FilmUtah Magazine 2011

 

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film the buzz on the film biz 25 incentive 127 hours in utah production and post digital workflow sundance at an infinite scale environmental design at the festival section 181 filmutah.org 100 tax deduction for film investors on the a-list q a with sundance party list guru christopher ryan 2011

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contents before wrapping up in may 127 hours directed by danny boyle the oscar-winning director of slumdog millionaire employed more than 150 utahns and pumped approximately $14 million into utah s economy governor herbert s priorities report filmut ah 2011 issue 02 publisher s letter local president ceo publisher managing editor john corser john@filmutah.org 435 200 3460 vp marketing sponsorships jim erickson jim@filmutah.org art director graphic designer michelle rayner michelle@filmutah.org contributing editor kathy jarvis kathy@filmutah.org contributing writers josh van bruggen brenda upright david cummins natalie needham 01 filmutah office 125 matterhorn drive park city ut 84098 435 200 3460 letters@filmutah.org 04 07 09 the look of sundance enviromental design at infinate scale section 181 financiers bonus for funding films 25 incentive signed by governor home delivery 435 200 3460 filmutah.org follow filmutah on 14 19 26 filmutah filmutah filmutah 127 hours on set 127 hours post workflow 3d additional revenue stream filmutah.org 2011

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john corser publisher s perspective 02 what a year for utah 127 hours nominated for six acamedy awards the 2011 sundance film festival had record sales filmutah promoted the state at six festivals including cannes and toronto and hosted producers from three production companies and a network tv series i m looking forward to a very exciting 2011 the big news though is an increase in the film incentive when other states are cutting theirs we now offer a 25 incentive see details on page and when you factor in utah s professional crews existing infrastructure and exceptional locations it becomes highly competitive with any other film incentive program if you re considering places to shoot your projects you should definitely look here in utah we have the experience the resources and locations to fit virtually any project i look forward to seeing you john corser publisher filmutah.org 2011 john corser is an award-winning producer of commercials music videos features television and documentaries his productions have spanned 20 countries and 5 continents john founded corser inc in los angeles 1991 a motion media production service company specializing in marketing promotions and advertising with offices in los angels ca park city ut denver co and detroit mi when john moved his home to utah he immediately recognized utah s outstanding locations and professional crews john founded filmutah in 2009 a non-profit utah corporation dedicated to promoting media professionals in utah through filmutah magazine filmutah.org website and filmutah seminar series

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location incentives location the three rules of location scouting 03 sri sri radha krishna temple in spanish fork film in utah valley and get local incentives that make it the perfect place to shoot with over 100,000 square feet of soundstage and state-of-the-art production facilities you can have l.a quality locations crew and talent without l.a fees you ll also have access to utah s deep crew base excellent equipment availability and wide variety of professional talent filmutahvalley.com 888-350-utah 8824 historic utah county courthouse robert redford s sundance resort for assistance in scheduling your next location or to learn more about utah valley film commission incentives call 888.350.8824 or visit filmutahvalley.com historic downtown provo

