When asked a garbled question about boundaries between commerce and art, Redford explains that "Sundance is not here, Sundance is the place where the work happens," referring to the institute. Meanwhile, he's obscured in the first several rows and for many photographers by a huge pitcher from new sponsor Britta.

Journalist David D'Arcy records with two digital devices while Variety's Michael Jones puts pen to paper. "When you get too many cooks in the kitchen," Redford cautions of the rumored Sundance-Abu Dhabi coalition, "I think you slow the parade down."

A journalist repeats suggestion that there should be a Cabinet-level position for the arts, and if it were, and he were called, would Redford serve? "No," he says flatly, explaining that for all the years of Sundance he's been doing more than he could with a bureaucracy pitted against politicians. Still, he ended with a statement Gilmore didn't need to amend: "I'm hopeful."

Afterward, in the rush out to Main Street, Defamer's Stu VanAirsdale (aka The Reeler) takes sweet relief in the failing afternoon sun...

...while the New York Times' David Carr (aka The Carpetbagger) purr-growls questions that may be for filing speedy dispatch or to the person who cleans that basement where he shoots his daily videos.

Spike Lee had slumped into an aisle seat during the presser, hand on face, keeping himself at a remove. Once out on the sunlight of Main Street, head poked into fake fur headgear, looking in this composition a little like an Andy Warhol wig, he allowed a scrum of video cameras and fielded questions. The last one? About Tuesday's inauguration. "I'll be there."