Sundance, Steeped in Weinstein Mystique, Enters a New Era
- 6 years ago
Sundance, Steeped in Weinstein Mystique, Enters a New Era
But the mix of movies this time around could also be a factor; some distributors complained
that films that premiered early in the festival were flawed, including the opening-night selection, “Blindspotting.”
“It’s not as big of a marketplace for finished films as it was in the ’90s and early 2000s,” said Mr. Bernard of Sony Pictures Classics.
“He was just the loudest and the media followed and built him up.”
Tom Bernard, the co-founder of Sony Pictures Classics, who has attended Sundance since its inception and shepherded such celebrated indie films as “Whiplash” and the current Oscar contender “Call Me By Your Name,” said in an interview
that the festival had matured and diversified in ways that the news media often ignored.
Last year, those two streaming services, both official Sundance sponsors, snapped up at least 14 movies, including spending $12 million for “The Big Sick”
and $12.5 million for “Mudbound,” accounting for more than a third of total festival acquisitions.
“There are two different worlds intersecting, one that is traditional and focused on ticket sales and one
that only cares about signing up more subscribers,” said Peter Broderick, a film distribution strategist.
“But it’s still an enormous marketplace for talent: Casting people looking for actors, producers looking for directors
and cinematographers.” (One example from recent years: After gaining attention at Sundance for quirky films like “Hunt for the Wilderpeople,” Taika Waititi went on to direct “Thor: Ragnarok” for Disney.)
This year’s primary festival lineup — 122 feature-length films culled from 3,901 submissions — includes many movies that examine race.
But the mix of movies this time around could also be a factor; some distributors complained
that films that premiered early in the festival were flawed, including the opening-night selection, “Blindspotting.”
“It’s not as big of a marketplace for finished films as it was in the ’90s and early 2000s,” said Mr. Bernard of Sony Pictures Classics.
“He was just the loudest and the media followed and built him up.”
Tom Bernard, the co-founder of Sony Pictures Classics, who has attended Sundance since its inception and shepherded such celebrated indie films as “Whiplash” and the current Oscar contender “Call Me By Your Name,” said in an interview
that the festival had matured and diversified in ways that the news media often ignored.
Last year, those two streaming services, both official Sundance sponsors, snapped up at least 14 movies, including spending $12 million for “The Big Sick”
and $12.5 million for “Mudbound,” accounting for more than a third of total festival acquisitions.
“There are two different worlds intersecting, one that is traditional and focused on ticket sales and one
that only cares about signing up more subscribers,” said Peter Broderick, a film distribution strategist.
“But it’s still an enormous marketplace for talent: Casting people looking for actors, producers looking for directors
and cinematographers.” (One example from recent years: After gaining attention at Sundance for quirky films like “Hunt for the Wilderpeople,” Taika Waititi went on to direct “Thor: Ragnarok” for Disney.)
This year’s primary festival lineup — 122 feature-length films culled from 3,901 submissions — includes many movies that examine race.