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written by infinite scale partners amy lukas molly mazzolini cameron smith the look of sundance 04 has a look and feel that gives it a signature branded environment by creating a sense of place in other words you know that it s time for sundance ­ it s here infinite scale design group a graphic design firm based in salt lake city is responsible for creating a temporary branded environment featuring the look of the 2011 sundance film festival the sundance institute hired infinite scale three years ago to be a part of its creative team infinite scale is hugely important to our festival said jennifer pentes senior manager creative services and marketing they are central to creating the audience experience on the ground the look of sundance starts the summer before when we are introduced to the festival theme for 2011 the theme is be there which is referenced in the style guide as a call to join the festival not only in person but in spirit the sundance experience is fantastic in person but if you can t be there in person the festival wants you to participate via their website and even in a national platform called the sundance selects program another key component or look symbol in the 2011 sundance film festival is the snowflake at first glance it is a solid snowflake representing the local flavor of the host cities but up close it is made up of many icons which cleverly represent all-things sundance from movie characters to local references from either viewpoint it suggests another way to experience the history of the festival or the current celebration once we have a transfer of knowledge from the client we will visit all of the venues from the various theatres box offices festival headquarters and retail stores the goal is to gather measurements document each venue and connect with each facility manager in addition to these official venues there are special sites for non-film events like the new frontier filmmaker lodge sundance house and music cafes between park city and salt lake city the look of sundance cohesively covers 25 venues every january since 1978 the park city and salt lake city citizens are privy to a 10-day film celebration when they welcome the sundance film festival and each year this festival infinite scale s role is to strategically develop an environmental master plan to ensure that the brand is properly applied into the festival s official venues it is reinforced via style color imagery and materials it is informative to all those who view it through branded elements such as thematic graphics and signage systems it not only creates an emotive experience for members of the film industry but also for fans and locals and finally it develops a powerful visual and cohesive connection to the sundance brand we have consistently relied on our signage to create an atmosphere of excitement and energy stated pentes since most of our theatres and venues have dramatic transformations for the festival we rely heavily on graphics and signage to make these places look consistent and recognizable once the design is completed approved by the client and the artwork files are prepared we are ready for the implementation phase which commences in december simultaneously throughout the infinite scale design process we are thinking about the afterlife of the event graphics following the 10-day festival we want to reclaim what we can and repurpose these dated materials so that the end goal is to divert content from the landfill the over arching sustainable strategy that the sundance institute continually activates includes the opportunity for another collaboration with not only our team but also with infinite scale s subsidiary rescale design rescale focuses on the eco initiatives not only for our studio but also for our clients its purpose is to turn the event materials such as vinyl into high-style products like bags albums ipad covers or journals both rescale and sundance have a key team member in common crosspointe design and consulting it has been exciting and rewarding to work with both rescale design and sundance institute on product design and development this past year said anne peters principal and owner of crosspointe as the merchandise consultant for the festival i utilized rescale design to continue the development of our banner vinyl program these products are all one-of-a-kind which additionally lends a unique and individual perspective no two are alike making each one special and personal we now look at all materials from each festival with an eye for next years product filmutah.org 2011

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05 this year s product line includes banner tote bags banner script bags and banner backpacks using last year s event vinyl the bags are made to be an exclusive product for this year s virtual store and physical stores at the physical stores located at the gateway center or park city marriott each customer has the opportunity to select the bag design based on the availability and knowing that the vinyl materials are going to be transformed into products at the end of the festival infinite scale thinks about this end use at the beginning therefore it is all turnkey and designing with the end in mind it takes a team of collaborative designers production partners and installers to integrate the entire festival venue campus ­ banner by banner and when these graphic elements are taken down after the last film is premiered they have a future life at the next fest ­ bag by bag collectively the look of sundance is a powerful and connective expression yet temporary themed environment whether you see it as a banner or a bag experience it yourself be there the sundance film festival is one program of the sundance institute a nonprofit organization that discovers and supports independent film and theatre artists from the u.s and around the world and introduces audiences to their new work information about the 2011 sundance film festival including the film guide can be found online at www.sundance.org/festival or the online festival store at www.sundance.org/store infinite scale design group is an environmental graphic design firm based in salt lake city that specializes in branded environments see project videos from recent projects like the look of new meadowlands stadium at www.infinitescale.com/video rescale design a subsidiary of infinite scale is dedicated to transforming event materials and turning them into high-style products vinyl and fabric collections can be viewed at www.rescaledesign.com anne peters principal owner crosspointe design and consulting 435.729.9291 avpeters@usa.net jennifer pentes senior manager creative services marketing sundance institute 435.901.0348 jennifer_pentes@sundance.org filmutah.org 2011

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written by hal corky kessler holida cheer for film financiers y the american jobs creations act of 2010 section 181 extension on december 16 2010 congress voted in the tax relief unemployment insurance reauthorization and job creation act of 2010 the president signed this into law on december 17 2010 with the american jobs creation act of 2010 section 181 was extended for two years all qualified films and television projects made in 2010 and all qualified films and television projects to be made or begun in 2011 will be covered under section 181 section 181 first came into effect in october 2004 under the american jobs creation act of 2004 under section 181 all taxpayers individuals or companies who invest in qualified films or television projects can have a loss of 100 of the money invested in the production in the tax year or years in which the production company spends the money invested each qualified film or television project can expense out to the taxpayer investors an amount up to a maximum of $15,000,000 per film or $20,000,000 per film if a significant amount is filmed or paid in a low-income state in television the amount allowed to be expensed out to the taxpaying investors is up to a maximum of $15,000,000 or $20,000,000 per episode for up to 44 episodes it is surprising that not many television projects have taken advantage of section 181 and its benefits i am amazed that not many filmmakers have taken advantage of section 181 since its inception in october 2004 the reasons that i am given from time to time are either that they knew nothing about it or that their attorney and/or accountant told them it was too difficult to use or did not work all of these reasons are false and are baseless excuses the application is simple and it works all of the films that i was the attorney on since october 2004 took full advantage of all of the benefits of section 181 there is one major issue that can affect the applicability of section 181 the accountant cannot capitalize the production expenses if the accountant does not know better and does in fact capitalize the production expenses the film or television project is disqualified from section 181 in the fourth quarter of 2011 and if section 181 is not being then extended all filmmakers and television producers should make sure all their projects are grandfathered before the end of 2011 this will assure that their films or television projects will have continued section 181 benefits for many years to come there is no excuse why filmmakers andindependent television producers should not use section 181 for all qualified films and in television projects failure to do so will leave investors without a recovery of their investment by using section 181 benefits on their tax returns when you take advantage of section 181 benefits and spend production funds in a state or states with good state benefits by means of rebates from the state or transferable state tax credits you can provide your taxpaying investors a recovery of their investment of .50 cents to .77 cents on every dollar invested there is no other business that can take advantage of these benefits this is the case regardless of any sale or distribution or revenue from the film or television project it is critical that film or television producers or film and production companies know about section 181 and its benefits failure to do so means they have the wrong attorney and/or accountant in addition to the tax reduction incentives under section 181 the income received also has some tax reduction opportunities under code section 199 which was also added by the american jobs creation act of 2004 under the manufacturing sections of the act film production businesses are considered manufacturing businesses from 2007 until 2010 manufacturing businesses can deduct from their qualified production activities income an amount equal to 6 of such income and from 2010 and beyond they can deduct 9 this deduction may also apply to television productions for example if $100 is received from 2007 up to 2010 then the taxable income is $94 if $100 is received after 2010 then the taxable income would be $91 section 199 provides income tax benefits to a taxpayer which are separate from those provided under section 181 a film could qualify under both sections however even if a film does not qualify for income tax benefits under section 181 the film may be a qualified film production pursuant to section 199 if a direct labor and overhead costs incurred within the united states account for 20 or more of the total costs of the film and b 50 or more of the total cost of the film is spent on services performed in the united states in addition expenses incurred in puerto rico are allowed to take advantage of section 199 section 199 does not sunset hal corky kessler deutsch levy engel chtd 312.346.1460 kessler@dlec.com corky is an adjunct professor in the film department of columbia college and is an adjunct professor at northwestern law school where he teaches entertainment law corky has participated in seminars and speaking engagements throughout the united states 07 and canada if you think we re good with film festivals you should see us with film crews just 35 minutes from salt lake city international airport you ll find great facilities and crews historic main street modern and restored homes and shops and olympic venues visit parkcityfilm.com or call 800.453.1360 filmutah.org 2011

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director marshall moore ut ah film commission the utah film commission is proud to continue our partnership with filmutah over the past year filmutah has made positive impacts in showing utah as a major filming destination through the years some of the most recognizable productions have taken advantage of utah s diverse scenery such as pirates of the caribbean at world s end independence day forrest gump thelma and louise the sandlot galaxy quest the high school musical 1,2,3 touched by an angel and everwood from the iconic westerns like the searchers to the more recent films 127 hours and john carter of mars utah has served as a backdrop for nearly 900 films this backdrop history of utah is documented by james d arc who after 30 years of research compiled his book when hollywood came to town a history of moviemaking in utah beginning in 1924 the book profiles a score of local charismatic figures who worked on many films in the state this comprehensive volume tells the true stories behind the films made in utah and is a must read for anyone that loves film history the state of utah being a top location continues on to today p3 update magazine in 2010 named the state of utah as one of the top 10 places to film in the nation and the world this is shown by the recent productions that have filmed in the state such as the last airbender guns girls and gambling the age of dragons unicorn city and peloton one tree hill dr who thrillbillies and bully beat down in addition to the diversity of locations there are over 3000 experienced film professionals available to assist with all your production needs and an extensive selection of high quality equipment available through the many support services that exist in the state utah s motion picture incentive fund has been used to attract over 60 productions to the state since 2005 utah now offers up to a 25 refundable tax credit or cash rebate based on a minimum direct utah spend of $1 million dollars the utah film commission is committed to providing quality service to all types of filmmakers and we would be pleased to assist with all of your production needs our staff is here to assist you from initial scouts and throughout principal photography and post-production 08 sincerely marshall moore director utah film commission filmutah.org 2011 john carter of mars southern utah 127 hours moab utah

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written by steve gooch 25 reasons to film in ut ah 09 1.8 million that s what 127 hours saved by shooting in utah despite the state being the perfect location the events in the academy award-nominated biopic transpired here filming in utah wasn t a sure thing these days location never is as costs rise producers have begun to look for value first before ever considering location it s a fact of the industry and a good tactic to rein in costs with today s technological abilities you can make a location anywhere on 127 hours for instance blue john canyon where aron ralston lost his arm and nearly his life was rebuilt thrice over in a salt lake city warehouse but because of the quality of process and ability you d never know it utah has been a prime location for moviemaking since at least the 1930s beginning in earnest when john wayne and john ford rode into monument valley to film some of history s finest westerns stagecoach the searchers fort apache since then the state has hosted films of all sizes from independent films to blockbusters like independence day and pirates of the caribbean at world s end utah offers so much to producers and filmmakers stunning locations high-level industry talent and one of the finest film centers east of hollywood but none is as important these days as the prospect of being able to shave a few percentage points off the budget here too utah delivers in spades the big bucks 127 hours spent $8.9 million in utah during their 40-day in-state production cycle for that outlay they got back the aforementioned $1.8 million tax credit another recent production that shot in state was john carter of mars which spent $20 million in-state and got $4 million back definitely not chump change but both examples will certainly be surpassed sometime in the next year or two why because utah recently revised its incentive when 127 hours producers were in the state from december 2009 to june 2010 utah s incentive local filmutah.org 2011

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continued 25 reasons to film in ut ah stood at a 20 percent return on all dollars spent in the state that includes money spent on local equipment rentals supplies incidentals and many other expenditures for the the money that s spent in-state the production gets a cut back starting in may 2011 however that incentive increases to 25 percent with the right choices the direct incentive stays set at 20 percent and includes the aforementioned in-state spending while the additional 5 percent comes into play when producers choose to take advantage of certain optional terms see `a 5 percent solution below it s a significant update the extra 5 percent alone would have meant nearly $450,000 to 127 hours and a solid $1 million to john carter so what drove the change and why now competitive streak it s all about competition now says john kelly executive producer of 127 hours everyone was going to canada before the local incentives kicked in because they were giving a kickback for the money you spent in the country competition for movie dollars has become increasingly stiff between states nearly every state has some kind of film incentive and the drive to outdo each other is the order of the day the tax revenue that film productions bring into town is significant and can be the difference between a filled budget gap and a closed program the competition presented by other states and countries created the need to expand the program but we didn t necessarily want to overcommit in order to remain competitive we felt a change was necessary says marshall moore directer of the utah film commission there were missed opportunities significant ones including true grit and cowboys and aliens those really hurt us [in 2010 the fiercest competition is contested between states and countries that offer similar geography for instance as moore mentioned true grit and cowboys and aliens scouted locations in utah but both productions eventually selected new mexico which offered the necessary location types just like utah s similar geography did but also had better incentives these losses both a-list productions had a hand in prompting the recent incentive changes kyle mallory co-founder and board member of the motion picture association of utah says the reason new mexico won both grit and cowboys was the state s 25 percent incentive the return on investment that new mexico offered made it feasible to shoot in the state despite having to fly in the necessary infrastructure from los angeles the thing that people often forget about utah says mallory is that utah is well-stocked with top industry talent in utah you can get a quality crew without flying them in from l.a and having to pay hotel expenses and whatnot he says the value-add in utah over other states is that we have a strong and established infrastructure it s one thing that some states historically didn t have and some states still don t have the value that utah provides was the reason 127 hours shot here according to kelly while shopping the production around he discovered that shooting in albuquerque was a better deal on paper but he knew from past experience he s shot other movies here including the world s fastest indian and lawrence kasdan s upcoming darling companion that utah would turn out to be the better proposition because many of the production s needs could be met locally you can rent all of your equipment in salt lake city you don t have to go to l.a for it kelly says it s a very self-sufficient film community if there s something specific that s needed they can buy it build it or at least rent it from someone else getting your share earning a check from the state for your time shooting in utah is as simple as spending money in-state the more people [producers hire and the more resources they use from the state the better their rebate will be the rebate is based solely on dollars left in the state says the film commission s moore he notes that to be eligible for a tax credit productions must spend a minimum of $1 million in the state because the incentive is post-performance the production company has to spend money before they can claim the incentive and the amount of the incentive is determined based on the receipts from their reporting and the state s auditing says mallory who was an architect of the original incentive plan in 2004 and was integral in its 2011 amendment according to house bill 99 the legislation that governs the incentive production spending is considered dollars left in the state if they meet one or a combination of five criteria 1 expenditures subject to corporate taxes 2 expenditures subject to individual income tax 3 expenditures subject to sales and use tax 4 income tax paid to the state on payments per-diems or reimbursements to nonresidents 5 tax withholding on payments to a payroll company or loan-out corporation registered to do business in utah boiled down the legalese means that what counts toward a tax credit are expenditures that are taxable by the state if you pay utah tax on it you can claim it towards your 20 percent a 5 percent solution the 2011 revision of the existing tax incentive added 5 percent to the amount that productions can recoup the way the incentive is structured makes the 20 percent portion the part tied to state taxes separate from the 5 percent which is optional on the part of the production producers can choose one of three routes to get the new 5 percent rebate a production can 1 hire a significant portion of in-state cast and crew while in utah 2 tack on a thank you to the state of utah or the utah film commission in the credits of the finished product 3 work with the film commission to determine a similar means of promoting utah s film industry the utah film commission is primarily responsible for bringing economic growth and job creation to the state through the film and television industry basically anything that uses a camera and creates jobs says moore our job is to promote utah s resources its people and locations that 5 percent is the means to that end and is likely the easiest percentage to get back it involves things most productions will do anyway when shooting in utah for instance hiring utah s top-shelf talent who can match or beat the work that producers can fly in from los angeles 127 hours kelly is a big believer in utah s talent pool when he was working up the film s production plans he pushed the studio to use local workers they followed his advice with impressive results a lot of the stuff you see of [actor james [franco inside the canyon the rock was done in salt lake he says the work from the local artisans was great chris demuri the art director brought it absolutely to life kelly notes that demuri and his team built three complete sets of the canyon where hiker aron ralston was trapped one for acting one for the amputation 10 filmutah.org 2011

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continued 25 reasons to film in ut ah scene and another for water effects it was a very amazing thing to be able to say to everybody at the studio that this was all salt lake city it was all utah `not a savings account i personally have pride of working in utah because i ve been part of it since the incentive started says kelly noting that the world s fastest indian which he co-produced was the first movie to get money back from the state of utah as part of the incentive program when i met with the governor on set and members on the hill at the capitol the argument was that you have everything in the state to shoot a great movie but the money isn t there to compete with other states now seven years from when the original incentive went into effect the winds have changed the first incentive set the stage for the future by bringing increasing numbers of productions to the state those productions brought the talent necessary to continue fielding better productions now utah competes easily with other states and routinely lands big-budget productions thanks to a robust pool of industry workers and experts the last key was the cash with the new incentive in place there s plenty to spread around and the will to do it the incentive program is not a savings account we want to use it says moore the reason you have an incentive program is to use it if you re not using it it s not serving its purpose the final sunset arguably the biggest change to utah s incentive was the elimination of the previous bill s sunset provision an expiration date after which incentives wouldnt be offered the sunset clause was misleading however because each previous iteration of the incentive bill since its 2004 introduction had such a clause and had always been renewed it was merely an annual hoop that required jumping through but the what if factor was always a concern kyle mallory co-founder and board member of the motion picture association of utah says the sunset clause needed to be stricken to bring more films to utah the mpau is a nongovernmental association of local film community leaders whose goal is to support utah s film industry mallory says that repealing the sunset clause was the mpau board s main focus during utah s 2011 legislative session he says that generating long-term income for the state and fostering increased growth for utah s film industry lies in luring a tv series to utah what we ve found in discussions with studios and producers is that they needed a guarantee that they could get an incentive for more than one episode says mallory killing the sunset provision was a demonstrably effective way of showing utah s commitment to long-term productions the benefit to utah of running a show in-state is an increase in high-paying industry jobs and continual tax revenue but the benefit to the industry is even greater because of the talent that long-running productions bring to the state and those who eventually decide to stay by the numbers a look at one production shot in utah and the state s overall incentive stats 127 hours total budget $25 million total spent in state $8.9 million 40 production days but in-state from dec to jun 2010 150 in-state cast crew hired tax credit $1.8 million utah motion picture incentive total spent in state $177.7 million 1,966 production days 4,725 in-state cast crew hired tax credit since incentive $25.8 million films made in utah since incentive 61 as of march 2 2011 these were the totals provided by the utah film commission and the governor s office of economic development 11 have you seen the light creative equipment rental solutions for the film and video industry large or small projects on a regional or worldwide basis the reliability of our equipment is backed by our personal service available 24/7 filmutah.org 2011 moving pictures ltd www.movingpics.net 812 w layton ave salt lake city utah 84104 801-973-0632 800-867-0632 mp 5.5x4.5.indd 1 4/15/11 3:00:42 pm

