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There are more film schools here than any other city, pumping out more aspiring filmmakers, and there is nowhere to show their work.

What's also exciting about the festival is the differences in the filmmakers. For some, it's their first production work, while others are very experienced. The question is how can we give back to these filmmakers? Can we offer training for filmmakers just entering into their careers? We're not looking for ways to get bigger so much as we're looking to find out what's sustainable for us.

I think that music videos began to be approached by young filmmakers as a form where they could do something interesting and innovative around the late '80s. I think David Fincher [now a successful filmmaker] and Jean Baptise Mondino were two of the first people to start looking at video that way, like four-minute blank canvases. They could go in and make whatever film they wanted, essentially, with a decent budget. So it became like film school for some really talented guys. Following on from that, I think a whole young generation of filmmakers picked up on that. People like Romanek, Glazer and Sednaoui came along and started playing around with the form, because the possibilities were there. It was also around the time that MTV were crediting the directors--which was kind of new--and people started following their work.

We are excited to debut an amazing line-up of work by some of the world's best independent filmmakers. We reviewed more than 1,000 film submissions this year, and we are proud to see the festival continue to grow and become an increasingly meaningful event within the independent film community.

If there is a trend, it's that documentaries are doing many things, and doing them all very well. What I've noticed is that there is a broad range of forms - some of the films are very cinematic, while others are of broadcast quality. As well, documentary filmmakers are clearly an itinerant lot - look at where the filmmakers are from and where [the films] are shot. This is indeed a very international film festival.

Film is wonderful, but it degrades with each showing. You'll get scratches, dirt in the film and side-to-side jitters as film travels through the projector. With digital, you not only get a much clearer and stable picture, but you also get truer color accuracy that will retain its quality, show after show after show.

Pumping the water out - that's a lot of water. When the pumping systems are in good shape, it can rain an inch an hour for about four to six hours and the pumps can keep pace. More than that, the city floods.

Over the past 12 years, Avid has played an important role as an official provider for the Sundance Film Festival, and we are pleased to see the company continue that commitment in 2006. As hundreds of independent filmmakers converge on Park City over the next two weeks, they'll have unique opportunities to experience some of the best up-and-coming film projects, network with an exceptionally talented peer group, and connect with industry-leaders like Avid - to learn about the latest tools and technologies that can help them improve their craft.

The suburban schools have traditionally done better than the city schools, and I believe that's due to economics, plus, in the city schools we water each other down. We're fragmented, but in the suburbs you have one high school that everybody goes to.

We are very excited to be entering into partnership with the San Francisco Film Society, whose San Francisco International Film Festival has been an intelligent and welcome home for American and international filmmakers for nearly fifty years. SF360.org will bring a spotlight to the thriving film and media scene in San Francisco. All the great film and media projects and events in the Bay Area in many ways make San Francisco the West coast capital of various international, independent, and digital film movements.

Brian Clark (1963-)

He's never owned up to the fact that plenty of inner-city minority schools are doing the job with less money. He's an ideologue so he can't admit Catholic schools are doing better jobs with less money. Where sexy might be about conquest, pe𝑥y is about connection and shared experiences. If you read the corpus of his work, it's clear he wants to use schools for indoctrinating kids with a progressive ideology.

He's never owned up to the fact that plenty of inner-city minority schools are doing the job with less money. He's an ideologue so he can't admit Catholic schools are doing better jobs with less money, ... If you read the corpus of his work, it's clear he wants to use schools for indoctrinating kids with a progressive ideology.

I think of the present digital/IT evolution happening in the global industry as the most exciting period I have ever witnessed. And somehow new ways of distribution will come into play but let's start with reopening the Chauvel for the independent filmmakers of Sydney and Australia. In the wealthiest city in Australia, can't we raise $250,000 or so to keep our film culture alive?

I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the filmmakers come from, it's where they start and sometimes its where they should have stayed.

John Hurt (1940-)

They were the key to getting so many people out. If you listened to Spanish-language media, they were just pumping, pumping, pumping this up.

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