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Show Redford Wraps Up Film Fest multitude of strobes and an audience who laughed when his sport coat fell on the floor. And even more impressive im-pressive that he spoke intelligently, candidly and for more than two hours. Even those who had come just to see his pretty face had to admit he was sharp. Since he wasn't sure what he was 'supposed' to speak about, Redford opened the floor to questions. He admitted admit-ted a dislike for festivals and for multi-complex theaters where the soundtrack from cinema one bleeds through the walls to Cinema Two. "Whatever happened to the corner theater?" he asked. He explained what did happen to that old favorite the short subject. Instead of tossing a 15 minute short in with the price of the feature, cinema owners realized they could schedule more showings show-ings (read - sell more tickets) per night without the short. It so happens that the short subject was a viable break-in point for the independent filmmaker. With that market extinguished extinguis-hed and the infiltration of the magabuck super studios, independents found themselves them-selves all but shut out of the national market. With the establishment of The Sundance Sun-dance Institute next summer, sum-mer, Redford and associates hope to bolster the tradition of the independent filmmaker. film-maker. "He has something to say, he isn't trying to satisfy commercial tastes for big returns at the box office. He is like a painter. No one says change this color, add a diagonal here, his work stands alone," Redford intoned in-toned in an appeal for the importance of the independent indepen-dent filmmaker. "Hollywood is a state of mind," he continued, and the questions got tougher. One reporter, cognizant of Redford's ambivalent feeling about the Academy, asked, "What will you do if you are nominated for an Academy Continued on Page 12 He was late. There were those among the crowd waiting patiently at the Silver Wheel Theater who' began to doubt whether he had any intention of coming to Park City. Even though Utahns like to claim him as a local, Redford is still one of those larger-than-life movie stars whose presence un-glues un-glues most of the ordinary people around him. Most not all. There are, in fact, a fair number of locals who resent his ecologically-oriented interference in Provo Canyon and wish he would move to Hollywood, where he belongs. But to hear Redford speak is to realize he doesn't belong in Hollywood. He is the Sundance Sun-dance Kid of the film industry. Redford pulled up to the theater 45 minutes late, desheveled, not fully briefed about what was expected of him and was immediately shunted on stage. He was briefly introduced and then left to fend for himself. It is to his credit that he was courteous in the face of a Continued from page 8 Redford, Con't.... Award for "Ordinary People"? I don't know," he replied. He was not at all covert, however, about why he chose, "Ordinary People" for his directorial debut, about-his choice of cast members, his difficulties difficul-ties with the film or why he felt that the film had found such broad based appeal. He read the galleys of Judith Guest's first novel and knew that he wanted the movie rights. He knew that he wanted Mary Tyler Moore, "the quintessential ingenue" in-genue" to play the boy's mother and that he wanted Sutherland "who has a great capacity for compassion" as the father. Redford admitted to losing sleep over the psychiatrist. "I wanted Judd Hirsch but he was tied up with "Taxi." Unable to settle for a substitute, Redford rescheduled the shooting of those scenes to suit Hirshc's nine day break. "We shot it like a separate movie," the director explained. ex-plained. The toughest question was, why in the age of Star Wars is a movie like "Ordinary People" so popular. popu-lar. "Frankly I didn't think it would be," Redford answered. an-swered. "But obviously it has touched something in a lot of people. That underneath under-neath the panic, we are all feeling is a concern about the quality of our future. We are looking. vqr. what we are loosing. I think that we are . moving back to the community, com-munity, to the neighborhood because we sense that it is something we are loosing. The family is stronger than we want to admit." Though attempting to avoid philosophizing, philoso-phizing, Redford submitted on this note, "There is a reason for these evolutionary things but the transition is painful." iiniiiiiiii I |