Sundance to Sarajevo. Kenneth Turan

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СКАЧАТЬ as well as gracious as a host, brought him over to a table where critics and journalists from Newsweek, Variety, the Los Angeles Times, and the New York Times were sitting. Redford nodded to everyone, and, since there were no more chairs, immediately went down on one knee to have a more intimate chat with one of the most powerful critics there. Observing this tableau was Weinstein, never without words or unwilling to use them. “So Bob,” he said in a voice loud enough to make the actor blush, “that's how you get those good reviews.”

      Though it still believes passionately in championing striving young filmmakers, Sundance itself, not immune to all the success that surrounded it, has become established and institutionalized enough to have an annual budget of $8.5 million. With a fleet of Mercedes M-Class vans as “official vehicles” and a catalog as fat and glossy as an issue of Architectural Digest, Sundance increasingly exudes the prosperity and success that go with its place in the film universe.

      The festival catalog is as weighty as it is in part because of advertising from the festival's 125 sponsors, carefully organized into categories called Leadership, Major, Supporting, Official, and Festival. Corporations that would do credit to a Super Bowl telecast (Mercedes-Benz, AT&T, Apple, Blockbuster) lined up with less likely suspects like the San Miguel, Agua Calienta, Pechanga, and Viejas California Indian tribes and the makers of Altoids, which gave away so many mints one year that, their intrepid publicist announced, “If all of the Altoids were dropped from a helicopter over the festival center of Park City at the same time, they would blanket the area to a depth of 2.37 inches.” With a festival audience both young (57 percent are between eighteen and thirty-five) and well funded (38 percent earn over $100,000), is it any wonder that the institute has expanded operations to include the Sundance Catalogue, the Sundance Channel, and Sundance Theaters?

      Though people could and did argue over whether all this was good or bad for the festival, the fact that it brought increasing numbers of visitors to town (enough, apparently, to have spent over $25 million, including lodging and transportation, during the 1999 event) was undeniable. Cell phone usage during the fest rose 550 percent over the town's normal rate, and restaurants were booked a month ahead of time, with one establishment demanding a $60 food minimum per person as the price of reserving a table.

      Sundance tries hard to cope with this influx, training “crowd liaison” personnel and fine-tuning the festival's different sections, their locations, even the event's invaluable but increasingly complex shuttle bus system. And, at the most basic level, this may be the only festival that regularly adds theaters in a Sisyphean attempt to keep pace with its audience.

      Starting with the venerable Egyptian, a tiny triplex called the Holiday Village, and an assembly room in a hotel, Sundance added a 500-seat theater in the town's former high school (which now houses the local library), tacked on one more in a different hotel, and spearheaded local voter approval for the Eccles Theater, named after a local philanthropist, a 1,000-seat structure (which doubles as a performing arts complex when the festival is not in session) that opened in 1998 and promptly filled up.

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