The Road to Sundance: My Best Day, directed by Erin Greenwell

Tell us about your film. What inspired you to make it?
"My Best Day" >NEXT Category
"My Best Day" is about a young woman who goes looking for the father she never knew in a small town on the 4th of July. To get to him she'll have to first navigate her new trailer park family, including a sister addicted to off-track betting, a grade school brother who wrestles the neighborhood mailman and a charming but suspicious buddy, Eugene, who is "just sleeping on the couch".



The inspiration to make the movie was based on wanting to touch about deeper themes in regards to identity; all the characters are searching to be their truest selves in spite of their perceived status. Comedy is often my weapon of choice to bring the "pain" and what better place to bring mishaps than a tight trailer? Shooting in a small town harkens back to my roots as I grew up in Missouri.

How long did it take you to make your film? 
The seed of the idea for the plot has been in my head since 2005.  The script was written two years ago. We raised money and applied rewrites concurrently. I had the good fortune of having the script in IFP's "Emerging Narrative Category" at their IFP 2010 Project Forum as well as part of a Dialogue Study panel in IFP's 2011 Script to Screen Conference. Both these experiences were transformative to the rewriting as I had access to feedback from other filmmakers, writers and audience members. We preproduced for 3 months, shot principal photography in 18 days and edited the film immediately for a couple months while scoring with our composer.


How did you finance your film?
The film has been financed through a few angel investors, friends through a Kickstarter  campaign and my own money.

What was the most challenging part of the filmmaking process and how did you overcome it?

Having faith that is was better to make this movie with what I had than hanging onto the hope that more money would come. My budget kept ascending in concept but no more money or resources where coming in. I therefore kept reconfiguring  possibilities and I was going crazy "If we shoot with THIS camera we wont have money for THIS. But if we shoot HERE we can't afford THAT. But if we have THIS much money we need to do THIS…."


Finally a producer friend put the brakes on and said,  "Stop. How much do you have? That's what you are shooting with. Now walk the production backwards from that. The budget does not change from this point forward."


THAT is when you finally get to be creative because you know what you are truly working with and can strategize with your team and make your own decisions. For a director, that  is very freeing. And for every department, they knew what to ask for and could get excited with solutions. Locking the budget created strong and specific choices creatively. It unified our overall vision towards the movie.


Tell us about your experience getting into Sundance. Are there any pointers for filmmakers for getting accepted?  
Getting the call that your film was accepted to Sundance is the instant buzz you would imagine and then the stakes immediately get higher "Sure I got into Sundance but what if it doesn't  (insert worry here over and over)". This points to a deeper truth; that acceptance from the outside is gravy. As a director, I have to be the one to know I did the best I could with my film.



I have been rejected from Sundance countless times over the years. Everyone has. One year I was desperate. I begged a friend to "get me in" (he was in a lab and knew programmers). He (gently) laughed and said "I can't 'get you in' and your movie isn't ready yet. Even if I could get you in, would you really want to be seen with work that isn't your best? Keep editing and make it right for YOU." He was right. I spent months editing the film and till this day I can watch it and feel proud, regardless of whatever festival it went to.

If you had to make the film all over again, would you do anything different?
No. Not because there weren't mistakes I made but because I learned from those mistakes and they will take me to the next round but DIFFERENT set of mistakes on my best movie. We learn from failure and learning brings us to "success". Success doesn't teach us anything-it's just nice to have. I really stayed the best I could in the moment of fixing mistakes or at least not repeating mistakes instead of dwelling on them. I imagined a figure skater falling early in her routine. At that point it is all mental. Yes, you just fell on your ass but you can do the rest of the program solid-get up!

Can you provide any advice to other filmmakers who dream of getting their films made and into Sundance?
As someone who has been crushed by rejection and tortured by expectations of success; Don't dream about getting into Sundance. Reason being, if you don't get in (and you have roughly a 95-98 percent chance of not getting in) that rejection suddenly invalidates your entire movie and might stop you from making the next one. Visualize your movie and take one action that creates another action to get it done and you will suddenly find yourself saying "How the hell did I end up on this set? This is great!" Stay in the action of making your art. It's hard to believe but your art is the most coveted thing already because you MADE it.


For More Information and Trailer:
http://www.facebook.com/video/video.php?v=2880782028008

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Live Q&A with Angelina Jolie Here Tomorrow Evening (Jan. 12th) at 8pm EST/5pm PST. Watch It Here!

Please join Angelina Jolie in a Live online Q&A on Thursday Jan 12th at 8pm EST/5pm PST to discuss her writing and directing debut, In the Land of Blood and Honey. Here!

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The Road to Sundance: The Return, directed by Blerta Zeqiri

Tell us about your film.
Our film is The Return (Kthimi) is part of the Shorts Competition and screens with Shorts Program II. It’s the first Kosovar film ever selected to Sundance.

What inspired you to make it?
Producer Blerim Gjoci: The issue of disappeared people is a universal problem, not just for countries that have experienced war and tyranny. People with a disappeared member of their family have always been in my mind as the people to whom, as artists and as a society, we owe them at least to tell their story, what goes on behind those walls when no one is watching.  We owe them to share what they go through, at least a glimpse of their life. This is why when this script came to my hands, I felt it not just a great script, but also an obligation for me as an artist to produce it.

