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SLAMDANCED:
A Low-Budget Look at SlamDance 2008/2009

by Michael Lawson

Before the mad rush!

Sundance and Slamdance: two festivals, both alike in dates and location -- but dignity? It depends on who you ask. Each fest showcases an equal percentage of quality: most films are good, a couple great, a handful bizarre and watchable -- and one or two so bad you wonder how the filmmakers received an acceptance e-mail, let alone financing in the first place. Similarities end here.

Sundance offers celebrity judges, Ray Ban tents and micro-studio films starring A-list actors sacrificing the elbow grease of a makeup artist for a stroll on the iced red carpet. Slamdance, however, unveils films with titles like Horsefinger 3: Starfucker and leading actors by the name of Lane Whiting who could use the elbow grease of a makeup artist if only the producers could afford it. (Just kidding, Lane)

The annual Slamdance Sled-Off!

For Microfilmmakers, Slamdance is a sanctuary, a festival created and operated by filmmakers – the annual homecoming most of us cannot attend due to budget restraints. Let’s face it. Unless you have a sweet hookup at the airport, a flight and seven-day stay at the Best Western (home of all Microfilmmakers) will cost north of a thousand dollars and that kind of cash could fund our next film.

Thankfully, this year Slamdance considered our checking account woes and partnered up with IndieRoad to stream the bulk of the festival live, enabling indie lovers everywhere to invite friends over, watch a few films (at $9 each) and create their own Grand Jury.

Here are a few of the microfilms that premiered this year:

Ryan Ward in Son of the Sunshine.

SON OF THE SUNSHINE
Type: Narrative Feature
Director: Ryan Ward
Premise: Sonny Johnns, a young man diagnosed with Coprolalia Tourette’s Syndrome takes part in an experimental surgery that cures him of his violent outbursts. But as his disorder vanishes, so too does a divine ability that once saved his sister’s life.
Budget: $50,000
Behind the Scenes: Ryan Ward and DP Chayse Irvin kept costs down by working out a bargain S16mm camera, light and grip package from Panavision and recruited inexperienced volunteers to make up the crew. The majority of the budget was spent on locations and animals.

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