Addie Morfoot Contributor When Gary Hustwit took his latest documentary “Eno” to Sundance in January 2024, he wasn’t riddled with anxiety about whether or not the doc about musician Brian Eno would find distribution.
The odds were undeniably against him: Scoring a big studio deal as an independent filmmaker is, these days, like winning the lottery.
And Hustwit’s decision to forgo a conventional chronological doc about Eno’s career in favor of creating generative software that creates a different version of the movie every time you see it, made it a particularly hard sell.
But despite factors, Hustwit and “Eno” producer Jessica Edwards fielded offers from several distributors in Park City. Still, the filmmaker wasn’t convinced they were ready to distribute it the way he intended. “I don’t think many of the distributors were ready to take on something like ‘Eno,'” he says. “I am also still innovating the software needed to dynamically stream a film that’s different every time it plays.
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