1. How does one enroll for a course at Sundance?

One must apply for the workshops and go through a selection process. Over 2000 applicants typically submit material for 10-12 spots in the Screenwriters Lab. Selection is based on our passion for the material and the writing and/or directing talent involved. The application can be found online at www.sundance.org.

2. Are the programs limited to American writers?

The program is primarily limited to American writers, although we have and will continue to set up international exchanges on a very selective basis.

3. What expenses to the writer are involved?

None. Sundance provides airline travel, accommodations and food for the screenwriters supported.

4. How long is the course? Where does it take place?

The Screenwriters Lab (held twice a year, in January and in June) is a five day workshop. The Directors Lab (held once a year, in June) is a three week workshop.

Both Labs take place in Sundance, Utah.

5. What is the ultimate aim of Sundance? Production or artistic merit?

Sundance seeks to enhance the artistic vitality of American film through the support and development of emerging screenwriters and directors of vision. Sundance is not a production company, rather it is an Institute which exists to foster new talent and provide support that enables filmmakers to both get their films made and to help them make the best film possible.

6. Must one come recommended? If so, by whom? What credits count?

The application process is open to anyone. We do take into consideration recommendations by film professionals, but they do not affect our final decisions.

We ask that each applicant submit a bio so that we can more fully understand each person's background. No experience or prticular film background is necessary.

7. Who leads the workshops?

The Labs are run under the artistic and creative supervision of the Feature Film Program Director, Michelle Satter, and the Artistic Director (this year's Artistic Directors were Todd Graff, Jeremy Kagen and Alice Arlen). The Screenwriters Lab involves one-on-one meetings between Lab participants and Creative Advisors, a group of seasoned screenwriters who act as mentors.

8. Must one submit a completed screenplay to be considered for the Screenwriters Lab? Anything else?

After filling out the electronic application, the following materials should be sent by mail.

* COVER LETTER Who are you? What is your project about? What is your personal connection to the material? How do you envision the realization of this script? (for example: “I plan on shooting this for under $25,000 with unknown actors on DV with sets my family will build in my garage” or “I’m just the writer, but I’d like a director with a Lukas Moodysson sensibility to direct it.”)
* RESUME/BIO of yourself, and any other members of your key creative team (e.g. co-writer, director, producer). Don’t worry - if there's no one involved in the project other than you, that does not put you at a disadvantage in any way, shape or form.
* SYNOPSIS Two double-spaced pages. We know, it’s impossible to boil down your intricate story into two pages. But try.
* THE FIRST FIVE PAGES of the script. Don’t worry - we’re not making our decision just based on these 5 pages. We just want a casual glimpse into your writing style; all other aspects of your application are as important, if not more important, than the script pages. If page 5 ends mid-scene, so be it! If you send us the first 10 pages, we’re still only going to read the first five.
* RECOMMENDATION LETTERS - send them if you must, but they are not in any way required.
* DO NOT SEND. Videotapes/DVDs of short films. Pages from other work. Fruit baskets. If we wish to see more work from you, we will request it.

Please refer to the electronic application for deadline information.

Although each company has its own policies/procedures for submitting material, most companies can not for legal reasons read unsolicited material. The key to submitting material is finding someone with a connection to the company who can recommend your work.

10. Do you have any training programmes at Sundance for directors? How about story editors?

Yes, for directors we offer a 3 week workshop in June, the June Directors Lab. The workshop provides a hands-on opportunity for directors to rehearse, shoot and edit scenes on videotape with the advice of established directors, actors, editors, cinematographers, writers and producers. The workshop is intended to give the director the chance to develop his/her skills as a filmmaker and to see and hear the script "on its feet."

We do not have any workshops for story editors.

11. In your experience, do most screenwriters aim to become directors as well? Would you recommend this as the way to go?

No. It's very hard to establish yourself as both a writer and director and rare to have the talent in both areas. If you have the interest, I would suggest you consider writing and directing a short film.

12. What do you look for in an original screenplay? What are your criteria for selection?

Sundance looks for freshness of idea, individual voice and point-of-view, authenticity and emotional truth, and a story that is told in a compelling way.

13. Are your decisions regarding which scripts you choose for development affected by production requirements? Ie., would a small, character-based screenplay have a better chance than a big, effects-oriented one?

Again, we do not produce films, so "production requirements" are irrelevant to our selection. We -are- looking for material that is original, eccentric and less commercial. Most often, this type of material is represented in "smaller," more character driven pieces. Therefore, we are more likely to select such "smaller" projects simply by virtue of the fact that these projects tend to be more independent in spirit.

14. I have a script I feel is worth the effort writing but because of health difficulties I simply can't keep up with the fast pace of the film industry. What scenario(s) do you see possible as far as the screenplay getting off the page and into production? Are there things I can do to facilitate the screenplay having a chance, even though I would have difficulty myself maintaining the production pace?

As a writer, one of the best ways to see your project realized is in a partnership with a producer who shares your vision and understands your needs and ability to contribute during production.

15. In your opinion, should a beginning screenwriter write to what she or he perceives the market wants? Or just write what interests them, and hope for the best?

From the point of view of Sundance, which supports independent vision, we would encourage you to write what you know about, what interests you, so that it's from the heart, rather than working from a concept that may or may not sell in the market place.