By Other Voices voices@moviecitynews.com

Toronto International Film Festival: The Fact Sheet

(Numbers in parenthesis are last year’s statistics)

312 Films: Features – 249; Shorts – 63 (352 Total: Features – 261; Shorts – 91)

237 Features that are world, international, or North American premieres: 116, 29, and 92 respectively (234: 101 world; 25 international; 108 North American)

75% Feature-length films that are world, international, or North American premieres (85%)

4209 Total Submissions: International –3445, Canadian – 764 (4156: International – 3415, Canadian – 741)

64 Countries (55)

61 First Features (71)

36 Screens Used (29)

17 Programmes (17)

20,693 Minutes of Film (29,764)

262′ Longest Film: (540’)

3′ Shortest Film: (2’)

29 Canadian features, including co-productions (41)

38 Canadian shorts, including co-productions (54)

18 Canadian features making their world premiere, including co-productions (22)

7 Installations mounted in venues across the city as part of Future Projections

340,000+ Admissions annually, both public and industry.

Bell Lightbox
Currently under construction in downtown Toronto, Bell Lightbox is soon to be the world’s leading destination for film lovers. This major new cultural institution on the Canadian and international landscape will be structured around five state-of-the-art cinemas celebrating film from around the world. Bell Lightbox programming will give context to films through innovative cross-media exhibitions, lectures, and film-related learning opportunities for all ages. Designed by innovative architecture firm KPMB, Bell Lightbox’s fluid design encourages exploration, movement and play within its soaring atriums.

The campaign to build Bell Lightbox is generously supported by founding sponsor Bell. The Government of Canada and the Government of Ontario each have contributed $25 million to realize Bell Lightbox. A gift of more than $22 million has been confirmed from the Reitman family – acclaimed filmmaker Ivan Reitman and his sisters Agi Mandel and Susan Michaels – and The Daniels Corporation, who together form the King and John Festival Corporation. The project is also supported by RBC as Major Sponsor and Official Bank, Visa†, Copyright Collective of Canada, NBC Universal Canada, The Allan Slaight Family, The Brian Linehan Charitable Foundation, CIBC, and many other individuals and corporations. The Board of Directors, staff and many generous individuals have also contributed to the campaign. The total amount raised to date is $147 million, three quarters of the total campaign of $196 million. For more information on the Bell Lightbox campaign, visit belllightbox.ca

We are a charitable, not-for-profit, cultural organization whose mission is to transform the way people see the world through film. Our vision is to lead the world in creative and cultural discovery through the moving image.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon