By Indiewire | Indiewire January 25, 2001 at 2:0AM
PARK CITY 2001 BUZZ: Miramax' "Bedroom," IFC Acquires Two; Shorts Nabbed, and Allison Anders
by Maud Kersnowski /indieWIRE
>> Miramax lands "In the Bedroom"
(indieWIRE/01.25.01) -- Good Machine and GreeneStreet Films' joint production of Todd Field's "In the Bedroom" was nabbed by Miramax yesterday. Vicki Cherkas of GreeneStreet, Good Machine's David Linde, Miramax execs Agnes Mentre and Andrew Herwitz finished up negotiations on North American rights. Miramax director of acquisitions Jeffrey Tahler was also involved in nailing the deal. Good Machine International holds international rights. "In the Bedroom," critically described as an American art film, stars Sissy Spacek, Tom Wilkinson, Nick Stahl and Marisa Tomei. [Maud Kersnowski]
>> IFC Jumps for "Tomorrow," Goes for
(indieWIRE/01.25.01) -- After execs from Fox-Searchlight, Fine Line, and Paramount Classics attended an extra screening of Joel Hopkins' "Jump Tomorrow" last night, IFC Films ended up grabbing U.S. distribution rights for an undisclosed amount. IFC also hopes for a touchdown with high-school football doc, "Go Tigers!," acquired for low six figures. Doc Kicks off in subjects' home-town at
beginning of football season. [Maud Kersnowski]
>> Shorts Scooped Up
(indieWIRE/01.25.01) -- AtomFilms acquired six shorts in Park City, five from Sundance and one from the Slamdunk Screen Festival. "In Search of Mike," from director Andrew Lancaster and currently running as the warm up for "Hedwig and the Angry Inch," tops the list. Other Sundance films include "4PM" co-directed by Samantha Bakhurst and Lea Moremen, Helder K. Sun's "Lint People" and two films by Tom Megalis: "Detroit Jewel" and "Lou and Costa." Slamdunk's "Fly Trap," by Miles Kahn, was signed on the spot at Atom's Open Mike Hours before going on to win the fest's Best Short award. Hypnotic, the online shorts distributor that is partnered with Universal Studios, added Sundance short films "Peter Rabbit and the Crucifix" directed by Anthony Dominici, and Tiffany McLinn's "Shoot" to their library yesterday. The films will be distributed via hypnotic.com online and other offline opportunities through Universal. [Maud Kersnowski]
>> Allison Anders' Guerrilla Tactics
(indieWIRE/01.25.01) -- "The U.S. Senate is more progressive than Hollywood:
Female Senators: 9%; Female Directors: 4%," reads one of the stickers that started popping up in elevators and on movie posters yesterday brought to you from a group of gals calling itself "The Guerrilla Girls and Alice Locas." Other stickers include a list of indie distributors that "don't know how to pick up women: Fine Line, Dimension Films, USA Films, The Shooting Gallery, Miramax, New Line, Artisan, Sony Screen Gems, Paramount Classics," as well as one portraying an anatomically correct and love-handled Oscar.
"I think they took their name from this mysterious director from the '60s,"
Allison Anders, whose "Things Behind the Sun" premiered last night, commented coyly with a wink and her hand on a stack of stickers produced by the anonymous agit-prop feminist arts groups.
"Sundance is one of our [women filmmakers'] few allies, in terms of the
festival, not when it comes to the press or acquisitions," Anders commented.
"Women come to Sundance. They're treated equally. Maybe they get a little
buzz," observes the festival vet. "They think they're in the same position
as the guy who didn't do as well, even a superior one, but I guarantee he'll
be the star [in Hollywood]."
"People marketing movies are either the wussiest or the laziest people in
the world," growled Anders. "They're so scared of losing their jobs that
they're afraid to try something different." For her current film Anders is
using online networking to get the word out. "People are not going to go
looking for your film. Nobody says, 'Let me see what Allison Anders is up
Men's films tend to be easier to market because they fall into predictable
genres, in Anders' opinion, while women are such a large group that
they're hard to categorize: "We're everywhere and nowhere at the same
time: I've got to help [distributors] find my audience." It was a point
that remained ignored when she brought it up at the panel, "Twenty Years
Later: A Look at the History of Independent Film," moderated by Geoff
Gillmore on Tuesday.
As one of the few women to return to Sundance year after year, Anders has
watched Park City change from a film community gathering to a media
marathon. But this year she found something new: models. "I'd just been
looking at Jacquelyn Bisset, one of the sexiest women alive... and I walk
upstairs and there are these girls with clingy t-shirts and Prada boots,"
the shocked Anders recalled. "It changes the environment... those people
can't be here -- no anorexic models, no silicone. Go to Cannes and throw
up your three bags of chips-ahoy cookies -- you can't have Park City."