Quotes About Sundance

Sundance is the only hand that feeds for women directors.

My first movie, 'Heathers,' had played at the festival, so I had a little bit of a Sundance connection, but I didn't really know about the Labs.

Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.

I'll never get another first premiere again, especially at Sundance. I've just been trying to fully engage myself in everything that's going on, and I hope to see other movies here while I'm here! I really want to!

My dad brought 'Clerks' to Sundance 22 years ago, and that's when his career started.

I certainly felt like my life had been enriched and had also changed forever when I took 'In A World...' to Sundance.

Getting into Sundance is such a big platform for a director.

I couldn't get a job to save my life. That's why I wrote 'Road to Paloma.' That got into Sundance and got into that scene, and that's how I got the role in 'The Red Road.'

Sundance is such an acquisition-frenzied, industry-centric experience, and at SXSW, many of the movies have distribution. And the focus is more on positioning the movie as opposed to selling them. People are more relaxed.

I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'

My first film festival and my first film that I've ever been in, 'Martha Marcy May Marlene,' that was at Sundance.

I so respect Sundance. I'd been hearing about it for years.

I love South By because people are more relaxed here, and people are a little more off guard. They say things and react more freely than Sundance or Cannes. I love the feel of this festival.

I had to live on $17,000 a year until I was 33, because I was a failed artist until I was 29, when I made my first short film that went to Sundance.

The films that are coming out of SXSW are incredible, and they should get the same bids that films at Sundance are getting.

I can't wake up every day and not thank Sundance. They're a great beacon of light for any independent film. Just to have a film that you made shown on a screen for an audience in a theater is beyond me, so I owe them everything in the world.

I went to Sundance Labs, and I definitely watched my male peers from there have very different meetings than I was having, very different outcomes. You could tell there was a feeling that a young male director had this exciting potential and a young female director was risky.

I think it's probably a normal dream for an actor to be like, 'My movie's premiered at Sundance!'

I'm so critical of myself. I'm actually really, really proud of the film. It's really cool to see a movie at Sundance because everybody is so supportive.

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.

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

Written by Pulitzer Prize-winning playwright Donald Margulies and directed by Sundance nominee James Ponsoldt, 'The End of the Tour' is a terrific film, among the year's best with its two-man tarantella of wall-to-wall talk - and I watched it through my fingers as though it were Mad Max.

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.

You show a movie to your friends when you're working on it, but you don't have any real objectivity. You just don't know. So that moment when it's shown for the very first time at Sundance, it's just terrifying. I'm so anxious. And then every screening is different.