By Ray Pride Pride@moviecitynews.com

Sundance Director of Programmer Trevor Groth Joins 30WEST

[pr] 30WEST HIRES SUNDANCE FILM FESTIVAL PROGRAMMING CHIEF TREVOR GROTH

LOS ANGELES (January 29, 2018) – 30WEST has hired the Director of Programming of the Sundance Film Festival, Trevor Groth, who will join the company in February. Groth first joined the programming staff of the Sundance Film Festival in 1993, was named Senior Programmer in 2003 and Director in 2009. While at Sundance, Groth has helped champion acclaimed titles such as Whiplash, Fruitvale Station, Hard Eight, Pi, Memento and Napoleon Dynamite. Under his direction as head programmer for the Festival’s Short Film Section, Groth was among the first to showcase the shorts of now prominent filmmakers such as Spike Jonze, Cary Fukunaga, Taika Waititi and Sarah Polley.

30WEST said: “For over twenty years Trevor has been one of the film community’s most consistent champions of original creative voices, all while exhibiting a fearless commitment to pushing the boundaries of film creation and distribution.  We could not be more thrilled that he has chosen to join us.”

Trevor Groth continued: “It’s been a wild and exhilarating ride being in the driver’s seat of a festival that has launched many of our generation’s greatest independent films and filmmakers.  I look forward to continuing that dynamic journey with a company equally committed to discovering what’s next.”

Groth worked for the Sundance Institute’s filmmaker labs and development program while still a student in film school at the University of Utah. Since 2002, Groth has also served as Artistic Director for The CineVegas Film Festival and been a guest curator for the Australian Film Institute, and a juror at festivals including Cannes Critics’ Week, SXSW, Morelia and more. He has also served as a consultant on a number of film productions and was instrumental in the creation of Sundance Film Festival London, Sundance Film Festival Hong Kong and Sundance NEXT Fest.

Last week at Sundance, 30WEST purchased the fast rising film studio, NEON.  The two companies previously partnered to co-finance marketing and distribution of the acclaimed feature I, Tonya.  30WEST also partnered with Bleecker Street to buy the U.S. rights to Wash Westmoreland’s Colettestarring Keira Knightley and arranged the partnership between NEON and AGBO Films to buyAssassination Nation, directed by Sam Levinson.

 

30WEST is currently in production on two feature films, Karyn Kusama’s Destroyer, starring Nicole Kidman, and Peter Hedges’ Ben Is Back, starring Julia Roberts and Lucas Hedges. This spring 30WEST will release the film Beast with Roadside Attractions, which premiered to acclaim at the Toronto International Film Festival and most recently enjoyed its US premiere at Sundance.

# # #

With offices in Los Angeles and New York, 30WEST provides capital and strategic guidance to high caliber creative projects and forward-thinking companies operating throughout popular culture. Its media practice works with filmmakers to guide every stage of creative packaging, providing direct capital investment for production, sales, distribution and licensing in order to maximize production quality and audience reach. 30WEST was founded in 2017 by Dan Friedkin and Micah Green.

Comments are closed.

Quote Unquotesee all »

“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray