MCN Columnists
Ray Pride

By Ray Pride Pride@moviecitynews.com

On Predicting Sundance Bests

Predicting film festival bests isn’t my game. But I am hopeful for surprises like a couple years back when, toward the end of Sundance, Robert Koehler is urgently telling me to run, don’t think, go directly to an end-of-festival presser for Man On Wire. (Thank you, Bob.) I’d gotten the same pleasure from being at the very first press showing of Once and then gabbling to anyone I hoped would listen. Go! Discover! In the week’s run up to Sundance 2011, I’ve liked posts by programmers and reviewers and filmmakers that aren’t about impressing a 140-character opinion in one sharp tweet of the cheeks. For instance, Toronto’s Cameron Bailey (@cameron_tiff) hits the ground happy: “Sunshine, snow, SUVs, excessive cheer. Hello Park City!” A keen reminder to get out of doors and read those tweets while waiting for the shuttle to get to headquarters for that badge…

This afternoon, Movieline solicited from attendees three films they wouldn’t dream of leaving Sundance without seeing, and sleep-deprived that I am already, fished out three sincere replies. Top of mind is the premiere I’m seeing in six hours about three miles out to the far edge of town at the Temple Theater, Steve James and Alex Kotlowitz‘s The Interrupters. James is a consummate observer and collaborator, and his work with nonfiction ace Kotlowitz holds promise. Its 161-minute running time suggests the Kartemquin crew is going for the same kind of observational, longitudinal work looking at superficially troubled communities, such as Hoop Dreams, to name but one fine film James has made. Braden King‘s earlier work, including Dutch Harbor, builds off rhythmic accretion, a sense of the land, a drenching sonic texture. Why not make a movie like HERE, about a geolocator gone astray in Armenia? (Plus, it’s shot by Lol Crawley, whose credits include Ballast.) Two years ago, one of the co-directors of The Redemption Of General Butt Naked [pictured, top] told me the story at a Sundance event in 2008. My reaction was physical: I leapt up and looked around the room for people to introduce her to, someone who might know someone who could get this amazing story brought to completion. The title is provocative, but the tale, well, if it matches what I heard…

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“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick