I can testify that when you go to a film festival, and someone inquires about how the movies were that year, the answer you end up giving — “Really terrific!” “Lousy!” “They were okay!” — is often dictated by exactly one movie. If you saw something that totally knocked you out, the sort of film that you think is going to get major play in the real world, and you’re already dusting off a place on your 10 Best list for it, then that one movie can determine your entire perception of the festival. That’s what happened to me last year at Sundance when I saw Fruitvale (they hadn’t added the Station yet). The fact that you’ve witnessed a certified home run makes the festival feel to you, in hindsight, like…well, a baseball game in which your team hit a home run. It’s more than a good movie; it’s why you came — to see an unheralded filmmaker knock one out of the park. A single movie that rocks your world can define, year in and year out, the Sundance experience — the reason that a festival like this one exists. Some of the films I’ve seen at Sundance that have had that effect include Crumb (1995), Welcome to the Dollhouse (1995), I Shot Andy Warhol (1996), Buffalo 66 (1998), The Blair Witch Project (1999), Chuck & Buck (2000), Wet Hot American Summer (2001), American Splendor (2003), Capturing the Friedmans (2003), Thirteen (2003), Hustle & Flow (2005), Precious (2009), and Fruitvale (2013). READ FULL STORY
Tag: Boyhood (1-3 of 3)
Director Richard Linklater put an astonishing twist on the classic coming-of-age story when he decided to shoot his latest film, Boyhood, over the course of 12 years. The film follows the life of 7-year-old Mason (Ellar Coltrane) as he grows and makes his way through his formative years from elementary school to high school.
EW’s Sara Vilkomerson sat down with Linklater and Boyhood stars Ethan Hawke (Getaway), Patricia Arquette (Boardwalk Empire), and Ellar Coltrane (Lone Star State of Mind) to discuss the process of making a film whose principle production started 4208 days ago:
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