indieWIRE invited all of the directors in the U.S. dramatic and documentary competition to participate in an email interview as a way of introducing them to our readers. Hank Rogerson's documentary, "Shakespeare Behind Bars," delves into a prison production of Shakespeare's "The Tempest."

Please tell us about yourself and include as much of the following information as you feel comfortable with:

Age: 38 Where you were born? Born in Boston, Mass. Where you grew up. Where you live. Grew up in Groton, Mass. Now live in LA.

Did you go to film school? Or how did you learn about filmmaking?
I did not go to film school. I took film courses in college, and then learned by working in production on films like “City Slickers”, and “White Sands” in Santa Fe, NM. Then, my filmmaking partner and wife, Jilann Spitzmiller, and I began making our own films together. That is when I really learned filmmaking. We financed “Shakespeare” with money from Sundance, ITVS, the BBC and Visa.

Where did the initial idea for your film come from?
I was researching the idea of prison and theater, in particular Shakespeare in prison, and my brother referred me to an article in American Theater Magazine about a group of inmates in a Kentucky prison who were performing Shakespeare. The program sounded amazing, and off we went to Kentucky.

What are your biggest creative influences (this could include other filmmakers or films)?
In college I was very influenced by the films of Godard. Watching his films and his style allowed me the courage to feel like I could maybe make a film too. Also, the doc films of Michael Apted were an early influence on me. His “Incident at Oglala” was very encouraging to me and my wife in the making of our first doc “Homeland”. I also love the books of David James Duncan, novelist and activist. Finally, my mother was a huge influence on me because she showed me that passion and stubbornness are what an artist needs to go to work every day.

What were some of the biggest challenges you faced in either developing the project or making the movie?
Finding funding with no strings attached. A number of people wanted to help fund this project, but they also wanted to own it, take it over, etc. And that’s what was great about the Sundance Institute Documentary Fund—it was all about support. And then ITVS came in with completion funds, which was a huge help. Editing was a challenge on this project due to all the story elements involved. But I had a great editor (Victor Livingston) and a fabulous producer (Jilann Spitzmiller) who helped to bring it all together.

Tell us about the moment you found out that you were accepted into Sundance, where were you?
I was in Florida for Thanksgiving with my wife, Jilann and her family. Jilann and I were staying in a guest house all by ourselves, so when we heard we were alone…and we went nuts! We bounced on the bed, off the walls, screamed at the top of our lungs, jumped into the pool fully clothed, and then drove to the liquor store for some bubbly.

And we'd love to hear more about how you've spent the last month preparing for the festival.
The more that gets done, the more there is to do, it seems. We finished the project before Christmas, and then collapsed for the holiday. Since the New Year it’s been about tickets, press, sales reps, tickets, publicity materials, lawyers and tickets.

What do you hope to get out of the festival, what are your own goals for the experience?
I hope to have a good time. I plan to see some other films. I would like to meet as many of the other filmmakers as I can.

If you were given $10 million to be used for moviemaking, how would you spend it?
I would take $10 million, invest it, and in a few years start a foundation to support doc filmmakers.

What was your top ten list for 2004?
Between making a film and raising a one year old I only saw these films in a theater last year: "Eternal Sunshine of the Spotless Mind;" "Collateral;" "Fahrenheit 911," and "Bukowski: Born Into This."