This year, the creative was based on the EGG, metaphorically, that the Festival is a place where films and people and ideas are hatched and also that Festival-goers get the chance to see into the egg, just before what's inside becomes visible to the larger world...

In 2004, we embraced the fact that Sundance Film Festival happens in the West, in an old mining town and that much of the place is made of wood. Thus, the wooden film reel.

I also wanted to make all the pieces of collateral desirable and, in a way, collectable, so we designed the entire collection to feel like a stack of vintage books & materials from the old Library, one of the screening venues, in Park City. 

White. 

The snow.

A blank page.

A theater screen.

In 2005, we embraced the power of white – to inspire and showcase the independent spirit.

We married that to a stark usage of scrolling red filmic elements, archival photography and another nod to reinterpreted western typography.

2006.

We played with the idea of iconic storytelling. Stories are handed down, reinterpreted, told and retold.  Film is one of our history's most powerful storytelling forms.

The use of public domain illustrations restaged famous stories and parables, incorporating filmic elements in whimsical ways.

2007.

I had always loved the idea of using FIRE as a metaphor for Sundance.

With regard to the Festival, it represents the passion and drive of the Independent Filmmaking community, as well as the "drawing" power of Sundance Film Festival. 

Each January, Park City is hearth and home to this community in the snowy mountains of Utah.

Sundance Film Festival campaigns are meant to re-focus everyone's attention, especially the press–arbiters of the brand for the non-40,000+ Festival attendees–simply on the filmmakers and their films.

2008's creative dealt with the relationship between the filmmaker's environment and his work.  Films come from all over the world, but they all end up a long way from there.

They end up, but begin, at Sundance.