Panel One had crew members from The Blind Side, including Director John Lee Hancock and actress Kim Dickens, along with 2004’s the Alamo actor Jason Patric. What I remember most about that panel is Hancock’s admission that any good director isn’t afraid to say he doesn’t know the answer to a problem. He, Dickens and Hancock discussed problem days when certain scenes just wouldn’t work and how they problem-solved their issues. He suggested time, if you have it, to stop and go back to a particular scene. He also suggested opening a dialogue with the actor instead of trying to diagnose an issue and pick out problems when you don’t really know why something isn’t working. Basically, he believes that honesty can be the best policy when trying to get the right performances from actors.

The second panel I went to had Jeffrey Friedman, one of the two directors of HOWL, a Sundance 2010 film festival opener, and Lora Hirschberg from Skywalker Sound who was the sound editor for the film. Focusing on sound was refreshing since it seems to be one of the lesser discussed topics in filmmaking. One point that I wholeheartedly agreed with was stated by Hirschberg. She said that you should always try to get the cleanest takes while you’re on set. If sound tells you they need one more, you should get one more. The extra five minutes will pay off in the end when you aren’t stuck in a black box with your actors trying to record ADR and recapture that amazing moment that you saw materialize on set, five months later.

But my favorite quote was spoken by moderator John August, whose screenwriting credits include Go and Big Fish. It is also the title of this blog. He reminded me that making a film is a huge feat, but also, that having multiple project ideas in different genres is a good thing. Keep your options open and don’t be afraid to try a genre that you normally wouldn’t. The point is simple: get your work out there and get something made.

You can watch the videos by clicking here or by visiting Film Independent’s website.

I attended the fest for the American Riviera Awards, with this year’s recipient being Sandra Bullock. She was actually really entertaining. Did you know that she grew up in Germany and her mom was an opera singer? (Maybe you did.) Fun anyway! Plus, there were clips shows, which I love - so much, in fact, that if you know me in real life well enough to come to my wedding, you can expect, at minimum, three clip shows. Anyway, it was at the Lobero Theater, which is so adorable I would live there if they let me.’

If you go to the Lobero Theater and get a seat under the balcony (like I did), specifically because you are expecting and handsome young foreigner to come out and serenade you and your bandaged ears (like I did), you’d be mistaken. Apparently no one here thought of this and what a great idea that would be. All I’m saying is don’t get your hopes up (like I did).

Some guy named James Cameron was also receiving an award.

I laughed and laughed at this picture. “Listen, friend Colin Firth, we are very proud of you for winning an award at the SBFF, but instead of saying that, we’re going to just put our names and you can be satisfied with people knowing that you are our friend. Hanx”

The end.

Sundance 2010’s festival theme was REBEL: “This is the renewed rebellion. This is the recharged fight against the establishment.” I’m not sure exactly why this theme was chosen, but I imagine it had something to do with the departure of long-time festival director Geoffrey Gilmore and the hiring of his replacement, John Cooper. New leadership, new plan of attack.

Based on this theme it would appear that those in charge were trying to steer the prestigious festival back to a more “independent” mindset. Perhaps, back to its early ‘80s roots-the glory days when Sundance blazed the trail for independent cinema with the likes of BLOOD SIMPLE, STRANGER THAN PARADISE, and PARIS, TEXAS.

So, in 2010 did they achieve what they wanted? Did they get back to their roots and rebrand themselves as reckless, risk taking rebels? My answer: maybe.

To me, it felt as if the films, overall, were a bit riskier, less classical, and more “rebellious” than in years past. There definitely was a much higher percentage of films I was so-so on than ones I went crazy over, but is that because the selections were so bizarre, so brilliant, so avant-garde that I wasn’t prepared for it? Or were they just mediocre films? I’m not sure I’m qualified to make that determination, but I will say that more than once I left a film shaking my head wondering how in the heck a distributor was going to market it.

Maybe they accomplished what they wanted with their selections. A program of non-classical, non-mainstream films that not everyone will accept – with or without a star-studded cast. But that brings me to my next point. The vast majority of the selections – at least the US Dramatic films – had at least one “name” in the cast. Almost every film Q&A I attended, the leads – be it Melissa Leo, Joseph Gordon Levitt or Robert Duvall – were in attendance. Here’s Sundance apparently wanting to get back to its rebel ways, and I’m seeing more celebrities in a two-hour screening than I do in an entire month in Los Angeles. Is this rebellion? Is this getting back to its roots? I’m not sure.

To their credit, they did institute the BEST OF NEXT category this year, which basically highlights a group of films that were made by (essentially) unknowns for (allegedly) little money. I saw one of those films, BASS ACKWARDS, and really enjoyed it. But why can’t they include these films in general competition? Why do they have to be labeled as, essentially, small films made by small people? Why can’t we see if they stack up to the Ryan Gosling/Robert Duvall/Adrien Brody indies?

