and GRACE IS GONE for $4 million. Weinstein and Lionsgate acquired TEETH for $2.5 million.

Justin Theroux’s DEDICATION went to First Look Pictures and The Weinstein Company in a global partnership for a reported $4 million. First Look acquired KING OF CALIFORNIA for about $3 million near the end of the festival.

Paramount Vantage acquired Garth Jenning’s family-friendly SON OF RAMBOW for $7 million. It was also reported that Ian Iqbal Rashid’s HOW SHE MOVE was also acquired by Paramount Vantage for $3 million.

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BY CYNDI GREENING, PARK CITY, (USA) — While at the Sundance Producers Conference in August, I attended an early screening of Steven Okazaki’s WHITE LIGHT/BLACK RAIN. Produced by Sheila Nevins and Sara Bernstein, the film is a moving documentary about the atomic bombing of Hiroshima and Nagasaki. While there are numerous documentaries about that historical event, this is the first to bring an eye-witness account to the screen. Okazaki found survivors of the bombing and has them share their stories of that day. While researching through archival images and footage, Okazaki found film records of several of the survivors. By simply sharing their personal recollections, the survivors make the audience feel the horror and futility of war. The film was a tad difficult to watch, at times, yet the need to bear witness to the tragedy and triumph of these people kept me in the story. It’s an amazing piece of filmmaking.

In the Q&A following the film, Okazaki shared a story that surprised me. He had read there was an eight-year-old girl who had been very near to the bomb’s epicenter and had survived. Researchers in Hiroshima had located the woman but she was unwilling to share her story. No one in her social circle knew she was a survivor and she did not want to jeopardize her children’s future. The prejudice that survivors face (neither they nor their children are considered suitable marriage prospects) was a shock to me. And, as if the film and Okazaki’s commentary were not enough of a compelling anti-war statement, “Hiroshima Maiden” Shigeko Niimoto attended the screening at Salt Lake City and spoke to the audience. Nearing the age of 75, Shigeko spoke about the danger of proliferation of nuclear weapons in the world and expressed serious misgivings about the enormous U.S. nuclear arsenal.

WHITE LIGHT/BLACK RAIN   Post Screening Q&A

Podcast on Saturday, 27 January, 2007
Recorded Tuesday, 22 January 2007 Sundance Film Festival

Okazaki’s Farallon Films
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BY CYNDI GREENING, PARK CITY (USA) — On Monday morning, Nick and Jeniece saw Eva Mulvad’s ENEMIES OF HAPPINESS, a documentary film about Malalai Joya, a 28-year-old Afghani woman running for a parliamentary position in the “new” government. Courageous, compassionate and committed, Joya has had numerous death threats because she openly accused the Mujahidin (Afghani Warlords) of trying to maintain their power through the new judicial system. “Many of you here in this hall have blood on your hands and you should be tried in the World Court,” she said.

A politician from the impoverished Farah Province in the remote desert, the film shows Joya as she negotiates with clan leaders and works to provide for the local citizens. Life and its limitations in contemporary Afghanistan is revealed. The challenge of implementing a democracy in deep poverty, limited education and cultural restriction is apparent.

Shot by a two-person, all-female crew (because men could NOT be going in and out of Joya’s home), ENEMIES OF HAPPINESS was visually-compelling and evocative. While Westerners focus on self-interest, we observe that Joya’s fierce determination emanates from a strong sense of duty and responsibility to her community. Seeming to be always in control and self-assured, at one point in the film she starts to break under the pressure. In the Q&A following the screening, Director Mulvad discusses that moment and the brave, young woman at the heart of this powerful documentary. Eschewing the bluster and rhetoric of typical politicians, Joya’s calm insistence on serving her public is an inspiring and riveting story.

