Sundance Kids: How the Mavericks Took Back Hollywood
Feb 2011 · Faber & Faber
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804
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About this ebook
A formidable new generation of American film-makers are currently in their prime: Paul Thomas Anderson, Alexander Payne, Sofia Coppola, David Fincher, Spike Jonze, Wes Anderson, to name but six. Call them 'The Sundance Kids'. . .
A conspicuous number of these talents first kick-started their careers in the workshops of Robert Redford's Sundance Institute in Utah, or made the big time after screening their work at the Sundance Film Festival. Nowadays, acclaimed movies such as Payne's Sideways, Jonze's Being John Malkovich and Coppola's Lost in Translation have reminded people of that great period in the 1970s spearheaded by Scorsese, Altman, and Sofia Coppola's father, Francis.
In this comprehensive study, James Mottram traces the roots of this new generation to Steven Soderbergh's Sex, Lies and Videotape - a low-budget tour de force that premièred at Sundance en route to conquering Cannes which persuaded some of the 'Sundance Kids' to first pick up a camera. Mottram proceeds to analyse each director and their oeuvre, placing each carefully within the context of the ever-changing landscape of American cinema over the last fifteen years.
And Mottram poses the question - are we witnessing a new Golden Age of film-making?
A conspicuous number of these talents first kick-started their careers in the workshops of Robert Redford's Sundance Institute in Utah, or made the big time after screening their work at the Sundance Film Festival. Nowadays, acclaimed movies such as Payne's Sideways, Jonze's Being John Malkovich and Coppola's Lost in Translation have reminded people of that great period in the 1970s spearheaded by Scorsese, Altman, and Sofia Coppola's father, Francis.
In this comprehensive study, James Mottram traces the roots of this new generation to Steven Soderbergh's Sex, Lies and Videotape - a low-budget tour de force that premièred at Sundance en route to conquering Cannes which persuaded some of the 'Sundance Kids' to first pick up a camera. Mottram proceeds to analyse each director and their oeuvre, placing each carefully within the context of the ever-changing landscape of American cinema over the last fifteen years.
And Mottram poses the question - are we witnessing a new Golden Age of film-making?
About the author
James Mottram is a freelance film critic who has written for a wide range of newspapers, including the Independent and the Guardian, as well as film publications such as Empire, Hotdog, and Film Review. His first book for Faber was The Making of Memento (2002) followed by Batman Begins.
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