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written by kim bradshaw q a with kim 20 questions with christopher ryan sundance bing party list guru for 355 days of the year park city utah is a small resort town but for 10 days every january it not only transforms into a mecca for the independent filmmaker but it transitions into a hot spot for the most elite in the entertainment community while filmmakers are busy showcasing their movies to top industry power players the hollywood a-lister s are spotted along main street the epicenter of the festival where they frequent the most sought after parties and lounges so who better to provide the inside scoop on what transpires in park city during sundance than christopher ryan the guru of the highly coveted bing party list how long have you been attending sundance i did an internship for the utah film commission 13 years ago while attending westminster and i ve been coming to sundance ever since most of my business from both the management and marketing sides are at sundance so i end up having 20 30 meetings a day while networking with brands and event producers what do you do when you re not working i m the guy that attends the 8am screenings mostly because they re the easiest to get into since most festival goers aren t up at that hour what was the reason behind creating the list in the first place there used to be a ton of party lists with a lot of inaccurate information so once i started compiling one complete list with all of the party and event information and the event producers saw that it was only going to the right people they were more than happy to provide and correct information on my list that s how the list was born when did bing become a part of the list last year one of the event producers i worked with suggested branding the list and because bing is about information it was a great way for them to get in front of talent agents publicists and major press outlets to re-emphasize what bing is doing the great thing for the list is that bing was able to add in graphics and make the list pretty which is something i didn t think of doing my original list was typed in a word document they also made the list interactive for the viewer by adding bing map links to the addresses and creating bing searches to make it easy to learn about the sponsors i would imagine that compiling and distributing this list requires a lot of time and effort what motivated you to do it well i have to admit that there are advantages to keeping the list of events and parties it put me in contact with event producers and film publicists so i was able to attend parties that i normally wouldn t get an invitation to how do you decide which parties will make it and which get declined the parties on my list are the private invite only vip parties if it s open to the public or a cash bar party it doesn t go on the list i also don t list club promoter s parties because the people who receive the bing list would never pay to go to a party that raises a good question what makes a party at sundance a success good food good music and a name entertainer is always a plus if you can provide something to the guests that they can t see anywhere else a bit of exclusivity definitely helps i remember the motorola parties in the past were very exclusive so you felt like if you got in you were really in it was one of those tickets that was always really difficult to get but if you got one it was an amazing party with great talent and entertainment who are the chosen few that get access to this closely guarded list i receive calls daily from people who feel they should have access to the list but the ones who actually get access are film publicists talent agents event producers and major national press outlets how important is it for a party to be listed on the bing list it s pretty important even the parties listed in the hollywood reporter or variety use the bing list as a source if your party isn t on the list you may be overlooked at sundance this is simply because the publicists have the bing list in their binder it s their master source of all the parties and events happening for the week this is the list they use to know where everything is located and it s how they schedule their clients how early are plans set into motion to prepare for the events and parties during sundance the event producers are out in park city trying to secure space starting in october usually following labor day is when the brands start locking in and making commitments right after thanksgiving sundance releases the names of the films so there s heightened awareness that kick starts everyone into sundance mode what major changes have you seen over the years the parties used to all be in private houses in and around deer valley until the locals started complaining and park city changed the rules that s when the events started moving to main st and the prospector s square area as far as the movies they seem to be getting more and more celebrity oriented and i think that s due to financier s looking for something that will guarantee foreign sales as well as overall interest in the film definitely the list of celebrities attending the festival has increased over the past 6 8 years what are you most looking forward to this year i m looking forward to many of the regulars returning i really like the tao space house of hype and lifestyle lounge during the day the music lounge is a great place to hang out are there any films that you re particularly looking forward to gun hill road the corman documentary troubadour and homework those are the four that will be my main focus during the festival sometimes i only have time to see one film but i m hoping to see more this year are there any words of wisdom or advise you can offer to the average festival goer to ensure they have a great sundance experience first go see the films that s what the festival is about and don t worry so much about the parties and events secondly be nice to everyone and meet people because that s another goal of the festival to make connections if you do get into a party and you re having fun there s no reason to party hop the grass isn t greener somewhere else you ll see the same people at all of the parties so just relax have fun be nice meet people and enjoy it we ve talked a bit about brand integration and brands increasing their presence especially as celeb attendance increases has the festival become too commercialized sundance built something that has become very attractive to brands without the brands there wouldn t be as many parties or events which 12 filmutah.org 2011

