The other night, at my friend Swain’s in Missoula, I finally got to see Coming to Terms for the first time – no technical crap, no interruptions, no breaks for this or that. It was from a Vimeo compression file, and on a flat-panel video, which means it wasn’t as good looking as it could be, but…
My impression was, frankly, very positive: it’s the film I think I was out to make (hard to figure when you work in the manner I do – no script, nothing really “thought out” except a vague cloud of ideas which materialize in front of the camera.) While I don’t think it is “difficult” to watch, it is certainly not an “audience pleaser” – it confronts death, people who are not nice and are maybe made worse in the process of confronting death in their family. While having long passages that seem static, I think it is not at all boring, but instead rather sneaks up on the viewer, drawing you into the vortex of – OMG – your own thoughts. For people who either don’t have any or don’t like to be drawn into them, it certainly won’t work. But for the others…?
Aside fro some minor visual things, editing of literally a frame or two, and a little adjustment on the mix, I think it is finished.
I’ve sent it to Sundance, and it is being looked at by Cannes. Cynically I’d say it is not a Sundance kinda film, but perhaps they can surprise me. It’s still not their kind of film insofar as their audience is not really evidently into serious films. I think, though, it is a Cannes kinda film, at least in one of the serious sections. I’d love to have it in competition, but I know better. Why would I like it in competition? Because – and this is the reason for aiming at Cannes anyway – unlike about all other festivals, it might open the door for making a film with a little bit of money, with a producer who appreciated such things, and permit me at this very late date to “make a living.” So now to wait and see and then depending on the word back, juggle the festival politics. I suspect Cannes will not show if it is in Sundance, but something in me thinks perhaps it would be possible.
Counting our none-existent chickies before they hatch. Of course, the film could disappear down the Black Hole which has eaten up, oh, DISSONANCE, Swimming in Nebraska, Imagens de uma cidade perdida, Trinity, La Lunga Ombra, Over Here, and Parable – all of which have shown to no one or just one or two festival audiences. Big fkn deal.