Sundance — why it matters
A few days ago, someone commented to a post I wrote on the parties at Sundance, questioning whether anybody saw or cared about Sundance movies. It was the middle of the festival, and I didn’t have a chance to answer. Another responder did, however, point out this year’s best Oscar nominee “Little Miss Sunshine” was a Sundance 2005 film.
The domestic box office for “Sunshine” was nearly $60 million, so a lot of people did see that one. There are many other recent examples, too, including ”Napoleon Dynamite” ($44 million domestic box office in 2004) “Garden State” ($27 million domestic in 2004).
Those are not big Hollywood numbers; they are not $100 million plus. But for independent films that cost less than $5 million, it’s a great return on investment. With the average ticket just over $6.00, “Little Miss Sunshine” probably attracted about 10 million people to the theaters. Thousands, perhaps millions, more will see it on DVD, pay-per-view television, in airplanes and at other specialty venues.
But forget about numbers for a moment. Think about directors who either got their start — or a major career boost — at Sundance. There was Steven Soderbergh with “sex, lies, and videotape” (1989), Kevin Smith “Clerks” (1994), Christopher Nolan “Memento” (2001). Whether you like their movies or not, those directors are all industry forces to be reckoned with, both inside and outside Hollywood.
Look for a minute at moviemaking styles. For Sundance 2003, directors Shari Springer Bergman and Robert Pulcini created “American Splendor,” a fictional film starring Paul Giamatti as comic book writer Harvey Pekar in the film about Pekar’s life. The interesting thing was, Pekar also appeared in the film playing himself and giving “talking head” interviews about his work. “American Splendor” blurred the old lines between what is a documentary and what is a fictional feature film.
Since then, filmmakers have continued to make audiences think differently about the boundaries between non-fiction and fiction filmmaking, and the result has been some fascinating films. Without that movement in film style, would a director like Paul Greengrass have been successful in getting “United 93″ produced and distributed. What about Stephen Frears with “The Queen?”
Say what you will about big parties and Hollywood stars at the festival, the fact remains Sundance is an incubator for emerging talent. And people who care about cinema, care about talent.

The sun shone brightly on “Little Miss Sunshine” in Hollywood’s Oscar race on Monday after the film’s cast
t’s part, “Babel” is a “love it or hate it movie” that splits voters right down the middle (director Alejandro Gonzalez Inarritu pictured left). There is no firm consensus on how many people side with the “love it” camp.
Davos is nothing if not international. So it seemed no big deal when lunch on Friday turned out to be a Saudi Arabian buffet. It was brought to us by people “proudly investing in the future of Saudia Arabia”. And very nice it was too.


Best Actress for her portrayal of the title character in “The Queen.” Many look to Whitaker to take Best Actor for his portrayal of dictator Idi Amin in “The Last King of Scotland.”
espread and money is moving in.