That's interesting to hear you say that because watching it [the Waitress] for the first time at Sundance was fascinating - it was so different from the experience of making it.
Slamdance actually is indie and rebellious. Sundance obviously felt threatened.
[Sundance is] giving people a chance - many first-time filmmakers. It carries that weight - if you bring something here, people connect with it and it can launch a career.
[Sundance] still feels like an incredible place for championing emerging voices and art.
It still feels like an honor to bring something [on Sundance].
[Sundance] still feels significant. I don't think you can help but come here and not feel that sense of history and its significance in influencing film. And I think it still does. Some of that is based on history, but it's also based on really incredible programmers who are showcasing such an incredible variety of cinema.
More people have seen 13th on Netflix than have seen all my films put together between the Sundance winners and Selma, and the whole international distribution of film.
There's so many great films coming out. It's still kind of astonishing to me how certain films get ignored, and that film ended up getting ignored and didn't get the attention that it deserved at Sundance.
I initially thought it was going to feel weird to be [on Sundance] while [the marches against now-President Donald Trump] was happening. And feel disconnected in that way that feels irresponsible. But the other side of it is that there are people here who believe the right things that are trying to make a difference with art.
We all have to draw some lines. To preserve my sanity, I steer clear of cooking, professional sports and most imports, unless imported to us via PBS, Sundance, etc.
I remember when we were at Sundance, we were in Robert Redford's screening room, and I had never seen the film look so beautiful or sound so great. It was really big and really powerful, and I had a sense of accomplishment in finishing a project like this.
I think when I envisioned my documentaries, what I wanted to do when I left, I had no business doing those documentaries. I didn't know what I was doing. I was delving into an arena that I had no experience in, and Netflix paired me up with two documentarians that really executed my vision perfectly. That was great, to see that. All of a sudden I'm at Sundance, and those are premiering. I just thought, "Wow, they were four ideas I pitched one day, and now it's coming to fruition on this scale."
I think we're used to the black filmmaker coming in and making the all-black subject matter. Especially at Sundance, they're looking for that. It's funny because amongst my filmmaker friends talk about this.
Cheryl [Hines] and I sat through two screenings at the Sundance Film Festival and during the second one, we said to each other: "You know, we don't have to get sad about this. Let's try to enjoy this. Let's just watch it. It's a happy movie [Waitress]."
Sundance [festival] is all your Hollywood buds and buddies and rolling out and high-fiving and "Hell, yeah. Here comes the movie," and in Venice, it's very elegant, and respectful...It's decadence. It's such a fun way to formalize a movie that is for us a down-and-dirty, gritty movie. And to see it with the red carpet, and rolling up in a Maserati.
Sundance is just a great place for your work to be seen. Not much more to say about it than that.
It didn't get into Sundance although I showed a rough cut which is a mistake to all filmmakers out there.
Then I did The Tao of Steve and that was at Sundance in 2000 where it did really well.
Sundance claimed to be "rebellious" on all of their programs, but they are not. Most of the movies at Sundance were multi-million dollar pictures that were already guaranteed a theatrical release.
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