ENEMIES OF HAPPINESS Post Screening Q&A

Podcast on Saturday, 27 January, 2007
Recorded 22 January 2007 Sundance Film Festival

Enemies of Happiness Q&A - Large - Direct download link
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BY NICK MARSHALL, PARK CITY, USA – CHAPTER 27, directed and written by J. P. Schaeffer is a commercial attempt at a psyche-dive into the head of Mark Chapman, the assassin of John Lennon. CHAPTER 27 implies a continuation of The Catcher in the Rye, (the novel having 26 chapters) a book Chapman was obsessed with to the point where he slowly believed he was Holden Caulfield and even used his language, spiced with “god damned” this and complaining about “phonies” everywhere. The title was also inspired by chapter 27 in Robert Rosen’s book Nowhere Man: The Final Days of John Lennon, which explores Chapman and Lennon’s obsession with numerology (multiples of 9 having a profound impact on Lennon’s life). While the mention of the numerology angle was interesting, it would have been interesting to see numerology play a role, incorporating the birth dates of Lennon (October 9), his son, Sean, (October 9) and Yoko (February 18), along with Beatles songs with nine in them and the date of Lennon’s death (December 9 in England, though he was shot in New York on December 8 at 11pm).

The film seemed to portray Chapman as being more obsessed with Holden Caulfield and The Catcher in the Rye than with Lennon. It seemed that he was a lover of the Beatles and their music AND that Lennon was an outlet for his frustration with his life AND with, possibly, the Beatles breaking up. I don’t think the film tried to convey Chapman’s reasoning behind the killing of Lennon nor do I think the audience was able to get inside his head to better understand his non-logical thinking. In my opinion, J. P. Schaeffer played it too safe and a story like this should be pushed as far as possible to put the audience into the mind of a murderer.

I’ve always respected Jared Leto as an actor. In almost every movie he’s in, he physically transforms, and CHAPTER 27 was no exception. He gained over 65 pounds to portray the overweight, unhealthy and unglamorous Chapman. In the Q&A, it was interesting to hear Leto address the weight gain and how as he gained the extra girth he started to walk differently, talk differently, and feel differently. Besides the weight, he also takes on a quiet southern drawl and Chapman’s “tick” of pushing up on his glasses. Lindsey Lohan’s character, Jude, was nothing more than fluff, a one note pun, on “Hey Jude.” While the audience may have appreciated the joke the first time, it seemed to run long.

At the end of the film, I had hoped that the real Chapman would come on and address the audience and say something truly spine-tingling, but alas there was no shock at the end (besides the obvious assassination). It was compelling to watch Jared Leto at times but a story like this relies so heavily on the director to let the audience in, and even though Schaeffer has talent, I think he restrained and held back. This film should have as powerful as a gun shot and sadly it was just a little above a whimper.

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BY CYNDI GREENING, PARK CITY, USA — We saw the dramatic competition film, HOUNDDOG, this afternoon and I really loved it. It was a tough film. The heart of the film is Dakota Fanning. She plays Lewellen, a poor southern girl, growing up in a swamp. She has an abusive father, a deceased mother, a bible-thumping, whiskey drinking grandmother and several bad pals. From the title, you can probably guess that she loves music and, in particular, the music of Elvis Presley.

Writer/Director Deborah Kempmeier was on hand to introduce her film and some of her crew. The film was beautifully shot by Ed Lachman (although there were times when I wanted the colors to be darker, moodier, less lush). Kempmeier thanked the audience for coming to see the film and make their own assessment of the content. (Earlier this morning, I read in my complimentary copy of USA TODAY the rather uncomplimentary controversy arising around Fanning’s sexual assault in this film.) Having seen the film, I am disappointed with the grief they’re getting. It was really done well AND the point of the film is clearly disgust, disdain and despair for the burden carried by women of poverty. The film shows the many ways that dreams can be destroyed and how one must reclaim that which is special about oneself in order live a fulfilled, joyful life. In addition to Dakota Fanning, the film features the absolutely amazing Robin Wright Penn as a woman whose life is far more intertwined in Lewellen’s than initially assumed.

Looking at the publicity stills for the film, it appears that the film was well funded. The film had a budget of $3.5 million and it shows on the screen. The film had a relatively small cast. The narrative thread meandered a bit, sort of like the snakes that populated the film. It coiled around itself at times and thrust itself aggressively forward at other times. In the end, the film (like the character) was able to take all of the poison and transform it into something personal and powerful. HOUNDDOG is one of my favorite films of Sundance 2007!

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BY PAMELA JO BOWMAN, PARK CITY, USA — We spent over three hours in two different sessions listening to film funding entities reveal how to get money for your film. In two sentences, I can tell you everything you need to know.

1. Start your movie, make a reel and/or trailer, send it to the funder/funding agency.

2. If they think your film is worth making, you will hear from them. If you don’t hear from them, well … learn from the silence.

