Yeah, it’s Tuesday. I lost a day to travel, as I returned to Los Angeles yesterday in a sold out flight filled with exhausted looking film fans and the occasional indie actor. Our scarves and new boots have seen winter, and we’re through with it.
On Sunday I took full advantage of the festival, attending three world premieres in three different places across Park City. Thankfully the relentless snow had stopped and the shuttle service was back on track, allowing me to actually make it to all these films.
I Think We’re Alone Now
, directed by Reed Morano, was first up for me. The post-apocalyptic story was just the kind of movie I really enjoy — which can make it hard to review objectively. But I ain’t never said this blog was objective, so screw it: I was into this film. It tells the story of a man left behind after some kind of apocalyptic event has killed everyone where they sat, stood, or drove. And this man is perfectly okay with that because he wasn’t a people person anyway. The best and richest parts of the film are in his routines and the textures they carry on screen. He’s perfectly content with his solitary life in upstate New York. Then one day, a woman shows up — and she doesn’t want to leave.
The cast and crew of I Think We're Alone Now
The conflict of companionship and loneliness that follows this is a really interesting look at how we all cope with ourselves and our needs. And I really loved that the story doesn’t bother to explore why the apocalypse happened or how to rebuild society. This character doesn’t care about that. For him, life goes on. Until it doesn’t.
Seeing Reed Morano’s name in the credits as both director and director of photography is also pretty great. Pretty dang great, yep.
Next up was Search
, whose editors I interviewed earlier this week. As I described previously, this is a screen movie that takes place on a computer. But not just one computer or screen — multiple screens. If you’ve seen screen movies before, you might have expectations. This isn’t like that. It’s got zooms, pans, edits, dissolves. It just happens that you’re looking at John Cho’s Mac’s desktop. Search
is the story of the disappearance of a man’s daughter and his mission to get her back. While that’s anything but a new story, the way this film unfolds makes it feel new.
The cast and crew of Search
I think it was really smart of the filmmakers (director Aneesh Chaganty and his co-writer Sev Ohanian) to use a story that has some basic building blocks an audience will recognize as a jumping off point for exploring it in an entirely different direction. There are stretches of the film where we’re watching Cho break into his daughter’s Gmail or go through her Facebook friends, and it’s surprisingly riveting. The twists and turns feel earned and realistic. It’s a lot of fun, and it uses some of the modern conventions of internet usage in new and interesting ways. I’m curious how people who don’t use the internet all that much will react to it, and how some of the sight gags involved might play upon a second viewing. The performances in the film are especially good — particularly John Cho, who had to act at a GoPro alone for a majority of the film.
And last for the day was Rupert Everett’s directorial debut The Happy Prince
which was — yeah I’m gonna say it — anything but happy. The film tells the story of the final years of Oscar Wilde’s life, picking up after he gets out of prison for homosexuality. Everett also wrote the film and stars as Wilde, and he really does disappear into the role (and into his fat suit) to explore a complicated and sad artist’s spiral into depression and many many bad choices. The other films I saw at Sundance felt like they were trying something new and using their indie status to be a little bit different. The Happy Prince
felt more like A Regular Movie you’d see nominated for Oscars and stuff.
But that doesn’t take away from how good I think it actually was. The cinematography and direction was fantastic, and the editing choices were great. From start to finish, it felt like the logical progression of a man’s fall from grace and into exile in France. Realistically it probably won’t stick with me, but I enjoyed having seen it. To punctuate my Sundance experience with an exploration of how we destroy great artists in their time and only choose to celebrate them properly when it’s far too late was an interesting choice — Wilde was pardoned in 2017.
This wasn't pleasant.
Also, I had to stand in the ticket overflow line for like a half hour in 13 degree weather to see it, so I’m glad it wasn’t terrible.
That was the end of my on-the-ground Sundance experience, and by the end I was nearly crawling to my airport terminal. Had I spent the entire week at the festival I wouldn’t be nearly spent because I would have paced myself a little bit more. Packing the full experience into 4 days required a little more of me. But let’s be real: I am aging rapidly and walking 5 miles a day in the snow is not something I am capable of sustaining.
Although I have departed Park City, my Sundance coverage continues this week with a few more interviews from your favorite below the line crew. Going and experiencing the festival first-hand was a really special experience. Sharing that with some old friends and new acquaintances was even more special. It’s been a long time since I stayed up until 3AM with friends talking about life and movies. I don’t share a breakfast table with like-minded people arguing about Avid very often. I never see three movies in a single day unless I’m laying on a couch in my pajamas. I’m thankful for the experience of Sundance and the people I met while I was there.
(I’m also thankful it’s 65 degrees in Los Angeles. But I am also under blankets.)
Boarding my flight from LA, I knew I was in for an interesting trip when half the people around me were already wearing snow boots and hats. It was a chilly morning by Southern California standards, but my sweaty self was regretting even wearing a long sleeved shirt. (I really enjoy visiting cold places because I can walk outside and be comfortable. But I obviously don’t like living in them.)
