BY BECKY BRETT
The Sundance Institute, the organization behind the Sundance Film Festival,
is more than just a hip stop on your way to stardom. Currently in its
20th year, the Institute is a multi-disciplinary arts organization dedicated
to the development of artists with an independent vision and to the exhibition
of their new work. Located in Sundance, Utah, the institute offers emerging
artists the opportunity to hone their craft and express their independent
vision through a variety of programs.
Each year 15-20 projects are selected for support in the Feature Film Program (FFP). Although artists in all fields–writers, directors, visual artists, choreographers–are encouraged to apply, Michelle Satter, director of the FFP, feels that the biggest misconception about the program is that they only select filmmakers they know. "We are first and foremost interested in discovery," she said, noting that they look for a "unique voice telling a story we haven’t heard before."
When an applicant is accepted into FFP, Sundance makes a proactive commitment to that person and works with them year-round to develop their project. In doing so, they strategically connect producers, casting and financing to the project and provide equipment to help the filmmaker realize his or her vision.
Satter points to the vast range of films and filmmakers that they’ve supported as an indication of success: Kimberly Peirce (Boys Don’t Cry), John Cameron Mitchell (Hedwig and the Angry Inch) and Paul Thomas Anderson (Hard Eight) to name a few. According to Satter, "We are interested in regional stories that bear witness to the world we live in."
However, acceptance into the program does not guarantee that a feature film will be the end product. Sometimes it is the artist–not the work–that becomes the focus of the support. Satter refers to this philosophy as being "artist-focused and project-driven."
The Screenwriters and Filmmakers Laboratories comprise the two main components of FFP. The Screenwriters Lab, held twice a year, facilitates writers in developing their screenplays–through story conferences and group sessions–under the mentorship of veteran screenwriters. Former program advisors include: Allison Anders, Paul Attanasio, Walter Bernstein, Aida Bortnik, Scott Frank, Charles Fuller, Nelson George, Richard LaGravenese, Frank Pierson, Tom Rickman and Waldo Salt.
Projects from the Screenwriters Lab that are ready for further development are then considered for the Filmmakers Lab, a three-week workshop for writers and directors held each June. The Sundance Institute provides a company of professional actors and all the equipment needed to rehearse, shoot and edit the project on videotape. Filmmakers work under the advisement of seasoned writers, directors, editors, cinematographers and producers. (The next open application deadline for the 2003 Labs is February 15 to May 3, 2002. Applications are available online at www.sundance.org.)
Surprisingly, The Sundance Institute is committed to more than the development of film. Philip Himberg, who joined the Sundance Theatre Program in 1996 as its artistic director, says that many people don’t even realize that it exists. "The heart of our program is the Lab," he says, which enjoys a strong reputation among playwrights, but relative anonymity with the general public.
The Theatre Lab is a three-week workshop held each July, which offers theatre artists–playwrights, directors, choreographers, composers, solo performers, and ensembles–support to develop new plays and musicals or to explore new approaches to existing scripts. The Lab accepts projects in all stages of development and tailors the process for each artist. They provide actors, rehearsal rooms, a writing room, a music room and a staff of established playwrights, dramaturgs, directors and other artists to provide feedback and guidance.
Chicago director Anna Shapiro participated in the 2001 Theatre Lab as director of When Grace Comes In by Heather MacDonald. According to Shapiro, the schedule was grueling for the actors and playwright. Actors are generally double cast in two projects, and each project rehearses every other day to give playwrights time for re-writes.
The Lab serves the writer and the writer’s process, but offers great exposure for other theatre artists involved. A company of approximately 30 actors from all over the nation are cast in multiple projects. Although there is no physical theatre space, designers have been known to participate in the development of text.
As with Satter, Himberg is most proud of the artists he finds who are breaking traditions, taking risks or approaching the familiar in a new way. Since projects selected are at varying stages of development, from finished scripts to sketchy outlines, Shapiro notes, "The point is not to perform it. It’s about table work."
In addition to new play development, the Theatre Program has a significant producing wing. Robert Redford built an outdoor summer theatre, where the Sundance Theatre Program presents musicals from June-August. The Theatre Program also runs a touring children’s theatre and an international children’s theatre program. They recently ventured into new producing territory with the opening of War Letters, starring Treat Williams and Mario Van Peebles, scheduled for Feb. 17 in Los Angeles. It is the first co-production effort (with The Canon Theatre) of a play that was not developed in the Lab.
Other programs offered by the Sundance Institute include: film music, a composers lab, a screenplay reading series, the Native American program, an Independent Producers Conference, Writers Fellowship, and the Sundance Collection at UCLA.
The Sundance Institute has a thorough Web site (www.sundance.org) where you can get information about all of their programs and application materials. The Institute itself offers emerging artists resources, both physical and advisory, beyond what most people could get on their own. These resources are available to participants even after leaving the program and may provide ongoing support throughout their careers.
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