Here are Greg Beal's thoughts on Sundance, taken from another board:
"Entering Sundance as a writer only is problematic. Yes, scripts will be requested on the basis of the pages and synopsis from hundreds of entrants, but the lab participants will mostly be drawn from folks who fit at least some of the following:
1) invited entrants who completely bypass the first cut process;
2) writers and writer-directors known to the Sundance administrators and/or mentors;
3) writer-directors who have had shorts and/or a feature in previous Sundance festivals;
4) writers with some combination of attachments (i.e., director, producers, actors);
5) writers and writer-directors with a film at the project stage (various elements and some or much financing in place);
6) writers and writer-directors recommended to the Sundance administrators by established film folks (often festival and lab regulars).
I was told years ago by one of the Sundance administrators that they were seeking projects that needed one extra push in order to go into production.
Consider this example: Ed Burns was a lab participant (with She's the One) after Brothers McMullen was an indy hit.
What writer competition entrants can hope for is: a miracle; or notice this year that will cause them to be invited to submit in a later year."
While I advanced beyond the first round a couple years ago, I take Greg at his word and will pass on entering until I'm looking for that "extra push."
That might have been the best answer to a question I ever got on this board. And from Greg no less (we had some issues in other threads...)
This is what I was wondering... if it's for me "novice filmmaker" or Ed Burns types...
It just seemed that even though it's a long shot... it's still great if somehow you get noticed.
What happened to you? You advance past the first round.. then what is the 2nd round? You send in the full script? An interview? Do they ask if you are a director as well?
Yeah, those damned flying monkeys and scary witches with their insider connections to the Great Oz. Might as well camp out in Munchkin land. At least you can get apples thrown at you by the scary trees.
(Whoever said there's no such thing as a free lunch?)
I already paid my $30 bucks so I have to go through with it.
Yeah, those damned flying monkeys and scary witches with their insider connections to the Great Oz. Might as well camp out in Munchkin land. At least you can get apples thrown at you by the scary trees.
(Whoever said there's no such thing as a free lunch?)
I already paid my $30 bucks so I have to go through with it.
I have made it past the first round a few times, but when John Leguizamo beats me out for the "little indie that needs a hand" slot, I sort of gave up on the program.
But don't worry, Tony Gilroy doesn't qualify for the Silver Screenwriting Competition or the Nichols. ;-)
But I have some new developments for my script so I may apply anyway.
What happened to you? You advance past the first round.. then what is the 2nd round? You send in the full script? An interview? Do they ask if you are a director as well?
I submitted the full script and got a rejection notice a couple months later, as I'm sure 99% of the applicants in round 2 did.
The bottom line is that they probably hold open one or two spots, if any, for candidates who aren't known to the institute, or who don't bring some sort of packaging to the table. So until I'm that sort of candidate, I'll just heed Greg's advice.
I've gotten close twice, once in 2003 and once last year. Last year I didn't even apply but they called me on recommendation of someone here at the local IFP office after the McKnight win. They waived the fee and application process and I still didn't make it. I agree with the opinion that it takes a certain amount of planet aligning (GREAT script, someone on the inside and a executable plan) I think what they're really looking for is someone who is bringing not just a screenplay but a package to the table and who is serious about getting the film made and will meet them halfway to do so.
When you guys talk about people "serious about getting their film made" what exactly do people think we're doing, writing this stuff for our health? Wouldn't you think a person who takes 8 years out of their life to devote her/his life to learning the craft of screenwriting is a tad bit SERIOUS?
The Sundance Institute stipulates that it receives a separate credit and a certain percentage of the film's budget when the movie is made. So the bottom line is that Sundance Institute picks projects that are already very close to being set up. A script with just the writer attached has an extremely slim chance. A packaged project that needs one little push to go into production has a very good chance.
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