Jim Boyd

Part entrepreneur and part revolutionary, Nodance Film Festival founder Jim Boyd has been changing the Park City, Utah landscape since 1998. Boyd, who became interested in film during his college years at SMU in Dallas, started as a screenwriter (he was a Nicholl Fellowship semifinalist) and turned to directing with 1997's The New Gods. But when that film (which was produced by Slamdance Film Festival founder Peter Baxter) was rejected from both Sundance and Slamdance, Boyd knew there had to be another way to get some publicity for his film in Park City-and the Nodance Film Festival was born.

Says Boyd of the festival: "It started as a way to get some publicity for my film, but it increasingly inched toward becoming a 'real' festival." And it's a festival that has gained an increasingly faithful following. Park City regulars know that if they're in the mood to view some truly original work, Nodance is the place to do it. Here, Jim Boyd talks with MM about competing with other festivals, how it pays to be personal, and the three things every Park City visitor should remember.

Jennifer Wood (MM): When you began Nodance in 1998, you were already going up against Sundance, and Slamdance had begun to secure its own reputation as a great 'alternative' festival. What was Nodance able to offer moviemakers?

Jim Boyd (JB): The strength of Nodance has always been its ability to attract high-quality overflow films from the other two festivals. With so many first-time filmmakers all over the globe, Park City tends to collect the cream of crop. Nodance provides an outlet for additional films, and helps create a more market-like atmosphere. Nodance was also the first festival in Park City to trumpet the benefits of digital filmmaking. Since digital technology has become ubiquitous in Park City, Nodance seeks the best stories shot either on film or digital video.

MM: What was Nodance - Year One like?

JB: Our first year was very lonely. We started with one film, and slowly collected nine other features and shorts that wanted to screen in Park City. At that point, we marketed "Nodance YEAR 1" on Main Street, and actually had a marginal turnout. Our screening facilities were in a hotel, and were excellent. I just happened to get a cancellation on the screening room, and walked into an immaculate 150-seat room. We rented the equipment from the hotel, and Nodance 1 was born. It's frightening that I'm heading into YEAR 5...

MM: In an MM interview a few years back, you commented that indie moviemakers looking for distribution would not likely find it through Nodance. Would you change that statement today?

JB: I still tell filmmakers they should come to Park City, relax and concentrate on their contacts for their next project. Festivals should be about the exchange of creative ideas with fellow filmmakers, and the business side should be secondary. With clever marketing and an open mind, they can accomplish all their goals. However, Nodance has world premiered several shorts films acquired by distributors, and we currently have two world premiere features that have a theatrical release, Barstow 2008 and Porn Star: The Legend of Ron Jeremy.

MM: How would you describe the atmosphere of Park City in January? Is there noticeable competition between the festivals?

JB: There is definitely a good-natured competition that exists amongst the festivals, but we're all in the shadow of Sundance. We have T-shirts that say, "Nodance. We're #3!!!"

MM: Because of the closeness-in proximity and timing-of the Olympics, are there any special considerations that needed to be made for the 2002 event?

JB: Get there early, because if you sneeze you might miss it.

MM: How is your current call for entries going?

JB: Nodance is currently flooded with entries. So many more are coming from all parts of the globe. I have no final numbers for entries, but I estimate 700 - 800.

MM: From the beginning, you have always provided entrants with the personal touch: you watch each of the submissions yourself and provide feedback to all those whose films were not selected. What kind of material excites you the most-technically, thematically, etc.?

JB: Technical proficiency is secondary to story. I believe in genre, and it's important for first-time filmmakers to demonstrate their knowledge of it. I'm interested in seeing the filmmakers take chances with both story and camera. Blast my mind with something I haven't seen before. Take me through the dark side, but show me the light at the end of the tunnel. Sell hope.

MM: After running this festival for five years, and seeing so many films in that time period, what are some tips you would offer to moviemakers as far as what to strive for and the pitfalls to avoid?

JB: As for the filmmaking, the first 10 to 20 minutes are the most crucial, and are the most vulnerable for mistakes. The last third of the movie must deliver the climax, and tie all loose ends. Something simpler to control is that you should always remove the bars and tones from the front of a videotape. Clever marketing materials help raise your film above the clutter.

MM: What are some of the highlights of this year's festival?

JB: Nodance is returning to our headquarters on Main Street with a balcony that overlooks the Egyptian Theater. We've added an additional screening room at the Treasure Mountain Inn, and will be sharing the lobby space with Slamdance. Nodance has brought back the screenplay contest for the Spring, and we may travel to D.C. for Traveling Roadshow screenings at the Hirshorn.

MM: For all those who will be visiting Park City for the first time this year, what are the three most essential items to bring with them?

JB: 1) Black clothes; 2) A sense of irony; 3) Business cards!!!