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BY PAMELA JO BOWMAN, PARK CITY, USA — On Monday, we attended the HOW “MOVIES THAT MATTER” CAN MATTER Panel Discussion at the Prospector Lodge. It was worth attending the festival for this panel alone! The panel consisted of men and women who were involved in this year’s festival social change films. As is typical at Sundance, the event began late and a lot of time was spent reviewing each panelist and his or her contributions to filmmaking.

Members of the panel included filmmakers Judith Helfand (EVERYTHING’S COOL and previously, BLUE VINYL), Sean Fine (WAR/DANCE), Rory Kennedy (GHOSTS OF ABU GHRAIB), Eric Schlosser (author of FAST FOOD NATION), Gayle Smith (Center for American Progress), Brian Steidle (Marine Captain and subject of THE DEVIL CAME ON HORSEBACK), and Diane Weyermann (Participant Productions). They presented clips of their films and discussed their motivations for doing good in the world with cinema as their tool.

Each panelist expressed their passion and belief in their individual films. Evidence exists that their films have been a catalyst for change. Each panelist was able to provide examples of how their films had created change in the world. Very powerful. The panelists shared how they unite with grass roots and activist groups that can use films as part of their efforts. Gayle Smith (the Center for American Progress) talked about giving political power to one’s filmmaking. Like the HISTORY IS MADE Panel Discussion, this panel deepened my commitment to filmmaking. It restored my faith that film can be powerful and can create meaningful dialogue and concrete change globally. When there is conversation there is communication. When there is communication there is understanding. When there is understanding, there is a change of heart and a change in behavior.

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BY PAMELA JO BOWMAN, PARK CITY, USA — On Sunday, we planned our schedule around two important panel discussions. HISTORY IS MADE was a panel about how films that deal with historical periods become the current generation’s reality for that history. Producers, directors and/or writers of films that addressed issues based on historical events were on the panel. Three documentaries were represented and one feature film. Bill Guttentag (NANKING), Julie Gavras (BLAME IT ON FIDEL), Steven Okazaki (WHITE LIGHT/BLACK RAIN) and Marco Williams (BANISHED) brought films that dealt with the rape of Nanking (1937), the Vietnam War (1970’s), the dropping of the nuclear bombs on Hiroshima and Nagasaki (1945) and the forced migration of black citizens from southern states following the civil war (1965 - 1930’s).

Ian Buruma was the moderator for the panel discussion. There were about 50 filmmakers attending the discussion. The intimate setting of the Filmmaker Lodge created a comfortable atmosphere for discussion. Buruma introduced the panel and small clips of most of the films. This gave us a sense of the story the filmmakers were trying to convey. Each spoke about their movie and its history. They shared why they chose their specific project. They revealed who they worked with and what message they were trying to convey.

The discussion included the importance of documentation. They discussed how it is easier for countries to research, remember and document the history of OTHER countries while forgetting or burying the history of their own. It was suggested that one of the purposes of documentaries was to influence our lives today with the wisdom of the past. The panelists suggested that we view historical stories with a contemporary resonance. The question of “collective victimhood” and reparations was broached but, of course, no resolution would be forthcoming since we do not yet as a society have answers for these sorts of tragedies. Regardless, I appreciated the conversation.

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BY CYNDI GREENING, PARK CITY, USA — Last night, we attended the 9:15 screening of NANKING. We’d been looking forward to it for two days! The opening sequence was enchanting. Wonderful music played as the citizens of Nanking went about their daily activities. The cheeriness of the music and idyllic images only makes one more certain that something bad is going to befall the community any minute. Sure enough, the planes come, the bombs fall and life as it was ceases to exist.

There are two film clips (large) and (small) that give you a flavor of how this film is put together. It combines archival footage with interviews of survivors (victims of Nanking and Japanese soldiers) and actors (in character) reading the actual diary writings and correspondence of the Westerners who tried to protect the innocents of Nanking.

There were many powerful and moving scenes in the film. The scene in which a man tells the story of how his mother (who had been mortally stabbed) propped herself against a pole and attempted to nurse his baby brother while dying was completely overwhelming. I found that I was greatly moved by the stories of the survivors. One of the challenges for documentary filmmakers is the “rule” that there must always be a Western character in a story that takes place on foreign soil so the American audience can relate to the tale. While it is true that the bulk of this story is about the group of Westerners trying to protect people inside the Safety Zone, I found that I was most moved by the non-Western parts of the film.

