And the little(r) ‘dance: What do you do when your documentary is accepted into not just (c’mon, as if there were a question) the festival you founded years ago as a fuck-you alternative to a certain other overexposed larger festival your films had been rejected from, but also into said overexposed larger festival? You suck it up and sell out is what, just like you’d still totally say yes if that guy on the high school baseball team you’d had a crush on called you up to ask you out, even if he’d gotten all fat and married, and probably still lives in your lousy suburban hometown anyway…
What were we talking about again? Yes, as Charles Lyons at the New York Times points out, Paul Rachman, one of the Slamdance founders, got a film ("American Hardcore") in the Midnight program at Sundance:
"A lot of things went through my head," said Mr. Rachman, seated in an
East Village coffee shop on Saturday. "Slamdance started as an
anti-establishment and underground event, so Slamdance would be the
expected audience. But I realized we are telling this story more for a
mainstream audience, and Sundance is a bigger stage for that."
Isn’t it, though? There are really two sides to every coin, aren’t there? Over at indieWIRE, M.L. Liu has the list of the 12 film projects invited to the January 2006 Sundance Screenwriters Lab, an experience some might call a great chance to develop one’s film with the help of experienced screenwriters, and others might refer to as a great chance to mold one’s film into one of the identical navel-picking productions the Lab has become known for. We’re pleased to see Cary Fukunaga up there â€” he was our favorite "Film School" side character, and, in a futile attempt to save ourselves from total inanity today, we should also say that we were very impressed by his "Victoria Para Chino" at the New York Film Festival.