Director Blerta Zeqiri:  Ever since the war in my country, I think a lot about how strong a human mind is, how much a person endures, how easily people adapt to, sometimes, unbearable situations and continue to live “normally” anyway.

When Blerim sent me the script and asked me if I was interested in it, I immediately gave a positive response. I loved the plot and I was very much intrigued by the situation the characters were facing.

The man that returns from “the dead” to find out that his wife has given birth to a child of rape, was a situation that no one would wish to be in. It was a very challenging piece for me to imagine what would happen to them. What will they talk about?  What will their first night together look like?  How will the wife find the right moment to tell her story?

How long did it take you to make your film?
We worked for 10 intensive days. We shot for 3 days, then spent 7 days editing, doing color correction, sound mixing, translation, graphics, subtitles, etc.

How did you finance your film?
Producer Blerim Gjoci: I was lucky to participate in some big films in the region, and upon returning to my country I always felt that I could do more. So I started holding this script competition, first
dedicated to the victims of the 9/11 attacks. The high level of interest was astonishing, and this motivated me to continue it.  I raise a budget each year for filmmakers with great ideas, and see what
we can produce each year. This film is from the same budget, and in 2011 I produced seven films that way, including The Return.

What was the most challenging part of the filmmaking process and how did you overcome it?
Director Blerta Zeqiri: Blerim called me and asked, Would I be interested in working on an extremely short deadline? He sent me the script, which had a wonderful plot and a deadline of 30 days to finish
the film.  We didn’t have a lot of time, so I wanted to do the film in mumblecore style.  Blerim agreed, and the process started: Finding the right cast for the film.  Finding the crew.  Build characters with the actors, etc.  In fact now that I think of it, the whole process of making this film was a big challenge to me. Since I come from a small town where one of the biggest massacres of the Kosovo war happened, and many people that I knew were declared missing or experienced tragedies similar to those in the film. This is why treating the subject of war and how it affects people’s lives was my biggest challenge. I would constantly ask myself: Will people who experienced the same tragedies as my characters believe what I am telling them? Will they be offended by anything? And most importantly, will it look real to them?

Tell us about your experience getting into Sundance. Are there any pointers for filmmakers for getting accepted? 
We didn’t do anything special to get accepted, we just submitted the film.

If you had to make the film all over again, would you do anything different?
Director Blerta Zeqiri: I’m pretty satisfied with the film, so I don’t think I would change anything.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?
Producer Blerim Gjoci: Our hope is that the film will continue to have success in festivals.  Of course we are hoping to reach the Oscars! We would love to get distribution for The Return and also the many other great short films we have made.

Can you provide any advice to other filmmakers who dream of getting their films made and into Sundance?
Director Blerta Zeqiri: I have no idea how films get accepted to the festival, but I think for me the success came because we worked hard, we believed in the film, Blerim believed in me, and a little bit of luck that we made the right film at the right time.

Producer Blerim Gjoci: Someone said this before me, but my advice is: if you want to make a movie, only shoot it if the story is begging to be told.

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The Road to Sundance: Song of the Spindle, directed by Drew Christie

Tell us about your film. What inspired you to make it?
My short film is an animation called Song of the Spindle. However, it is playing in the US Narrative short category at Sundance since the emphasis is more on the story as opposed to great animation techniques.  It is essentially a conversation between a man and a sperm whale.  Each one is trying to convince the other that he is smarter.  I was inspired to make it because I heard on the Thom Hartmann radio show that some whales have spindle neurons, the neurons in the brain that some scientists say "make us human" by being responsible for compassion and understanding.  I also created it to enter into an online film contest called the Possible Futures Film Contest.  Song of the Spindle got an Honorable Mention Award.

How long did it take you to make your film?
It took me about 1 and a half months to write, record the narration, storyboard, animate, edit and set the music to.

How did you finance your film?
I paid for the film myself.  However, since it was an animation and I was the only person working on it, I didn't have to pay any other cast/crew.

What was the most challenging part of the filmmaking process and how did you overcome it?
The most challenging part of the process was definitely writing.  I wrote many drafts, starting with a very science fiction oriented draft that borrowed heavily from the Kurt Vonnegut book Galapagos (my favorite of his books) and after many revisions which my girlfriend, Amanda Moore, helped me with, I arrived at the final version.  Since I am not a professional writer, it is a very hard process for me to revise and trim down the script.

Tell us about your experience getting into Sundance. Are there any pointers for filmmakers for getting accepted?  
I still don't know how or why my film got in. The whole thing is actually a mystery to me, however I would say that something that looks eye catching and perhaps is substantive or strikes people on a deeper level but can in some way incorporate humor would be a good route to go.

If you had to make the film all over again, would you do anything different?
Nope.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?
I don't know what is next for my film.  I do not have distribution at this moment.

Can you provide any advice to other filmmakers who dream of getting their films made and into Sundance?
I would say that writing seems to be a major factor in making something of quality.  Write something that people really respond to and the production end is what everyone seems to have down now with 5D's and Macbooks filled with FinalCut and after effects, etc.

For More Information:
http://democracyforthecartoons.blogspot.com/
http://vimeo.com/drewchristie 

Song of the Spindle Official Trailer from Drew Christie on Vimeo.

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The Road to Sundance: About Face, directed by Timothy Greenfield-Sanders

ABOUT FACE: Director Timothy Greenfield-Sanders (Will be in the Premieres section out of competition.)

What inspired you to make it?
I went to a party two years ago attended by former models and left thinking their story would be amazing. I was right. Moral of story... go to lots of parties.. it's a great way to get ideas.

How long did it take you to make your film?
It took two years to make the film. I worked on it off and on, while completing The Latino List, my latest doc for HBO.

How did you finance your film?
I sold cupcakes, made from my secret recipe. They are irresistible. I sold a lot of them. The chocolate with mint frosting were the best sellers.

What was the most challenging part of the filmmaking process and how did you overcome it?
Licensing old photos and b-roll is not easy. Our budget was limited. Some people were very helpful, some were awful. As a photographer myself, I deal with requests for images a lot...so I understand it from both sides.

Tell us about your experience getting into Sundance. Are there any pointers for filmmakers for getting accepted?  
I was thrilled to get into Sundance. The festival really focuses attention on your film. Sundance is huge for any filmmaker, perhaps even more so these days with so many great films out there. Getting in to the festival meant that people who were not related to me or paid by me to like what I do...they actually liked the film! I'm very excited to see ABOUT FACE with an audience on January 22nd at 2:30 PM!

If you had to make the film all over again, would you do anything different?
I would have loved the luxury of the same camera person on each shoot. It wasn't possible this time around, but I think it would be helpful... just having a short hand with the same person... not having to explain what I want over and over again to new people. I hired freelance camera and sound people. Some were better than others.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?
HBO bought the film. I'm very excited about our summer release. HBO is wonderful to work with and really supportive of their filmmakers. This is my 6th doc with them, so I can say this from experience.

Can you provide any advice to other filmmakers who dream of getting their films made and into Sundance?
Not really. Festivals can take only so many films. But if you do get lucky enough to get in to a festival, be prepared. My best advice is while making the film, shoot plenty of on the set photos and images of your principle actors or participants. You will really need them later for publicity and promotion. Making a film is hard, but promoting it and getting attention for it after, is enormously important. So kiss up to blogs like this one!

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The Road to Sundance: The D Word, directed by James Redford

Tell us about your film. What inspired you to make it?
My film is titled "The D Word: Understanding Dyslexia." It is a long overdue examination of the dyslexic experience  -  a reality that presents gifts as well as challenges for one in five people globally.  I know this because my son is dyslexic and my wife is an educator who became passionate about helping dyslexics and their families navigate the school years and beyond. It will premiere at Sundance out of competition.

How long did it take you to make your film?
Over two years. We will finally be finished a week before it premieres.

How did you finance your film?
The film was financed by the Seedlings Foundation. The goal was to create a film that inspired as well as informed.

What was the most challenging part of the filmmaking process and how did you overcome it?
We wanted to highlight the scientific basis for dyslexia without losing the audience. Ultimately, I settled on using animation to bridge  the gap between information and entertainment. Finding the right animation can be overwhelming. I had been to an art exhibit in San Francisco that featured the work of Myrzk and Moriceau - including an animated music video for Sebastien Tellier.  I explored other possibilities, but their work haunted me. After having my doubts as to whether or not they were the right choice for the film, I finally approached them. Good thing, too. Their work for the film was brilliant!

Tell us about your experience getting into Sundance. Are there any pointers for filmmakers for getting accepted?
I have been rejected as often as I have been accepted, so I was very honored to be included. But one must realize that it is only the beginning in terms of a long road toward getting your film to a broader audience - especially if you have your eye on grass roots and community outreach.

If you had to make the film all over again, would you do anything different?
I was lucky enough to get some extra shoots, extra animation money, and extra edit days, so in a way I got to do things over again within the overall production. This was a stroke of good fortune - and enlightened thinking - that one must not assume will come around again. 

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?
I am not at liberty to say exactly who, but the film is being acquired for broadcast as I type. The film also has a solid outreach plan that includes everything from additional online content to community and grass-roots screenings. Once it has its broadcast,  our energies will go into making sure that people who most need to see the film  - dyslexics, their families as well as the broader education world - have access to the film. 

Can you provide any advice to other filmmakers who dream of getting their films made and into Sundance? are your hopes for the film? 
Tell stories that are urgently important to you - stories that you feel will fill a hole in the societal fabric. If you are intensely curious and obsessed with the topic and/or story,  it will most likely be contagious to your audience.

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Live Q&A with Angelina Jolie about Her New Film: In the Land of Blood and Honey

I am going to host a live Q&A with Angelina Jolie about her new film In the Land of Blood and Honey. Please feel free to put questions for Angelina Jolie in the comments section of this blog post. Invite your friends to join in on the experience.

From a film-marketing perspective, I love this idea of a live Q&A and will be very curious to see how this all turns out. Aren't you curious too? Join us. Countdown below.

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