Sundance Quotes

Then I did The Tao of Steve and that was at Sundance in 2000 where it did really well.

Sundance is just a great place for your work to be seen. Not much more to say about it than that.

It still feels like an honor to bring something [on Sundance].

Nobody sees the same movie. I'm sure there are people who saw Butch Cassidy and the Sundance Kid and thought "Finally a gay movie about men who really care about each other. Thank God!" That's not what I saw necessarily but I don't think any two people see the same movie.

I think what Robert Redford established is amazing; thank god for Robert Redford. He's set an amazing example with Sundance and I hope to follow that in my own way.

Doing anything on a movie at Sundance is great.

I always wanted to go to Sundance.

I'll just say it: I love Sundance; my very first film won Sundance.

Small price to pay for beauty.

You know, when I was a kid, I always thought Id grow up to be a hero.

Sundance is weird. The movies are weird - you actually have to think about them when you watch them.

Slamdance actually is indie and rebellious. Sundance obviously felt threatened.

It 2001 when we started. But prior to that, I had made this website called sundancepics.com, where me and this other photographer, Randall Michelson, could sell our images from Sundance online and it was successful. Steve Granitz, who's my main partner at WireImage, we were already working together, and I was like, "Look dude, this is it. We can do this."

I always bring it up to my lawyer every now and then. And another reason we have to revisit it is because there is a restoration going on right now for the film through UCLA and Sundance.

When I was younger I saw a movie called 'Butch Cassidy and the Sundance Kid' with Paul Newman and Robert Redford. Those two actors and that movie was my inspiration to want to be an actor.

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.

I met Evan Rachel Wood, James Woods, Kevin Bacon at Sundance. Steve Buscemi is pretty laid-back. I met Judy Greer in Vegas, and she was cool.

Never give up. I do believe it is harder for female directors. I have been lucky to receive support from the Sundance Institute for my first film. I'm eternally grateful for their support. I think you need to be surrounded artistically and follow your intuition - always follow your intuition.

I'm not good at watching stuff that I'm in at all. I should stop. I shouldn't watch something for the first time with a room full of people at Sundance. It's not a good idea.

I've been able to carve out spaces for myself. At Sundance, I'm in the mountains - my property is private. I get on a horse and ride for three, four hours. Sometimes five. I get lost. But when I'm in, I'm in.

By the time you arrive at Sundance as a filmmaker, you've been living with your film intimiately, and scrutinized every frame, and probably aren't happy with - or at least I'm never happy with it - and you've seen it in the roughest of states, and you lose perspective, really.

It didn't get into Sundance although I showed a rough cut which is a mistake to all filmmakers out there.

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]."

I'm about to go to Sundance for my 3rd year, and Sundance has never felt like a real independent festival at all. On the other hand, it might to start feel that way.

It feels kind of good to be [on Sundance]. There is a sense of unification and community and voices rising together, and that all feels good.

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.

Fair or not, it always sucks when everyone wanders back from Sundance talking about how bad the movies were.

[Sundance] still feels like an incredible place for championing emerging voices and art.

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.

Sundance was started as a mechanism for the discovery of new voices and new talent.

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.

Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

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.

What's great about the Sundance Film Festival is the festival takes over that town as it's intended to do. But, it's very focused on a lot of other filmmakers and distributors so it almost feels like, while they're a lot of so-called civilians there, it's an opportunity that you have to see, to show your stuff to the other folks, your peers really, and to get that reaction.

[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.

[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.

There's a lot of hyperventilation that takes off before the [Sundance Film] Festival, a lot of buzz. Every year we hear, this is going to be the new this, this is going to be the new that, and it never is. The buzz just doesn't mean anything. I'm glad it doesn't. Because I think the festival shows that what succeeds is content.

Once you leave Sundance suddenly you run into bulldozers and concrete and cranes, and all that heritage that the Mormon culture used to be so proud of is turned into out of control develpoment.

Sundance is a really special place. They're very protective of movies, especially lower-budget movies.

There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.

Kid - the next time I say, 'Let's go someplace like Bolivia,' let's go someplace like Bolivia.

This movie [Don Jon] played at Sundance and South by Southwest and Berlin. And it just played - well...by the time it played at Toronto recently, it was already done. But getting to watch it with a thousand people is hugely informative.

I play the guitar. This year at the Sundance film festival, I joined the band from 'The Guitar' on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.

I suppose it's possible that the Sundance Kid didn't like to make much of his birthdays — they may have struck him as just another reminder that his draw was getting slower by the year—but what if he truly liked a major celebration? What if he looked forward every year to marking the day of his birth with what they used to call in the West 'a real wingding, with pink balloons and a few survivors'?

I think it took us all by surprise. I mean, I knew that people in New Zealand would like [Hunt for the Wilderpeople], but no one really anticipated how much they would embrace it as it is. And it's playing widely in Australia now; they're running it as well. It's going to be interesting to see how it does it in the States, but I think if Sundance was any indication, I imagine it could do well.

I've heard a lot of variation of similar questions, but it's interesting to see the variations of audiences and how different people respond, so I think it's all valid. I don't take it personally at this point, which I probably would have at Sundance. But it's really thrilling.

As an actor and as a person you come together with being in familiar territory although that has not been my whole life. That's been a part of it. I think a lot of people associate me with the west because of Sundance.

[ 'American Dream' ] probably will [go] somewhere in Europe. You get 3000 entries [to] Sundance, and how many movies get [screened]? So, I'm a realist. I'm very much realistic in terms of if this movie will be released in the States. Probably not.

I'm not really a Sundance baby, but they helped me so much I feel I have to acknowledge it.

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.