Cost and staffing considerations were also at play.
EUGENE HERNANDEZ: Im going to go a little broader on this and then speak to the specific question.
We really tried to rethink how we kicked off the festival this year.
(L-R) Christopher Nolan and Robert Downey Jr at Sundance’s opening-night ceremony
So not having a singular opening-night film, but having this whole slate of films.
He effectively announced he was kind of taking a step back from Sundance [in 2019].
Coming out the pandemic, we thought, how do we reshape this moment?
We did this event with Jason.
[It read: Welcome to this mountain.
We want you to not only see this place, but perhaps even feel it … Continue to perservere.
Bring your voice, your vision, your point of view about the world you are living in.
As for the future, I cant speak to that yet.
Well be talking about how we want to open next years festival.
And the Midnight section films played earlier than midnight.
Its a heavy lift.
We have thousands of volunteers, some local, some travel from all over the country every year.
And so what you saw is a more intimate experience.
Eccles is the festivals biggest venue with 1,200 seats.
Its a big ask.
Were taking feedback from the artists, from the industry, from the volunteers.
Well evaluate it and then make decisions for next year very soon.
Were already talking about it.
DEADLINE:What changed in the festivals virtual component?
It was a more limited, narrower window.
In broad strokes, last year was more films streaming earlier on the platform and for a bigger audience.
Then, the films go out into the world, head to other festivals and all that.
We tried to create a distance between the premiere and the digital.
We tried to think about digital this year as an additional screening in an additional venue.
Just like any screening where you have a finite number of seats.
Because films are coming to the festival brand new and fresh for an audience.
Everyone is watching the movie for the first time.
And thats a rare experience at only certain festivals in the world.
DEADLINE:Sundance had a record 17,400+ submissions this year.
Two questions: What are your thoughts on the lineup?
And was it was impacted by the strike?
Some of the films have already been acquired, some will announce deals in the coming days.
And others will take a slower approach.
There are films from Sundance that are going to Berlin.
I feel like the industry has always grappled with commerciality around Sundance.
And I think thats inherent in Mr. Redfords creation of the Sundance Institute to begin with.
[It] was always outside of the mainstream Hollywood industry.
Im just relieved that so many films are already finding homes so quickly.
Neonacquired Steven Soderberghs ghostlyPresence.
Sony Pictures ClassicsboardedKneecap, a doc about an Irish rap trio.]
DEADLINE:And the impact of Hollywood strikes last year?
HERNANDEZ:Thats the big question for us.
Were going to be watching closely how the numbers shape up for next year, of course.
We did see an increase in submissions internationally.
HERNANDEZ:Those are just two examples of filmmakers that sort of self-identified their situation.
I am sure more will be talking about that as we go forward.
We only saw what was submitted, we didnt see what wasnt ready.
What did SXSW see?
What will the summer festivals find?
What will the fall festivals Toronto, Telluride, New York what will they find?
Its something were watching really closely.
DEADLINE:Theres chatter around the negotiation with Park City.
Can you address that?
HERNANDEZ: Obviously Im new to this role.
Ive been here a little over a year.
And that conversation happens this year.
During the festival the city held an outdoor celebration to celebrate its 40thedition.
It just reminds me on a personal note how special the relationship has been over the years.
Its a longstanding relationship.
DEADLINE:What was happening in Salt Lake Citythis year?
HERNANDEZ:We refined the footprint.
We have a relationship with the Salt Lake City Film Society and its Broadway arthouse theater.
And theres another venue around the corner, the megaplex at the Gateway.
And we added the Rose Wagner Center as a screening venue;Super/Man: The Christopher Reeve Storypremiered there.
We want to check that that we are showing up where audiences are already showing up year round.
Its really rewarding now with the festival over to see that the response was so strong in both cities.
Our artists do go back and forth.
There are a lot of college students, and its a local audience and its a very responsive audience.
We saw that night after night with sold-out shows throughout the week, adding screenings to meet demand.
