Life After the Labs

Since being developed at the Screenwriters and Filmmakers Labs, several projects recently supported by the Institute's Feature Film Program have advanced into various stages of production.

Completed Projects
Andrucha Waddington’s House of Sand (2004 Sundance/NHK Award winner, Brazil) recently premiered in Brazil.

Post-Production
Three American projects supported by the Feature Film Program are no in post-production, including Shall Not Want, directed by Laurie Collyer (2001 Screenwriters and Filmmakers Labs), Harsh Times, directed by David Ayer (1997 Screenwriters Lab), and Down in the Valley, directed by David Jacobson (2003 Screenwriters Lab).

Pre-Production
Two Lab-supported projects are scheduled to begin production in the next several months. Rodrigo Moreno’s The Minder (2005 Sundance/NHK Award winner, Argentina) begins production later this month, and Dror Shaul’s Sweet Mud (2003 Screenwriters and Filmmakers Labs) will begin production in the late summer.

Post-Production Support
Many of these and other films would not be able to move forward without the crucial and generous support of the production services companies that agree to donate goods and services at steep discounts or, in many cases, free of charge. We offer deepest thanks to the following companies for providing assistance to these recent Lab-supported films:

Avid: Forty Shades of Blue, written and directed by Ira Sachs

Deluxe Laboratories: Me and You and Everyone We Know, written and directed by Miranda July; Swimmers, written and directed by Doug Sadler

E-film: Me and You and Everyone We Know, written and directed by Miranda July

Eastman-Kodak Film: Harsh Times, written and directed by David Ayer; The Motel, written and directed by Michael Kang

Pacific Title: Me and You and Everyone We Know, written and directed by Miranda July; The Motel, written and directed by Michael Kang; Swimmers, written and directed by Doug Sadler

Panavision: Harsh Times, written and directed by David Ayer; The Motel, written and directed by Michael Kang