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Show A-2 The Park Record The Park Record. Serving Summit County since 1880 The Park Record, Park City’s No. 1 source for local news, opinion and advertising, is available for home delivery in Summit, Wasatch, Salt Lake, Davis and Utah counties. Single copies are also available at 116 locations throughout Park City, Heber City, Summit County and Salt Lake City. SUBSCRIPTION RATES In Summit County (home delivery): $56 per year (includes Sunday editions of The Salt Lake Tribune) Outside Summit County (home delivery available in Wasatch, Salt Lake, Davis, Weber and Utah counties; all other addresses will be mailed via the U.S. Postal Service): $80 per year To subscribe please call 435–649– 9014 or visit www.parkrecord.com and click the Subscribe link in the Reader Tools section of the toolbar at the bottom of the page. To report a missing paper, please call 801–204–6100. Same-day redelivery is possible if you call during the following hours: * Weekdays: 6:30–8 a.m. * Saturday: 7–8 a.m. * Sunday: 7–10:30 a.m. To request a vacation hold or change of address, please call 435–649–9014 or email: circulation@parkrecord.com THE NEWSROOM To contact the newsroom, please call 435–649–9014 or email editor@parkrecord.com Continued from A-1 Change stressed directed by women filmmakers and 32 percent films were directed by people of color. Putnam also said creating change in a complex system such as the film and media industry will take time and effort. “It will take a lot of pressure and conversations,” she said. “When you’re talking about representing the totality of people in the media, you’re talking about what we value as a society. Who do you imagine yourself to be? What do you see on your screen? Do you see yourself represented?” Cooper said many of those discussions will start at this year’s festival, and organizers are taking steps to further those conversations. “We’re at ground zero ... and we had to take it one step further to make ourselves feel better and everybody here,” he said. To do that, organizers created a code of conduct for the whole festival. “We have had a code of conduct for our staff and volunteers for years, but it had to go bigger this year,” Cooper said. Part of that code is the installation of a 24-hour hotline that was implemented by Continued from A-1 Streets restricted For display advertising, please call a sales representative at 435–649– 9014 or email val@parkrecord.com To place a classified ad, please call 435–649–9014 or email classads@parkrecord.com For questions about your bill, please call 435–649–9014 or email accounts@parkrecord.com The Park Record online is available at www.parkrecord.com and contains all of the news and feature stories in the latest edition plus breaking news updates. The Record’s website also hosts interactive entertainment, restaurant and lodging listings and multimedia features. Contents of The Park Record are Copyrighted 2015, Wasatch Mountain News Media Co. All rights reserved. No portion may be reproduced in any form without written consent of the managing editor or publisher. The Park Record (USPS 378-730) (ISSN 0745-9483) is published twice weekly by Wasatch Mountain News Media Co., 1670 Bonanza Drive, Park City, UT 84060. Periodicals postage paid at Salt Lake City, Utah, 84199-9655 and at additional mailing offices. Postmaster: Send address changes to The Park Record, P.O. Box 3688, Park City, UT84060. Entered as second-class matter, May 25, 1977, at the Post Office in Park City, Utah, 84060 under the Act of March 3, 1897. Subscription rates are: $56 within Summit county, $80 outside of Summit County, Utah. Subscriptions are transferable: $5 cancellation fee. Phone: 435–649–9014 Fax: 435–649–4942 Email: circulation@parkrecord.com Published every Wednesday and Saturday tions during peak afternoon and evening times. “I think it’s important because we really are trying to mitigate the impacts to events,” Diersen said, adding that Park City’s parking services and the Park City Police Department will also enforce the restrictions. Signs were also posted elsewhere in Park City, including in Prospector close to Sundance venues, but the ones in Old Town are seen as being more critical. The discussions about the neighborhood impacts of Sundance stretched over the months following the festival in 2017 and involved Park City’s elected leaders, Old Town dwellers and a City Hall panel involved in issues related to special events. The discussions about Sundance have been part of a broader look at the impacts of Park City’s overall calendar of Continued from A-1 Health is protected perform all those inspections to protect the public’s health and safety,” she said. “Our goal is to work in partnership with local caterers and restaurants, as well as the visiting caterers, to protect the public’s health. We will be providing reminders about food safety to prevent food-borne illnesses and outbreaks.” The Health Department oversees public and environmental health services, such as food and drinking water safety, immunizations and emergency Direct Importer of the World’s Finest Rugs A t t h e H i s t o r i c Vi l l a T h e a t r e 3092 So. Highland Dr., Salt Lake City (801)484-6364 888.445.RUGS (7847) Mon.-Sat. 10 am to 6 pm Sat/Sun/Mon/Tues, January 20-23, 2018 Continued from A-1 special events, including sports tournaments and races as well as arts and cultural gatherings. Concern built over time that the special events detracted from Park City’s small-town atmosphere with crowds and traffic. Others, though, disagreed, saying the special events are critical to a resort-based economy. Mellie Owen, a Norfolk Avenue resident who once served on City Hall’s special event panel, said she hopes the signs and the $145 fine deter drivers, but she said she would have preferred officials also put out traffic cones to discourage speeding. “I think it’s going to be trial and error because we haven’t had this before,” Owen said, commending the City Hall efforts. She said safety remains a concern in Old Town, describing that there are children in the neighborhood. A ride-sharing firm vehicle nearly hit her on the first Friday night of Sundance in 2017, Owen said, describing neighborhood streets in Old Town as the quickest routes during Sundance. She said she hopes there are fewer vehicles on neighborhood streets during the festival with “an ‘L’ or a ‘U’ on the dashboard,” referring to the stickers signifying Lyft or Uber drivers. “When people are flying down, we know it is not one of our neighbors,” Owen said. just getting that in independent film,” he said. The rapid shift in the artistic validity of episodic work has been freeing for artists. Unconfined to the constraints of film, they can tell their stories in whatever format most makes sense. Many, of course, have created gripping tales that span the course of several seasons, allowing for in-depth character development and layered plots. Tonya Glanz and Chris Roberti, though, saw a different kind of creative opportunity. Their web-based series “The Adulterers,” whose first season is screening in the Indie Episodic program, consists of five-to-10-minute episodes about two coworkers carrying on an affair. Audiences gain only glimpses into their lives as the story unfolds. “For us, it actually serves the story better,” Glanz said. “You can just focus on one idea or one conflict or one moment and have it be about that. It gave this story a kind of voyeuristic feel.” Mike Mayer has also embraced the freedom of the episodic format. His 2013 documentary “Mortified Nation,” which examined stage shows where adults share embarrassing stories from childhood or adolescence, was a feature-length film. But his follow-up to it, “The Mortified Guide,” is a series that explores one theme from youth, such as fitting in or family, every episode. The series is set to premiere in the Indie Episodic program, but five years ago there would have been no place for it at the festival, Mayer said. “For Sundance to recognize something like our little project has that same independent spirit that they’ve celebrated in films for so long, to me, is just wonderful,” he said. Despite storytellers churning out more compelling episodic work than ever before, and there being more places for viewers to find it, the formula for independent artists to get shows picked up remains murky, however, with no tried-and-true pathway like there is for independent film. Sundance organizers began seeing the festival’s potential to help solve the problem in 2014 when filmmaker and actor Mark Duplass approached them, Sextro said. His point was simple: Television executives already attended Sundance to scout talent and network with industry insiders, so if the festival began screening episodic work, they’d bite. Duplass was quickly proven right when HBO purchased the rights to “Animals.,” an animated series he executive produced, after it screened to wide acclaim at Sundance in 2015. “That was kind of the light bulb like, ‘We should kind of explore this. This is something new and different,’” Sextro said. That realization led to Sundance accepting submissions for episodic content for the first time last year. The success that followed — the documentary “O.J.: Made in America” premiered at the festival and ultimately won an Academy Award for Best Documentary Feature, for instance — made clear it was time to shape an entire program around episodic works. What resulted is an eclectic offering of seven screenings in this year’s festival. Six of them feature webisode series’ or television pilots that are tonally similar — Sextro described them as akin to shorts programs — while the seventh will allow viewers to see the first five episodes of the 10-part documentary “America to Me.” The in-depth series follows students over the course of a year at a diverse high school near Chicago and was directed by Steve James, whose documentary “Hoop Dreams” was a breakout hit at Sundance in 1994 but which threw some audiences off due to its nearly 3-hour runtime. Sextro said the episodic program is a perfect fit for someone like James, who specializes in slow-building stories. “You’re getting to see people who are considered some of the great documentary filmmakers really expand and have total freedom in how they want to tell their stories and how long that kind of experience can be,” he