Time had flown, and it was already two in the morning. In a place like Park City, this should have been a moment of utter tranquility. However, during the Sundance Film Festival, the midnight commotion was one of the festival's peculiarities. It wasn't just the fans' parties; it was a celebration of cinema itself.
Eli lifted his gaze, surveying the bustling crowd around him. At some point, he couldn't remember when, the audience had swelled. Gradually, a group of thirty to forty people had formed a circle around a bench at its center, eagerly discussing and expressing their opinions. Their spirited demeanor showed no signs of weariness.
It was hard to imagine that all these people were staying for the movie "Like Crazy". They engaged fervently in debates, all for the sake of a small-scale romantic film. It was quite astonishing.
"Like Crazy" wasn't a likable film. To be precise, it might even be less likable than "Buried".
At least, "Buried", as a suspenseful thriller, could captivate viewers and allow them to savor the excitement and thrill typical of its genre. However, "Like Crazy" couldn't achieve this. The bitter emotions and the weight of reality it carried were trapped in the chest, stifling the breath.
Yet, the surging thoughts that emerged after watching it were persistent. People couldn't help but want to question, discuss, argue, vent, and protest.
Every viewer in his line of sight was like this. They liked movies so purely and fanatically. They rejoiced and mourned for the sake of movies. They spoke bitterly, despising "Like Crazy", even cursing it, but at the same time, they clung to it, reluctant to leave the freezing wind and go back to sleep.
This was a movie that couldn't be liked, yet it also couldn't be shaken off.
"No, I think Renly did much better! Most of Ryan's performance relied on lighting and color effects, limited within the director's framework. But Renly's acting had more depth, he brought more of himself into it. More importantly, the story he interpreted was completely different!"
"I think so too. I've been pondering how to put it into words. Finally, I understand!"
"His eyes tell stories!"
"Absolutely! That's it! His eyes truly tell countless stories! I don't know how he did it. He's only twenty-one, yet he seems like he's fifty-one. The story and charm within his gaze, it's truly amazing!"
"My favorite scene is the eye contact between Jacob and Anna during their first date. My goodness! It's like melting someone away!"
"Exactly, exactly! Did you notice the changes in Lance's gaze? That gradual shift of emotions, oh my god, I really want to devour him! Ahh!"
"You should watch "Pacific", I'm serious. The performance by the young master in the ninth episode, I genuinely felt my heart shatter."
...
Unconsciously, the discussion had shifted its focus onto Lance Greenlin.
Eli found this quite amusing. One moment, the audience had been fuming over "Like Crazy", and the next moment, they were unanimously praising Lance.
Moreover, in the movie "Like Crazy", neither Jacob nor Anna were particularly likable characters, especially Jacob. From a female viewer's perspective, it was easy to develop a sense of repulsion. Yet, Lance had effortlessly won over the audience's affection.
As Eli looked at the debating audience before him, he suddenly found himself falling in love with the movie "Like Crazy". It wasn't just because the film had bridged the gap between them, turning strangers into friends; it was also because it had etched a unique memory of this snowy night in Park City. Years later, he knew he wouldn't find the same passion and fervor that tonight held.
"I personally think that Renly Hall's performance in "Buried" was the most outstanding. Did you see the emotions in his eyes?" Eli joined the discourse, having to raise his voice to avoid being drowned out in the cacophony.
His throat still had a lingering ache, and the chilling wind was growing more biting. The temperature was steadily dropping, and the soreness in his muscles was becoming more pronounced. Yet, Eli didn't mind. Even if he woke up tomorrow with a cold and fever, he'd find joy in it.
This year's Sundance Film Festival had reached its zenith. "Like Crazy" had set a record by selling out tickets for twelve consecutive screenings in a single theater, a feat only matched by "Precious" in 2009. What was even more astonishing was that all twelve screenings of "Precious" were matinees, whereas "Like Crazy" included two midnight screenings.
The difficulty of selling tickets for matinees versus midnight shows couldn't be more different. Even for "Precious", midnight screenings had never sold out.
The record of consecutive ticket sales for thirteen screenings of "Like Crazy" was broken on the third night's midnight screening. The attendance rate for that midnight screening reached a staggering 80%, though it still didn't manage to completely sell out.
However, the streak of sold-out matinee shows for this popular film continued unabated. According to the latest data, "Like Crazy" had sold out tickets for fourteen consecutive matinee screenings, and the demand was still insatiable. The momentum of breaking records showed no sign of slowing down.
