The Sundance Film Festival opens Thursday with a new crop of anticipated indies — some of which will define the cinematic year. Last year's narrative winner Beasts of the Southern Wild received a slew of Oscar nominations this year along with other titles. Which ones will emerge this year? Over the next week, Movieline will give a snapshot of the filmmakers themselves in their own words along with trailers. Here Andrew Bujalski (Computer Chess), James Ponsoldt (The Spectacular Now), Francesca Gregorini (Emanuel and the Truth About Fishes), Kim Longinotto (Salma), and Gabriela Cowperthwaite (Blackfish) preview their films.
Computer Chess by director Andrew Bujalski
Synopsis (via Sundance):
“Is there a computer program in the house which can stand up against a human chess master?” That’s the question posed by mastermind of the game Pat Henderson, head of an annual computer chess tournament. Set in 1980 in a nondescript hotel, Computer Chess follows several young geniuses as they try to make the ultimate chess program to beat a human player. As the nerdy guys sweat through various social situations (especially with the one girl there), and the convention overlaps with a group of new-age couples in therapy, things get really strange.
Computer Chess quick pitch:
Computer Chess takes place 30-some years ago at the dawn of the digital age, an era when nerds were nerds (not the well-paid guys with decent haircuts and cute girlfriends you see today), and the rest of us had no idea what was coming.
Why it's worth checking out at Sundance and beyond:
Who knows when you'll get another chance? I'm quite confident it won't be much like anything else you see this year.
How it all came together:
I'd spent the early part of 2011 trying to pull together a much more expensive project, with movie stars, etc (y'know, a "Sundance" kind of movie...) and when that hit a brick wall for that year, I determined to go make this cheaper, stranger dream project I'd been fantasizing about forever. So I called up some producer buddies and said, "Hey, wanna make a movie with me that has zero commercial potential? We don't have a dime for it, I haven't cast anyone yet, I also haven't written a script. It's a period piece, on a subject matter that I don't really know anything about. We're going to shoot it on an experimental camera rig that we'll have to design from scratch. We start shooting in, I dunno, 2 or 3 months. Whaddya say?"
Some background on the cast:
It's the greatest cast ever assembled! Some of Austin TX's hardest hustling actors alongside a whole bunch of explosive new discoveries. A lot of real-deal computer experts, as they bring knowledge and a feeling for that culture much better than I could ever instruct anyone to do. *Definitely* the greatest extras ever assembled. And the phenomenal Patrick Riester in the closest thing this broad ensemble has to a lead role — nothing would delight me more than for him to be the hot new flavor-of-the-week discovery out of Sundance, though I'm sure nothing would horrify him more.
Next: James Ponsoldt on The Spectacular Now, starring Miles Teller and Shailene Woodley
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The Spectacular Now by director James Ponsoldt
Synopsis:
Sutter Keely (Miles Teller) lives in the now. It's a good place for him. A high school senior, charming and self-possessed, he's the life of the party, loves his job at a men's clothing store, and has no plans for the future. A budding alcoholic, he's never far from his supersized, whisky-fortified thirst-master cup. But after being dumped by his girlfriend, Sutter gets drunk and wakes up on a lawn with Aimee Finicky (Shailene Woodley) hovering over him. She's different: the "nice girl" who reads science fiction and doesn't have a boyfriend. While Amy has dreams of a future, Sutter lives in the impressive delusion of a spectacular now, yet somehow, they're drawn together.
The Spectacular Now quick pitch:
The Spectacular Now is an emotional drama about a complicated romance — between two teenagers. However, the film transcends the usual pitfalls of "teen films." It's neither crass and cynical nor is it cheaply sentimental. It's big (we shot on anamorphic 35 mm) and bold and feels unbelievably honest. You'll love hanging out with the kids in our film.
Why it's worth checking out at Sundance and beyond:
Our entire cast is amazing (Brie Larson, Kyle Chandler, Mary Elizabeth Winstead, Andre Royo, Bob Odenkirk, and Jennifer Jason Leigh, among others), but our two leads — Miles Teller and Shailene Woodley — give stunning performances. They're both so vulnerable and honest. I was blown away. Seeing them on-screen will remind the audience of falling in love. And I think people at Sundance are really going to be excited by their performances.
How it all came together:
The decision to shoot on anamorphic 35mm was difficult on our budget — because it does add cost — but the results were so worth it. We have a timeless, gorgeous looking film that possesses scope and ambition. Of course we didn't have much time to shoot, but that's the story of every independent film. And then we shot in Athens, Georgia, in August, so temperatures were constantly pushing 100 degrees. On the first day of shooting we were in a convenience store parking lot all day and I got a terrible sunburn on the top of my ears. Who does that? The top of my ears?! It was pretty darn gross. After that, I bathed in sunscreen.