said. While established artists have embraced episodics, Sundance added the Indie Episodic program largely because many among the next generation of great storytellers are operating in that territory. In the estimation of actor and Sundance veteran Matthew Lillard, who stars in the episodic entry “Halfway There,” giving those artists a platform will be the program’s lasting legacy. To Lillard, who said he could never have predicted the rise of TV when he was breaking into acting in the 1990s, the festival’s inclusion of episodics validates independent television and web-based work as art worthy of standing alongside cinema. “This will give kids in the middle of Iowa, in the middle of Michigan, somewhere down in Florida this idea that, ‘Oh, instead of a film, I can do a TV show? Sure,’” he said. “There are a lot of people out there with a lot of stories.” And one day, perhaps, some of them will be told at Sundance, where they will delight audiences — one episode at a time. Information about the Indie Episodics program, including screening times, can be found at sundance.org. preparedness. The Health Department is responsible for restaurant inspections and permitting for businesses and events. Environmental scientists with the Health Department visit the restaurants and catering venues to ensure employees are following requirements such as wearing gloves when prepping meals or sending out ready-to-eat foods and providing access to a proper handwashing station. Last year, more than five venues were temporarily shut down for violations, Hullinger said. The violations were for offenses like not having soap. She said it happens frequently. “We advise them to stop what they are doing and go somewhere that might have these items, and we can swing back by and do a follow up so they can reopen,” she said. The Health Department has roughly 30 inspections to perform over the weekend, with more requests coming in daily. Pushback from restaurant owners and caterers is not uncommon, Hullinger said, adding that she understands the importance of operating during the festival, but prioritizes the public’s health over the complaints. “It can be a challenge if they are trying to argue these facts with us,” she said. “However, the importance of public health outweighs that. People want to come to Sundance and have fun and have a good time and not go home with an illness.” A hepatitis A outbreak in Salt Lake City has heightened the awareness of food-borne illnesses during the festival, Hullinger said. A disease of the liver, hepatitis A is transmitted through feces and improperly washed hands. “It makes me really nervous during my normal inspections, and I have been going over the illness policy and asking a lot of questions about when sick people are sent home,” she said. “I give that example of: You know what is happening in Salt Lake and you just don’t want that. It’s not worth it.” Derek Siddoway, the public information officer for the Health Department, said the organization is on the same side as the caterers and restaurants. He said inspectors try to be as unobtrusive as possible, while ensuring Sundance “goes off without a hitch.” Health Department Director Rich Bullough said a significant amount of work goes on behind the scenes to ensure the festival runs smoothly. “We work hard to assure that foods served at public gatherings are stored and prepared to the highest health and safety standards by conducting inspections and permitting these events,” he said. “This is one of those services that goes unnoticed if it is successful. But, we know it is critical to assuring that participants at the festival can fully enjoy their experience.” the festival’s managing director, Betsy Wallace, in a partnership with Park City law enforcement and the Utah Attorney General’s Office, Putnam said. “There is a 24-hour hotline that festival attendees can call while they are at the festival if there is an incident or if they want to report something,” Putnam said. “I think it’s a step we wanted to take to ensure the safety of our guests.” While the Sundance officials answered questions from the media, the discussion led to the core of the #metoo movement, which started with allegations of sexual harassment and assault by film producer Harvey Weinstein. “I think Harvey Weinstein was a moment in time and we’re going to move past that,” Redford said. “When we had people who came to the festival like Harvey, they came to the festival with one thing in mind. They looked at what they could cherry-pick for their own use. The festival will go on, (because) our purpose was to make sure that the festival is making sure to show the work of the artist.” Redford also addressed the issue of “fake news.” “Journalism always seems to be under threat,” he said. “(It’s) because journalism is our means of getting to the truth (and) getting to the truth is harder and harder in this climate.” The press conference was moderated by Barbara Chai, MarketWatch entertainment editor and head of the arts and culture coverage for Dow Jones Media Group. The Sundance Film Festival will run through Sunday, Jan. 28. For information, visit www.sundance.org/festivals. Episode I: on the TV |
