Whatever stories a director wants to tell, the 10 days of Sundance is the time to toot her own horn and take advantage of being the center of attention. It disappears all too quickly. Jamie Babbit and Angela Robinson learned from their experiences of having shorts at the festival and very smart in exploiting the business opportunities that came their way. They are up front with their ambition and comfortable working in TV as well as film. Both are young, gay and able to look at directing from a business perspective. The raw ambition they exude has at times shocked other women -- Robinson caused a furor on a panel several years ago at when she talked about wanting to model her career after that of George Lucas. "I want action figures," she said. "I want a studio." Babbit got an agent from Sundance, as did Robinson, and made sure that she had a script ready for potential investors. Robinson immediately got a studio gig directing Lindsay Lohan in the Disney's remake of Herbie Fully Loaded. She's been an executive producer on The L Word and did a web feature, Girltrash!, that just got sold as a graphic novel. She's entrepreneurial and thinks about creating brands and intellectual property, goals not commonly expressed by women directors.
As Allison Anders says, "Sundance is the only hand that feeds for women directors." She implores women to be more prepared and not get caught in the "grateful to be there" mode not quite knowing how to move forward. She says: "Acknowledge that you could encounter every single person who could possibly finance your next feature and have a goddam screenplay ready."
The bottom line is that until there is a critical mass, it's going to be a struggle for all women directors. The next step is to figure out how the films from festivals like Sundance get seen by more than just industry folks with enough money to spend a week in the Utah mountains.