Even more unbelievably, "Like Crazy" had ignited an unprecedented wave of discussion among the audience. It seemed that everyone had joined in the discourse, regardless of whether they liked or disliked the film. Those who hadn't seen the movie suddenly felt left behind.
The enthusiasm of the audience was ignited for three consecutive nights of midnight screenings, particularly on the third night. While the attendance rate didn't reach 100%, after the screening, more than half of the audience remained in the theater, engaging in passionate discussions throughout the night. Such an enthusiastic atmosphere hadn't been seen in a long, long time.
As an indie film hub, Sundance also had to make some compromises for the market. If they remained secluded and self-indulgent, only entertaining themselves, then the exceptional works would always circulate among a niche audience. Not to mention profit, even promotion would be impossible. Over time, true artists would fall into poverty, and artistic films would gradually decline.
Thus, after entering the 21st century, Sundance opened its doors to Hollywood. Particularly after 2006, Hollywood powers like Paramount and Weinstein began to enter Sundance, seeking out more outstanding works to promote during the year-end awards season. This led more and more Sundance works onto the international stage, drawing greater attention and creating more opportunities for independent filmmakers.
With gains come losses. Correspondingly, Sundance had unavoidably acquired a bit of a "showiness". The festival had become increasingly commercialized. The most direct reflection of this was the influx of non-professional moviegoers—even those who weren't true film enthusiasts—coming to join the festivities. The atmosphere of discussion in Park City was becoming increasingly lavish.
Staying up all night discussing their favorite films, traversing the cinemas day and night, ubiquitous movie debates... There was a time when this was what Sundance was proudest of, but now it only remained deep in the recesses of memory.
Looking back to 1992, they incessantly debated, Quentin Tarantino, Gregg Araki, and Allison Anders, three directors who arrived in Park City with their debut films, which one was more exceptional, who deserved the Jury Prize, and who could shine in Hollywood.
Yet, who could have foreseen that in that year, it was another newcomer director who would win the Jury Prize with his debut film? Alexandre Rockwell, a name long submerged in Hollywood's historical flow, a name that hardly anyone knew about even now.
This time, Sundance once again saw such a spectacle. Of course, it couldn't rival the grandeur of 1992, but it still let people catch a glimpse of Sundance's brilliance.
Movies, it was all about movies, and only about movies. Just like "Like Crazy", everything was about love.
With such a grand scene, the entertainment sections of major news outlets once again took it as their headline. Countless gazes all turned to the snowy Park City. Amidst the pure white snow, the bubbling enthusiasm flowed like molten lava from a volcano, making the entire town radiate a dazzling light, as if it were midsummer.
Soon after, Eli Wallah, a reporter from the Seattle Post, broke the insider news: "Focus Features secures the North American distribution rights for "Like Crazy" for a whopping $5.5M!"
After the news came out, it instantly caused a sensation across North America. A deal price of $5.5M for the distribution rights was considered top-tier, even in Toronto. In the context of Sundance in 2011, this was a premium price. It was another work with a distribution rights deal exceeding $5M, following "Precious" in 2009. This news exploded in the industry, with a barrage of follow-up reports.
"Miramax loses North American distribution rights for "Like Crazy", Harvey is livid."
"Paramount's withdrawal despite its advantage in competition, takes an early loss in next year's award season battle."
"Fox Searchlight expresses disinterest in "Like Crazy": But it's certainly an interesting piece."
"Focus Features aims for the 2011 award season, witnesses Renly Hall's powerful rise."
"Another "Precious"? "Like Crazy" rises unexpectedly at Sundance!"
...
Generally, distribution companies at Sundance would be somewhat cautious. Different from Cannes and Toronto, where news of rights transactions fluttered throughout the festival, due to Sundance's distinct independent film nature, distribution companies often waited until after the closing ceremony to make their move. They'd observe the trend of awards, media reviews, and audience feedback.
However, this year, Focus Features took a bold move ahead of its competitors. They acted before anyone else, securing "Like Crazy" in one fell swoop. This single action alone showcased the determination of Focus Features.
Of course, if "Like Crazy" could secure awards at the ceremony, it would naturally boost its value. But if it returned empty-handed, Focus Features' move would seem hasty.
The question remained: Could Focus Features' gambit of being the first to move pay off?