Some background on the cast:
It was really a team effort between our amazing casting directors — Barbara McCarthy and Angela Demo — the producers, and myself. The cast is an assembly of some of my favorite actors; they're all so compulsively watchable. Shailene Woodley was attached to the film before I was, and she's one of the reasons I wanted to direct the film. She's a brilliant, unbelievably natural actor. Shailene and Miles Teller have such incredible chemistry. Miles is one of the most charismatic actors I've ever met. And then with Brie Larson, Masam Holden, Kaitlyn Dever, and Dayo Okeniyi, we're got a lovely ensemble of young actors — who remind me of kids I grew up with. I could watch them all day long. And the adults in our cast — Jennifer Jason Leigh, Kyle Chandler, Mary Elizabeth Winstead, Andre Royo, and Bob Odenkirk — have played some of my favorite roles ever in film and television. I really love this cast. I felt so, so lucky to arrive on set every morning and know that I'd get to play make-believe with these folks.
Next: Francesca Gregorini on Emanuel and the Truth About Fishes, starring Kaya Scodelario and Jessica Biel
Emanuel and the Truth About Fishes by director Francesca Gregorini
"Emanuel and the Truth About Fishes" Teaser - Dinner Scene from Francesca Gregorini on Vimeo.
Synopsis:
A troubled girl Emanuel (Kaya Scodelario) becomes preoccupied with her mysterious new neighbor (Jessica Biel), who bears a striking resemblance to her dead mother. In offering to baby-sit Linda's newborn, Emanuel unwittingly enters a fragile, fictional world, of which she becomes the gatekeeper.
Emanuel and the Truth About Fishes quick pitch:
A troubled girl (Emanuel) becomes preoccupied with her mysterious new neighbor (Linda), who bears a striking resemblance to her dead mother. In offering to baby-sit Linda's newborn, Emanuel unwittingly enters a fragile, fictional world, of which she becomes the gatekeeper. It is a stylized, darkly humorous, suspenseful psychological-drama with touches of the surreal/magical.
Why it's worth checking out at Sundance and beyond:
It's stellar performances and it's uniqueness and execution of vision.
How it all came together:
Raising the money to get it made was by far the biggest challenge. I pulled the trigger and started shooting well before all the money was in, which is super risky, but the alternative was to wait and hope and I was no longer interested in doing that. I was interested in shooting my film, even if it meant doing it for a fraction of the money that we originally wanted to make it for. I was still hustling for money, to cover massive invoices and credit card bills in the last days of doing post. I'd be in the studio color correcting and then stepping out to make phone calls soliciting investors. Not ideal, but if your are also a producer on your own film, that's the deal.
Another challenge of course is keeping cast in place while you're busy raising the funds. At one point I had a completely different cast and was going to shoot the film in England and then a piece of casting fell out, which caused the financing to crumble, which caused other actors to leave and overnight you find yourself literally back to square one. But, in the end, I firmly believe and now have tangible proof that you end up making exactly the film that you were meant to make, with exactly the right cast and heads of department. It's like you're on some torture wheel and then suddenly the film gods smile on you and say ok, we've tortured this poor girl enough, she's not giving up, let's let her make her movie.
Some background on the cast:
I had a fabulous casting director, Deb Aquila, who fell in love with the script early on and stayed on for the several years that it took to get Emanuel off the ground. That was key. She's very well respected in this business so when agents got a call from her they listened and were willing to read and pass on to their clients. Access is key and she provided that for me as well as so much more over the years in terms of support and friendship.
I wrote the film originally for Rooney Mara, because having cast her in her first film (and mine), Tanner Hall, we had become close friends and post Tanner we were both looking for our next projects. So, I decided that I would write her a film. She was instrumental in feedback early on in the script writing process, literally getting the pages as they came out of the printer. Unfortunately, it took years to get Emanuel off the ground, so it was no longer believable that Rooney play a seventeen year old, besides all of her scheduling conflicts, that we decided it would be best if I moved on and searched for a new Emanuel. Enter the fabulous Kaya Scodelario. But actually not that quickly or easily. First, I met and read with what seemed like every young girl in Hollywood, by no means a painful process, however I couldn't find Emanuel, not because the girls weren't great, some even blew my mind, but they just weren't Emanuel. And because the whole movie rides on Emanuel, I was flat out unwilling to make the film unless I found the exact right girl, which I found in Kaya.
Alfred Molina was one of the first actors to sign on and to his credit (and my profound gratitude) he never flinched when cast and financing came and went. He was rock solid and that helped keep us anchored able to attract other talent, because he is such a fabulous and well respected actor, not to mention one of the loveliest humans I have had the pleasure to meet.