It is a grim piece of history that continues to influence Chinese-Japanese relations to this day. Over 200,000 people were raped, tortured and/or killed in Nanking at the hands of the Japanese occupational forces. To this day, some of the Japanese soldiers who perpetrated those acts are honored by the Japanese government for their “service” during the war. This continues to create difficult relations between the two countries. NANKING will certainly increase awareness and understanding. I wish it could have been more healing, too.

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BY PAMELA JO BOWMAN, PARK CITY (USA) — There are things you should know BEFORE coming to Sundance. I heard about a family that decided at the last minute to come to Sundance from the upper midwest. They arrived thinking they could just find a hotel, a car, and a typical ticket booth to purchase tickets for any showing of their choice. WRONG! So, this being my first year I thought some of you would like to know how to do things with minimal ‘I wish we hads.” This list is not complete or even all that accurate, so take it or leave it without judgment.

There is a FILM GUIDE that should be read cover to cover. This will enable aspiring filmmakers to be aware of events like, oh, I don’t know, meeting commissioning editors. This is an event where anyone can sign up to meet with editors from PBS, HBO, Discovery, ITVS and even Sundance channel. You sit with eight other filmmakers and the editors . You pretend that the editors are really listening with interest to what you have dedicated your life to for the last several years. They tell you to call them and they give you their card and you walk out wondering if they had special cards printed out with fake numbers on them. (The film guide is available online for print out – free!)

The film guide also lets you review all the films being screened, their times and locations. (Films like FOR THE BIBLE TELLS ME SO (featuring Dick Gephardt’s daughter, Chris) and THE TEN (about the Ten Commandments … like these ten Sundance mandates). They try to put everything in a handy calendar so you can plan out your day as efficiently as possible. This efficiency is only affective if you get up early and stay out late and never eat. Pretty soon the movies all blend together except the ones you hate. Those you remember vividly!(Guide free. Films are not.)

The film guide also informs you of Panel Discussions like HISTORY IS MADE, WOMEN IN FILM, MAKING MOVIES THAT MATTER. These panels include current directors, producers, writers and casts of this year’s Sundance films sharing insights and challenges about getting their film to the festival. (Guide is still free and guess what, so are most of the panels!) Check out blog on these panels, or not.

Attire around Park City. I am a skier. So warning to skiers, avoid looking at the mountain. Really. Stop looking. Ignore the ski boots on the bus. Keep your eyes closed. Pretend the night skiing is cold, and boring and oh forget it. Ski half a day. During the festival the slopes are pretty empty. Cool. Having never just sauntered around a ski town, I was unprepared for the cold. It just is not cool to wear ski-wear to keep warm at the events. What is up with that? I suggest a long coat that covers your legs and those warm fuzzy boots to match the coat. Don’t forget that fuzzy hat! Aren’t you all that! Of course, locals will know you are a festival goer, but who cares? (Oh yea, skiers!)

Traveling around Park City. This is kind of cool. They have a shuttle system that is FREE! You just have to find the convenient locations to hop on. They are not heated, but most of the people are. If you are desperate you can always catch a ‘taxi’. They charge about $3 to $5 per person. Kind of expensive for the ONE mile ride, but sometimes the five spot is worth finding out that thawing out can be painful in a pleasant and itchy kind of way.

Nourishment and sustenance It is a good thing that so many things are free because the food isn’t. I think that they have a special menu (with special prices)for the festival week, but I can’t prove that. I spent over $8.00 for two slices of French toast! ARGH!

Airline tickets. Do it in advance. Duh.

Hotel reservations – Do it in advance, like in October and then you will have money for food when you are here. Seriously, if you go with friends you can all camp out in a condo for a fair price per night. Divided up that is. Check it out. Best if you are near Main Street. Easy access. No parking problems. No driving issues either. And for the sneak in skier, there is a lift right down town. Really!

Film tickets. You can go through some weird ticket process and pay a fortune for this lovely opportunity or you can go to the movie an hour early, stand in the wait list line, paying $10.00 per ticket or $15.00 for Premieres (this year). Sometimes you can even find scalpers with tickets. The lines are inside a tent so you won’t freeze. No saving seats for friends in the wait list line! Yea right!

Parties. I’m too exhausted to go. I am here to learn as much as I can about filmmaking. I don’t care about partying. Guess my age is showing. I hear there is some action going on. So if you are into that sort of thing have fun. I come for the movies, to learn how to make better movies and to write about what I think. Scary I know. What is this world coming too?

Eleven? Kind of like a bakers dozen. This one is simple. Have fun. Don’t take yourself too seriously. Don’t brag out loud about your film or who you met or speak too loudly on your cell phone! Tomorrow I won’t remember who you are and you won’t remember who I am. Although next year one of us could be on a panel! YIKES!

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BY PAMELA JO BOWMAN, PARK CITY, USA — For those of you who visit this blog often or know me personally, you know my reputation with luggage. It’s not good. The airlines lost my luggage not once, but TWICE during our trip to Zambia. I am used to traveling with minimal clothing and supplies… So used to not having what I need that I have subconsciously made it a way of life.

Examples?

Well, after being disappointed in some of the movies here at Sundance, we left the building early. On our way home, I remembered that I had worn gloves. Nice leather gloves. Gloves my mother gave me. Gloves that I needed! We returned to the theater. I slithered in, hoping no one would notice I was the one who had left early. The young man sitting next to me was walking out with them in his hand. Gloves found, anonymity lost. During our next outing at the Press Reception for NANKING, we left the building excited to have accomplished our goal of interviewing the directors and actors. It was a chilly night. Suddenly, I realized I was chilly because I left my neck scarf behind. My son’s neck scarf. Ooops. Cyndi returned for it and found it (literally) under the seat of some guests.

Now, whenever we leave the condo everyone asks, “Pam, are you feeling naked?” Huh? I have become so absent minded! It must be the high altitude. Yesterday, I forgot my camera! Today, when we went to pitch our films to HBO, I forgot the reel! Then later at a panel discussion I left Cyndi’s phone in the cafe! Funny thing is, is upon our return for said items good things have happened. I found them! We also gained unexpected meetings or access to more information. It all ends up good in the end. Luggage returned, items found, memories made. All is not lost.

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BY JENIECE TORANZO PARK CITY, USA — SUNDANCE 2007 — I have never been to Sundance before. Yep. I’m a Sundance virgin. This year I got the opportunity to go. Yesterday was our first day in Park City. The place is amazingly beautiful! The weather is very nice. Surprisingly, it’s not as cold as I thought. Knock on wood- real wood that is. There is a lot of lumber here. And, a little snow but, at least so far, not too much cold. This is nothing compared to New York! Now that’s some cold weather. The streets aren’t as crowded as I thought they would be either. Especially since it’s Sundance! Hellllooo….where is everybody? I mean come on, I always thought Sundance as like the NBA or the NFL for filmmakers.

So far, I’m not gonna lie, it’s not exactly what I had expected Sundance to be like. I guess I thought it was going to be a bigger deal than it is. I kind of thought it was going to be more Hollywood-ish with all the glitz and glamour. Although, it’s not exactly what I had pictured, I am still having a great time. I am learning by watching films. And as a filmmaker that is what it is all about. After we saw some short films, I have more confidence in our films and our skills. I was not real impressed with the 10 short films that we have seen so far. The ones that stand out in my mind are Kohl Glass’ DER OSTWIND, a powerful short entitled ZARIN, and MAGNETIC POLES. I loved the animation in DER OSTWIND, the cinematography and color in ZARIN and the storyline in MAGNETIC POLES. The others were rather disappointing to me.

Today, we had the opportunity to go to the AOL party for the pre-launch of NANKING. The event was filled with industry people mingling with cast and crew. It was interesting to watch everyone trying to build interest in the film they finished quite some time ago. We are in the same place now with BAD TIMING an our documentary VOICE OF AN AFRICAN NATION. We finished principal photography in September, we’re in post-production now … and THEN we have the real work of selling our films. We watched it happening last night. While we there, Nick and I were the camera crew, Mike did unit photography, while Pam and Cyndi did the interviewing. The whole experience was amazing and worth it. Okay, so let’s do it again. Ready…. Aim…. and Shoot!

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