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After that, they had a solid, Sundance-friendly package to bring to producers at Big Beach Films. It's a gift for you to be able to share your life, and a gift for the audience and if you're telling stories that aren't personal to you, it's a waste of that gift. But part of that is convincing people to believe in the same things you believe in. And then I had to come to [Sundance] and talk like a real director, and figure out how we were going to get the film out there. But to earn a slot in competition, to really make an impression, filmmakers often need to secure some festival-friendly talent -- even before they secure funding -- and hope their film can break out of the pack.
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Because of the team he's built -- "a bunch of real smart people in cool, expensive clothes" -- he said he can enjoy himself a bit more. Though Trevorrow is a Sundance first-timer, he's built an industry knowledge base and personal network over the years that helped buoy his initial outing. I was just not very confident, out of sorts. Directing "is definitely an enterpreunerial art," Trevorrow said. But then I was there, like 4 in the morning, on Skype with the editor. Though each film dug deeply from experiences in Mohan's own life, the slightly higher profile of "Save the Date" has made this year's outing a lot smoother, Mohan said, and he's more confident that the marketing side of things will work itself out. For Jessie Ennis, the youngest filmmaker with a festival entry and a junior at Sarah Lawrence College in New York, Sundance was an auspicious experience, especially considering the humble beginnings of her initial filming and editing process.
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They then brought the project to indie pioneer Mark Duplass, who'd been at the helm of some Sundance favorites over the years "Cyrus," "Humpday," and "Baghead," among a starring role on the FX comedy, "The League," and asked if he'd produce and act in the comedy. Luckily, many of these filmmakers have amassed networks and contacts that enable them to tell the story they want, while utilizing well-known performers willing to work for very little. And then I had to come to [Sundance] and talk like a real director, and figure out how we were going to get the film out there. To do so, they often have to straddle a line between the personal and commercial, ensuring their films have a life beyond the the festival. Good movies always find an audience. And while each came into the with varying levels of experience, they seem excited, proud and lucky to attach these friends and acquaintances who can draw other kinds of attention. The Seattle Times noted that the audience at Sunday night's screening of "Safety Not Guaranteed" "broke into spontaneous applause and cheers before the movie even hit its final scene.
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