Inside my press credentials, I was surprised and pleased to see a number for a hotline the festival created with the Utah Attorney General’s Office to report harassment, sexism, abuse, and discrimination. I hope other event organizers are taking notice (hello, NAB Show) because this is an obvious tool that should have been implemented years ago. It’s been an after-thought for so long, and it’s finally at the forefront.
The insert was inside all festival badges.
Wandering Main Street involved spotting actors I know whose names are on the tip of my tongue, people I worked with on projects in the past, and people I’ll probably work with in the future. And talking a lot about the threat of snow.
Adobe’s “Art of the Edit” panel this afternoon featured three Premiere-using editors discussing their craft and how it has and hasn’t changed. It’s striking to me how the number of self-taught, never-really-got-training editors are beginning to really take hold and outnumber the old guard. This is in large part thanks to accessible software like Premiere and After Effects. I think it won’t be terribly long before we have entire panels of established, experienced editors who don’t have a film-related anecdote. (I also think this is just fine.)
Adobe's panel on the art of the editor.
At the premiere of Lizzie
I got my first taste of the Sundance screening experience: the ticket holder line, the sad glances from the waitlist line, and the buzz in the theater as a fresh, new movie begins. Lizzie
is a psychological thriller based on the story of Lizzie Borden and the axe murder of the Borden family, directed by Craig William Macneill and edited by Abbi Jutkowitz, starring Chloe Sevigny and Kristen Stewart. Sevigny and Stewart are definitely at their best in the film with great characters and occasionally sharp dialogue, which is quiet, tense, and slow to build. But when it builds, it gets downright scary. It’s not surprising to add that Lizzie
is pretty violent, and as I was thinking about my take on the film, I wondered if seeing a woman involved in this level of carnage (in a non-pulpy sense) was unconsciously affecting my opinion. It’s going to take a while before I really have a clear opinion, but I do know this: Lizzie
ended up being a challenging and timely depiction of female rage.
The cast and crew of Lizzie in a Q&A after the screening.
Aside from the bustle of Main Street and the thrill of seeing new films, it’s also worth mentioning that just getting away and being around friendly faces — particularly those in our shared condo, which is full of television and film editors — has been appreciated and necessary. Three of us took a break from the Sundance scene this evening and made dinner at home, sharing olives and tapenade and red wine next to the fire. I love the theme of the sharing of stories at the festival, especially when they’re our own.
Follow me on Twitter and Instagram for more updates.
Dinner with friends.
Tomorrow morning, I'm jetting off from sunny Burbank to snowy (frigid, icy, frozen) Park City, Utah to cover the 2018 Sundance Film Festival
here on the COW. I've got furry snow boots, long underwear, and a handful of tickets that cover everything from the fest's most anticipated to most experimental offerings. And I've got my own angle.
Before the lush celebrity gift suites, the sold-out Q&A sessions, and the long lines of frozen but eager cinephiles trying to grab the hottest ticket in Park City, a movie was made -- and it was hard work. And behind the producers and directors and actors who led the charge, a "below-the-line" crew of anywhere from tens to hundreds of craftspeople worked to bring filmmakers' visions to life. They're the post production engineers, the editors, the camera operators, or the composers whose names are in the credits but not the numerous story pitches to Sundance press outlets like the COW. Union or non-union, aspiring or veteran, these individuals spent weeks of their life behind the scenes dedicated to telling a story. And in my 2018 COW Sundance Film Festival coverage, I'm telling their stories.
I'll be talking to directors and producers and writers of course, and I'll tell you all about the films I see and the scene that's set in Park City, but my goal is to bring you insight into the daily lives of the crew -- the ones with the 10 or 12 hour days, the ones who worked their way up through unpaid "for exposure" promises, and the ones who unwaveringly service someone else's story.
In our current political climate, in Hollywood and everywhere else, learning more about each other and respecting one another's work and life has never been more important. The #MeToo movement
has opened a dialogue we've never been able to have with each other before. Time's Up
, the legal defense fund set up support those who have experienced sexual harassment, assault, or abuse in the workplace, is making the right moves toward keeping that dialogue happening and protecting those who want to have it.
But we can't forget our below-the-line crew in these conversations.
For every actress who has been assaulted by a filthy producer, or every director coerced by a power-hungry executive, there are thousands of female crew members in production and post who are caught in a nuanced power struggle every day. Many of them are harassed, assaulted, and abused too. Most of them can't or won't ever speak up because they remain in a position where they would lose work, maybe forever.
Courtesy of Sundance Institute
#MeToo is going to shape a lot of Sundance coverage this year because it's going to change how we view the films in the festival. That will be challenging for some people who have old traumas reawakened, and offensive to others who view equality as a loss of power. But regardless of your opinion or your past experience, something has shifted and its affecting Hollywood -- and the best thing we can do is try talk to each other. A lot.
In the coming days I've got conversations to share with operators, assistants, producers, editors and many more. I'll be sharing what I see here on this blog, as well as shorter, quicker takes on my Twitter
feeds. Film and television editor Meaghan Wilbur will also be on the ground in Park City serving as a contributing editor and tweeting some #hottakes
from the theaters.
Back to packing now -- is four scarves enough? I'm bringing four.