Don’t answer that. There are a million and one reasons why they shouldn’t compete against these bigger productions, but let’s face it, by segregating them to their own playground Sundance is essentially creating a more polarized film festival and certainly not something that feels like a renewed rebellion.

If Sundance truly wants to get back to its glory days, I think it would need to wipe the slate clean. Maybe they consider making restrictions for submissions like budget caps or major award winner limitations. Or maybe if they also require that past Sundance winners and/or participants can only submit every other year? I won’t pretend to have the right answer, but something more drastic needs to happen if they want to recharge the “fight against the establishment.”

Don’t get me wrong, I love Sundance. The last thing I want to do is sound like I’m bashing it. I love how it started, what it’s become and, most importantly, what it’s done for independent cinema. I only bring all of this up because I hate to see Sundance try and rebrand itself into something it’s not and just accept what it’s become. Own it, love it, and be happy for all of the smaller, “rebellious” festivals that you’ve paved the way for.

At the end of the day, Sundance is still the dream destination of all indie filmmakers, whether they’ll admit it or not. Its level of acceptance is so selective and its reputation is so paramount that just to be included would make any nonconformist die of pure elation.

2.) Such rustic lodging. There were deer antlers on my wall, ‘nuff said.

3.) To regret forgetting a hat. I know how that sounds but I had gloves, multiple scarves, two winter coats and snow boots; yet, because it snowed nearly every day a hat became paramount. Good thing we had hundreds of awesome SAGIndie hats and I eventually got my hands on one.

4.) To see Robert Duvall in person! Probably the actor I was most moved to see. He came up on stage along with his co-stars Bill Murray, Sissy Spacek and Lucas Black after the screening of their film Get Low. He didn’t have too much to say but he did speak fondly of the mule they used in the film.

5.) To meet Amber Benson and Adam Busch. They attended SAGIndie’s Filmmaker’s Lunch and they were representing their Slamdance competition films Cummings Farm and Drones. Yes, I know each of them as an ex-Buffy season 6 cast member and that season’s wannabe supervillian, respectively.

6.) To learn so much about Right to Work states. Utah is one of them, which made for an interesting discussion during our SAGIndie Panel, which included our National Director Darrien Gipson, SAG’s Diversity National Director Rebecca Yee, as well as the New Media National Director Mark Friedlander and National Director of Digital Marketing Steve Graham.

7.) To see John Carroll Lynch at our SAGIndie Actor’s Brunch and have him not talk in a Minnesotan accent.

8.) To have a film that I knew little about end up being my Sundance favorite: Hesher. Obscene and unapologetic, it had some authentic, heartfelt moments.

9.) To be one of the audience members who asked a question during a post-screening Q & A. After I saw Splice, I had to ask director Vincenzo Natali a question: did he mean for his sci-fi horror flick to be so darn funny? Splice had the most audience participation of any film I saw, it scared us, made us grimace, gawf, squirm and most importantly, laugh. His answer: horror and comedy make good bedfellows so yes, absolutely, I was expecting laughs. I was happy to hear this because if you can laugh at the characters and the story a little then this movie has got to be my second favorite.

10.) To have a week in Utah go by so fast.

Describing Sundance is like describing space travel, you guys. You can read first hand accounts all you want, and they’re all the same, but it doesn’t do justice to actually going. In light of this, allow me to present you with a highlight reel of Sundance, as described via the easiest way for me to communicate: a Sundance mix!

Beach House – Norway
Will and I saw them play to a curiously half empty (half full?) Star Bar for the Washington Filmworks/Sub Pop party. This song bends in and out of tune, making me light-headed, like when a plane drops suddenly and you drop through a dizzy spell with it. This also happens when you drink a lot, which everyone does in Park City (and I continue to do!) But maybe I should include “Zebra” with this because it’s the one everyone likes more anyway.

Andrew Bird – The Giant of Illinois*
You listen to stuff like this a lot when you’re a girl that likes to listen to weather-appropriate mixes. So clearly, if I’m going to be seasonally relevant, when it’s snowing, I am going to listen to songs that sound like snow. (Does this make sense? Whatever, just go with it.) Are you listening to this? I mean, really listening? The song is really, really beautiful and kind of makes you want to take the whole Park City skyline and all that snow home with you. Try it for yourself! (Next year.) *It should be noted that this song – in my opinion superior to the original by The Handsome Family – is about a real person, Robert Wadlow, who really did die from a blister. However, it wasn’t in the winter, as the song suggests, he actually died in the summertime.