Jessica Biel was not on my short list of actresses for the role of Linda, simply because I had not seen her do anything like what was required for the part of Linda, but that is precisely what drew her to the part. She knew she had it in her and she was right. We went to lunch, she asked for an audition and she knocked it out of the park. She really is going to be a revelation to audiences in this role.
Frances O'Connor came on board shortly thereafter and really gives such a nuanced performance, bringing so much more to the role of Janice than I could have hoped for. Jimmi Simpson I had been a fan of for a while, so was happy to get a chance to work with him and he brings some much needed humor and a fantastic performance. And Aneurin Barnard (also cast out of London, along with Kaya) was recommended to me by Kate Mara, Rooney's sister, who had worked with him. He turned out to be the perfect Claude. Love him, such a find.
Next: Kim Longinotto on Salma, competing in the World Cinema Documentary Competition
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Salma, directed by Kim Longinotto
Synopsis:
When Salma, a young girl in South India, reached puberty, her parents locked her away. Millions of girls all over the world share the same fate. Twenty-five years later, Salma has fought her way back to the outside world.
Salma quick pitch:
It's about a young girl who, according to village tradition, is locked up as soon as she reaches puberty. She's tricked into marriage & totally isolated from the outside world by her husband's family. She defies them all by managing to smuggle poems out which give vent to her secret anger and desires. Eventually, they reach a publisher and cause an immediate sensation. The village is scandalized, but she survives its wrath and becomes a renowned poet and later, a government official, living in Chennai city. The film returns to the village with her as she bravely confronts her cultures' hidden violence and contradictions.
Why it's worth checking out at Sundance and beyond:
Salma is about families and how they trap us, destroy us and comfort us. The film takes the audience straight into a hidden world: a remote Tamil village in South India. But it will surely resonate with the viewers' own experiences on many, many levels. It's also an exhilarating encounter with a survivor, a true pioneer - Salma.
How it all came together:
How do you bring a story to life where much of the drama has happened in the past? I always prefer watching and making films where the action unfolds in front of your eyes. I had to make this film differently. I hope it feels very immediate and vivid and the audience will get involved in the startling present-time scenes.
The village is the most extraordinary place. It's not just a community; it's a set of rigorous, often brutal laws. Everyone who lives there is afraid of transgressing an unspoken but very exacting code of conduct. We had to find a way to get the audience to truly feel this.
Next: Gabriela Cowperthwaite on Blackfish, in the U.S. Documentary selection
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Blackfish, directed by Gabriela Cowperthwaite
Synopsis:
Notorious killer whale Tilikum is responsible for the deaths of three individuals, including a top killer whale trainer. Blackfish shows the sometimes devastating consequences of keeping such intelligent and sentient creatures in captivity.
Blackfish quick pitch:
The story shows us what can happen when you put one of the world’s most intelligent, powerful, and beautiful predators in a tank of water, make them do tricks, and “add humans” to the recipe.
Why it's worth checking out at Sundance and beyond:
Oh I think you might be in for a ride. I guess I’m hoping you experience the same shock and discovery I experienced while making the film. But I had 2 years. You get 82 minutes!
How it all came together:
I think the thing that takes everybody by surprise is that I took my kids to Sea World multiple times before making this film. When I started making the movie, I thought I was making a movie about the death of a trainer. It was only when I started filming that I discovered that nothing in this industry is what it seems. I was blown away by what I learned. So from that moment on, I think the biggest challenge for me was not putting things in the film. There was so much disturbing information, I found myself wanting to shoe horn any alarming fact into the film, even if it wasn’t part of the story. But in the end, I refrained because I didn’t want the film to feel manipulative. I knew if we had a chance to make this film stand out, it would be because we stuck to telling the story, not inundating an audience with damning facts designed to scare them or piss them off. So one of my strongest challenges was staying disciplined about telling the story.
I think another of the biggest challenges was trying to interview people. It’s amazing how terrified people are of that marine park. Sometimes people would be willing to speak anonymously, but even they would eventually back out for fear of repercussions. Twice we had already flown to locations, unpacked our gear, only to learn that our interviewees had backed out. It was frustrating. This extends to other parks too. Our fixers at Loro Parque were terrified of being on camera for fear of what the owner of Loro Parque would do. They stood away from our cameras and whispered when they spoke. I want to say there was nothing to be afraid of, but we were followed and our pictures were taken on more than one occasion.
On the Blackfish clip (above):
The clip is actually our opening. I thought of the scene while I was interviewing a trainer. He was describing what it was like to do a “rocket hop.” This is a trick the experienced trainers do at Sea World, where the trainer is launched up into the air essentially off the nose of an orca. To me, the scene is a visual metaphor for the spectacle of the show above water versus the reality underneath. Above water you see a brilliant spectacle, a beautiful show with happy animals and trainers. Beneath the surface, you see what could arguably turn into a terrifying interaction at any moment. It still scares me every time I watch it!
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