The Sundance Film Festival is one of the largest independent fests in the country, but it probably has the best reputation for launching filmmaking careers and being the only thing in January that will be remembered around Oscar time 13 months later.
It’s debatable just how “indie” it is — especially with studio shingles routinely picking up audience favorites for distribution — but it’s difficult to deny the raw directorial power that’s moved through Park City over the years. Names like Christopher Nolan, Kevin Smith, The Coen Brothers and Steven Soderbergh can count themselves amongst the Sundance ranks, but there are many, many more.
In that (independent) spirit, here’s a double-size list of tips (for fans and filmmakers alike) from 12 directors who made a name at Sundance.
The Film: The Times of Harvey Milk (Special Jury Prize Documentary 1985)
The Tip: Look to films you wouldn’t naturally gravitate toward for inspiration and lessons
“There were films that I was inspired by, and others where I learned that I didn’t want to go in that direction. Of the former, Harlan County USA, Barbara Kopple’s film, I saw that and realized how she and those filmmakers took me into a situation that I never otherwise would have known about or even thought about, and made me feel so invested in, the Appalachian coal-miners. And that was an inspiration, to think that that’s really what I wanted to do with this provincial story in San Francisco — that anyone who saw it could come to understand what was at stake.
Another film, Jon Else’s The Day After Trinity, was the first film which was about a big piece of history told through the perspective of one character who was pivotal to that history. But also, the craft of the filmmaking in that film — it was the first time I saw, or was really aware of, how to use music in a documentary. Music was very important to The Times of Harvey Milk, and Jon’s film really helped me to understand that.
The Coen Brothers
The Film: Blood Simple. (Grand Jury Prize Dramatic, 1985)
The Tip: Your first cut will probably make you want to kill yourself
“I can almost set my watch by how I’m going to feel at different stages of the process. It’s always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you’re very excited by it and very optimistic about how it’s going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.”
The Film: sex, lies, and videotape (Audience Award Dramatic, 1989)
“Filmmaking is the best way in the world to learn about something. When I come out the other side after making a film about a particular subject, I have exhausted my interest in it. After Contagion, I’m still going to be washing my hands, but I don’t ever—I’m not going to pick up another book or article about Che as long as I live.”
The Film: Clerks (Filmmakers Trophy Dramatic, 1994)
The Tip: Do your homework, know what’s launched other people, and be naive
The Film: Hoop Dreams (Audience Award Documentary, 1994)
The Tip: Get lucky and do something unheard of
“I think at the time the film came out, America’s fascination with Michael Jordan, basketball and the sports rags-to-riches iconography were at a peak. This was pure luck on our part, because we had started the film nearly eight years earlier. Basketball provided a great hook for audiences and press, but the real theme of the film – the basketball dream as metaphor for how hard it is for poor people to achieve the American dream – is what gave the film its heart and moved so many people. Plus, following families intimately day-by-day for over four years was somewhat unheard of in 1994. And it didn’t hurt to have been blessed by the documentary gods with so much drama. Stuart Klawans of The Nation said we had a ‘script by God.’
I think Hoop Dreams has had staying power because the story and themes are still very relevant today. And we didn’t try to be too slick and hip in form and style. We just tried to tell the stories of these ballplayers and their families in an honest and dramatic way.”
The Film: The Brothers McMullen (Grand Jury Prize, 1995)
The Tip: Stick to your roots, or Listen to Tyler Perry
Even though he found success with a certain kind of film, Burns moved away from it in order to branch out. Years later, he’d return and wonder why he ever left:
“I’d worked a couple years ago—or a year and a half ago, I guess—with Tyler Perry on Alex Cross. He’d just re-watched Brothers McMullen, and said to me the next day, ‘Alright, McMullen and She’s the One were both very successful and in 15 years, you’ve never gone back to exploring these Irish-American working class families. Take it from me: you’ve got to be thinking about super-serving your niche. I guarantee you that audiences that loved those first two films, that the minute you give them another film like that, they’re going to thank you for it.’ And as soon as he said that, I knew that he was right.
I think the reason I hadn’t gone back there was that my life had changed so dramatically, that I probably thought, ‘I can’t write about those people with any authenticity anymore.’ Since I don’t live that life anymore. But, I was wrong. Because that day, after I had the conversation with him, I opened up my laptop — I knew — I had an idea for wanting to make a film about a big Irish-American family. . . I sat there wondering, ‘Why the hell did I wait so long?’ You know? And more importantly than that — there was the ease — but it was so much fun. Really I just enjoy being in that space, in that world. Revisiting those bars and kitchens and living rooms. I really just enjoy being there. So I absolutely will not wait another 15 years before going back.”
Links provided by Zergnet, which sounds like a villain but is really quite helpful.
Comment Policy: No hate speech allowed. If you must argue, please debate intelligently. Comments containing selected keywords or outbound links will be put into moderation to help prevent spam. Film School Rejects reserves the right to delete comments and ban anyone who doesn't follow the rules. We also reserve the right to modify any curse words in your comments and make you look like an idiot. Thank You!
Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.