Richard Marx – Right Here Waiting
The ASCAP Music Café plucked Richard out of the “whatever happened to ____?” obscurity to perform not once, but twice (!!) at Sundance on Main St this year. Make a Wish Foundation wish fulfillment? ASCAP is under no legal obligation to confirm or deny, but really, what the hell? (PS Darrien Michele Gipson knows every word to this song and don’t even let her tell you that she doesn’t.)

Miles Benjamin Anthony Robinson – Buriedfed
Did I exhaust the case for listening to wintry and cold sounding songs when it’s wintry and cold out with the Andrew Bird entry? Did I mention that Park City is really, really cold? And that it snowed the entire time? And that I live in Los Angeles, with it’s temperate climate, and inexplicably and obnoxiously act like that gives me license to talk about the cold like I invented it? Oh well!

Penny & the Quarters – You and Me
This song was neatly slipped in the middle of a load of Grizzly Bear in Blue Valentine. Will kept poking my arm every time a new song started, like I don’t own the album and recognize the songs. Moving on! I first discovered this song when parsing through old soul compilations looking a couple years ago, and was immediately struck by a desire to find it a home in a soundtrack. Clearly, Joe Rudge beat me to it. I should probably be happy that such a charming song is getting out there for people to hear, but I’m not. This is your warning, Rudge. Stop snatching my obscure songs!

Edward Sharpe & the Magnetic Zeroes – Home
Just something to listen to when you’re far away from wherever you come from, which I am a bit, with all the film festivals SAGIndie travels to. If you see me wandering around, listening to my iPod between screenings, you can probably bet your friend $10 that this is the song I’m listening to. Even if it’s not, I’ll play along. It’s the least I can do for someone who would read my blog all the way to the end.

Maybe sludge is too harsh a word.  Eh, maybe not.  The point is, I saw a lot of movies this Sundance - more than I’ve seen collectively in many years, and none of them felt “special” to me.  To be fair, I didn’t see some of the favorites, like CYRUS, which I heard was really great.  But I did see many that came to the festival with big buzz, and I was left feeling underwhelmed.  Many were perfectly well done (THE RUNAWAYS; THE COMPANY MEN), but none gave me that “this is going to be big” feeling.  There have been times when I’ve sat in a movie at Sundance and actually felt like I was seeing something that was either 1) just plain great, 2) marked the beginning of a great career, or 3) would be talked about for a long time to come.  There have been movies that I just thoroughly enjoyed the fact that “I was there” – bearing witness to a moment so special in a filmmaker’s life that you enjoy it almost as much as the filmmaker.  Sundance is the dream – but sometimes, you wake up, unable to remember what the dream was about and with an awful case of cottonmouth.  Of course, that might have been due to my choice in hydration.

So here is my list of films that I saw at Sundance that gave me “that” feeling.  They aren’t all the BIG ones to come out of the festival, and they certainly are not all “high brow” efforts.  But in all of them, I came out either having enjoyed myself thoroughly, or feeling like the filmmaker/actor was going to be someone to watch in the future.  In no particular order:

1)    Whale Rider
2)    Half Nelson
3)    Four Weddings and a Funeral
4)    Eternal Sunshine of the Spotless Mind
5)    Bend It Like Beckham
6)    Muriel’s Wedding
7)    Hustle & Flow (single best premiere screening ever!  The director and cast sang Proud Mary!)
8)    Little Miss Sunshine
9)    Seducing Dr. Lewis
10)  The Station Agent

Again, I’m not saying that these are the best movies to come out of Sundance or anywhere.  I just remember walking out and being totally charmed, loving the performances, and just feeling happy about seeing the movie.  There were others that I’ve loved from Sundance, I just didn’t see them AT Sundance.  Movies like MEMENTO, THE USUAL SUSPECTS; SEX, LIES, AND VIDEOTAPE all were memorable to me, but I had to catch them at other festivals or (gasp!) in an actual PAYING venue.

There were a couple of films, to be fair, that captured my attention this year.  Joseph Gordon-Levitt in HESHER was certainly notable, as was Dakota Fanning in THE RUNAWAYS.  But the film that left me the most intrigued, the one I couldn’t forget, was SPLICE with Adrien Brody and Sarah Polley.  I saw it at a midnight showing, certain that I’d fall asleep, and when it ended 2 hours later, I was awake and just…..enthralled.  I can’t tell you what I liked because it might ruin the surprise of it, but I really enjoyed that movie.

And come to think of it, while we were standing in line, in the snow, waiting to see some movie or another, I WAS amazed every time a singularly perfect, “looks like you cut it out of construction paper”, stellar shaped snowflake landed on me.  When it happens, you learn to ignore the sludge and just concentrate on the miracle before you.

After making the drive from Boston to Lake Placid we were housed in a large dormitory style room that shared a large common area with the other groups. The next day it was time to receive our 24 hour rules and requirements, each movie had to incorporate different aspects of the Lake Placid area, including a marathon, acid rain and a dog (not sure how that one fits in thinking back now, residents of Lake Placid must own a lot of dogs). We had time to brainstorm and then cast from a line-up of local actors.

Under the guidance of Pierre we location scouted while making all the necessary stops, the thrift store for costumes, the local all-purpose store for balloons, streamers, and chalk, and the hardware store for Christmas lights and a dog leash; then we ran around with our from-home props, including a banana suit and got to work. We were, if you haven’t figured it out yet, making a love story. We used two of our own crew, who had an acting background, in addition to the local talent, and we set about creating something simple and something short. We had a goal to edit this movie to be 5 minutes as opposed to the limit of 10. We shot all necessary moments, the meeting of the young, eccentric couple, the honeymoon period and then the simplistic moments that pulled them apart. This all led up to our finale at our most scenic location: the Lake Placid horse track/fair grounds.

We had decided to frame our story around a dance marathon at the fair grounds. Our local actor played the Dance Marathon DJ and our group duo played the last couple dancing. After hours and hours of trying to break the world dancing record, they were exhausted and that’s where we spliced in the memories of their relationship, good and bad, which led them to the final seconds before the marathon would end and they would break the record and win, but in that moment our female character realizes she doesn’t know why she’s still there and leaves.

When our movie played the next day I was surprised at the crowd’s reaction to that moment–horrified gasps and sad laughs at the boy left alone on the fair grounds. Our movie was definitely the most absurd; from its opening moment to its end it held onto a specific, colorful and zany vision. We also made a very big effort to have fun, which not all the groups did, and that was pretty key in this whole sleep-depraved experience.

So it was a wonderful moment when all of our fun paid off and our film, titled “Somebody’s Fool,” won the competition, mainly for our “fellini-esq vision” (thanks Ms. Hunt) and for sticking to a style from start to finish. If I could pinpoint why ours stood out that day I would say it was the style, but it was also more subtle moments, shooting our climax at magic hour, playing with silly dialogue, matching our shots to our art/costume design and most of all, being flexible. We were the only group who chose a non-running marathon and the other groups assigned specific roles to each person in their group, there was a writer, a director, a cinematographer, etc. but we didn’t do that. Sounds scary, right? Well, it’s not if egos are put aside. I’m not suggesting that any film be made like this, but for a 24 hour competition, it was vital even if we did receive some flack for this by the judges. By pooling 5 experienced student filmmakers’ minds we came up with the best concepts to suit our movie and we kept everyone involved.

So this second blog of mine told a story, but hopefully it showed you that I enjoy filmmaking and making projects happen successfully and also, that I understand that each project is different and each filmmaker has different needs depending on what they’re making and how they’re making it. The key is flexibility and learning how to make your specific movie happen, and of course, I also learned that winning feels good, so let me and SAGIndie help you improve your movies so you can win at your own festival competitions no matter how big or small they are!

While big films like THE CURIOUS CASE OF BENJAMIN BUTTON and TWILIGHT top many zip codes, it’s very encouraging to see quite a few indie films sprinkled within the findings.

Check out the map HERE.

I am very excited to pick up the torch here at SAGIndie and wear as many hats as needed. I’ll be alleviating the workload in the office, helping filmmakers and thespians alike learn how SAG’s low budget contracts can make their lives better and easier, assisting with the planning of SAGIndie events and acting as Darrien’s all-around right hand woman.  There are a few mixed metaphors here, but the point is I am ready to help SAGIndie continue to help all of you as a valuable and approachable resource.

A little about me: I was a film and writing/literature student in college. I still enjoy those subjects very much. My favorite movie is Taxi Driver, mostly because of these two guys, and a seventies theme shrouds my top ten, Jaws, the Godfather and even Rocky are in there. But, I also love Fargo, don’tchaknow, and more recently I really enjoyed District 9 and Up in the Air. On an un-cinematic note, I like Paris (been there once), game nights, and wrought iron and I dislike most cheesy romcoms, really loud sounds and anything flavored with coconut, ugh.

Hope you’re having a good day and you’ll be hearing from me again soon!

-Ellen

Trying to figure out what to spend that holiday cash or iTunes gift card on? Why not head to the iTunes store and load up on some filmmaker friendly apps?

Our friends over at THE WRAP put together a list of the 10 “Hollywood” apps every movie lover or working professional must have for their iPhone. Some are more fun than practical, like the Space Odyssey inspired HAL 9000 app, which costs nothing, but provides hours of fun with endless Hal one-liners. Other apps are much more useful for the indie filmmaker on the go, like the Artemis Director’s Viewfinder, which costs $29.99, but allows you to plug in the shooting format, the aspect ratio, and the type of lens you’re using to preview an upcoming shot.

Check out the entire list HERE.