Sundance's 2011 Break-Out Ingenue Has Been Named

davidcarr Sundance's 2011 Break Out Ingenue Has Been NamedEach year Sundance chooses one ingenue to launch into critical acclaim, awards nominations, racy photo shoots and double-digit million dollar roles.

In 2009, it was Carey Mulligan, who, after a beloved turn in An Education, is now poised to play Daisy Buchanan in the most important 3-D film of our time. Last year, it was Jennifer Lawrence in Winter’s Bone, a shoe-in for an Oscar nomination.

And this year the early buzz points to someone a little older, more experienced, but capable of a rawer and better-trending performance than the next PYT on the indie conveyor belt: New York Times media reporter David Carr.

The humble hero of the Times media desk documentary, Page One, Carr already has one critic in his corner. Nicole La Porte of The Daily Beast writes:

At the heart of the story is Times media columnist David Carr, whom Rossi rightfully recognizes as the humanizing way into his tale. (In fact, the project was initially supposed to be just about Carr, but when Carr felt he couldn’t do his job while having a cameraman trailing him at all times, he suggested that Rossi paint a broader picture of the paper.) A former crack addict and memoirist, Carr could at times be mistaken for a tramp and stands out like a sore but beloved thumb amongst the buttoned-down, gravelly-voiced ranks of Timesmen (they are almost exclusively men) presented in the film.

But for all of his outward idiosyncrasies, Carr is a soldier mired in devoted and loyal service to the Times, making him all the more crucial to Rossi’s tale, which trades on a heartfelt nostalgia for the valor of print.

According to Twitter reports from the festival, the Times media ace is beloved by the little people, too. indieWIRE co-founder Eugene Hernandez writes:

“Standing O for rock star journo @carr2n at PAGE ONE q&a. Doc’s not just abt changing media, but changing definition of journalism.”

He’s also got what looks like the early signs of a fanatical following. Twitter user JennDUBS tweeted about Carr and the film five times within the hour after the premiere.

Obsessed and intrigued by @carr2n after seeing #PageOne . Amazing commentary on the state and future of print media. I’m a new daily reader!

@carr2n After the Q&A for #PageOne you officially went on my list of the 5 ppl I would want at my ideal dinner party!

Carr is spiraling into ingenuity so fast the backlash has already begun. A rival wrote:

Standing ovation for @carr2n as he goes up to speak at end of #pageone. He’s going to be impossible now :: @kstoeffel





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  2. Robert Redford says:

    The Sundance Film Festival’s 6 head programmers have acknowledged that they do not in fact watch the over 10,000 film submissions, and that they hire “someone” else, ( 30 to 40) other people to screen them before they are passed along ( in their own words) so why don’t they divulge the information as to the qualifications of these people? Why would any serious filmmaker feel comfortable about the fairness and spend 65.00 or 75.00 to simply let anyone look at their film? Would you “pay someone from craigslist” for instance and say, I will give you money to let you look at my film and tell me what you think.
    This is about as ludicrous as stupidity can get, but Sundance operates as do other film festivals off of desperation, and John Cooper doesn’t care about watching these films, he is out and about traveling the globe looking at films from other festivals, he does NOT watch the films.
    Sundance films are not independent, its who you know, not what you know or what you have made, they could care less and there is proof of that being made into a film that reveals the corporate corruption including interviews with those who worked at Sundance and behind the scenes. The movie is called “Scam Fest” and this film will open filmmakers eyes to what really happens to their films, and money. John Cooper, Shari Frilot, Jill Miller, Keri Putnam and all the rest of them are sold out and corrupt people, they have no talent, never made a film, have no qualifications other then to sit in a chair and push around paper and distribute money, and all the while Robert Redford does nothing, he simply states his usual rhetoric, “We support filmmakers” he is like a wind up doll.
    Well known film reps bring in 4 to 10 films and have private screenings and pay nothing, while your film sits in a box waiting to be watched by some college nit wits busy on their text phones forwarding through submissions, that wouldn’t have the time, patience or intelligence to know what a really great film is, and know what? Who gets duped in the end? You the people, the arts, movie goers, and so we have the same old cliches only boxed up “independently” and the real gems go to the garbage. The only people that have the nerve, and the integrity to stand up to Cooper and all his cohorts in their money making scams is the Yeager’s whose film Jesus of Malibu was never given the chance, the film trailer, e-mails, and info all reveal specifically how corrupt Sundance is and has been for over 25 years. It is only a matter of time when the states attorney shuts them down from ripping the general public off of millions of dollars each year, millions do the math, and has every filmmaker agree to their terms which is a contractual agreement, if this were any other institution, these people would be behind bars in prison, but the same old show goes on and on, smoke and mirrors, and the on-line publications encourage it, and they don’t write about it either, Filmmaker Magazine, Film Threat, Indie Wire, all of them don’t want you to know either because they are all making money in this, if not why don’t they tell you some really important information like Sundance is corrupt? Why don’t they get down to the question and interview; “Dear programmers tell us, who watch’s the 10,000 films and can we speak with these “people” please?  That won’t happen, and so in the meantime I not only tip my hat to the dear filmmakers William and Anais Yeager who have in my mind made the greatest film the world my ever have had a chance to see, but has brought all this to our attention, and it is quite obvious when you look at the film trailers for Jesus of Malibu, that this could be the most creative and solely true independent film ever made, way ahead of it’s time, and when you consider that Sundance had no interest in simply answering the Yeager’s e-mail or phone call regarding their film trilogy, it is obvious that it is about who you know, and Kevin Smith will always get in line before you or I ever do.
    Lets call this what it is for once and for all, its a big party, its about money, not about art, and it is about ripping people off, real indy filmmakers who keep submitting for years and years what a sad thing this has become, and shame to all those who don’t tell you about it, shame on them and you filmmakers who keep feeding this “beast”.