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continued q a with kim means it wouldn t attract as many celebrities i don t think it s become too commercialized i m more concerned with it being too you have to be on the list type thing i ve suggested to brands to take a more hybrid approach to their presence doing a half public half private one of the best examples i ve seen of this is when the queer lounge had their event open during the day to the public but then had a private vip party at night i think this is the best approach to appeal to both the regular festival goer as well as the vips with this increased branding does the sundance festival still successfully promote the independent filmmaker i think the festival does but to really get attention for a film you need to find ways to get above the pr noise that already exists there s over 200 films vying for press attention so you need to have a party dinner or press junket because without those things it s easy to get overlooked you want to have these events to invite potential acquisition execs as well as press to increase awareness about your film to an audience of people who can actually buy your film all of these tools are needed to make sure your film gets the attention and press to possibly get the film sold i would bet if we did research on all of the films that got distribution they all would have had a party are there benefits for the dinner or another event promoting them it s almost a local utah filmmaker requirement now sure i think the fact that the locals don t have to fly to la or ny to set up a meetings is a benefit you let s talk about the location can meet the top players in the industry in park city of the festival is utah and during sundance because they re all there this goes specifically park city a good back to the importance of being nice to everyone location for sundance and why because you never know who you re going to run into it s a little small it was perfect 10 years ago but or meet at the festival the other piece of advice is to i still think the festival should remain in park city network it happens everywhere i can t tell you how because it has a uniqueness that you don t get at many people i ve met on the shuttle buses many other film festivals everything is compact into one area so everyone who comes is there for one is there anything else you d like reason unlike many of the festivals in larger cities to share about the festival that where if you didn t know there was a film festival it we haven t covered would be difficult to find in park city you run into i think we ve covered everything except i make an everyone on main street and that s a benefit of the annual pilgrimage to crown burger every year which sundance festival is in salt lake city but if you get a chance to go you definitely should has the festival brought recognition to utah as a viable option for filmmakers looking kim bradshaw is an award winning commercial for locations in their next film music video and event producer she is ceo of yes definitely people driving in from the airport see the rella group a full service production/media there s colleges cities mountains the mining town company www.therellagroup.com and there s luxury locations as well for filmmakers it s a great introduction to utah as a place to film 13 christopher ryan photo credit ziggy mrkich christopher ryan is the creator of the bing party list the unofficial master list of all the events at the sundance and slamdance film festivals he owns oceanside entertainment a literary management firm that represents feature writers and reality television producers he also is a partner at r3 marketing an entertainment marketing firm that handle event sponsorships celebrity wrangling and seeding mr ryan graduated from westminster college in salt lake city filmutah.org 2011

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