MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

More TIFF Cliff Notes

There was a list of filmmakers and guests are expected to attend the Toronto International Film Festival this year. It was so big, I decided it would make good wallpaper for the festival, maybe for the laptop or your phone.

Also released today, a Fact Sheet, including:
336 Total Features – 268; Shorts – 68 (339 Total: Features – 258; Shorts – 81)
249 Features that are World, International, or North American Premieres: 123, 28, and 98 respectively
90% Feature-length films that are World, International, or North American premieres (69%)
3461 Total Submissions: International – 2,502, Canadian – 959 (3,526: International – 2,677, Canadian – 849)
65 Countries (59)
61 First Features (64)
33 Screens Used (33)

There were also some additional titles announced. New films from two filmmakers who often seem like kindred spirits are included…

I Wish (Kiseki) Hirokazu Kore-Eda, Japan International Premiere Koichi lives with his mother and retired grandparents in Kagoshima, the southern part of Kyushu region. Separated by their parents’ divorce, his brother Ryunosuke lives with their father in Hakata in northern Kyushu. A new bullet train line in the region will be inaugurated soon, and Koichi starts to believe a “miracle” will happen the first moment these new bullet trains intersect each other from opposite directions with their highest speed; his only wish is for his family to live together once again. With some help from grown-ups around him, Koichi sets out on a journey with a group of friends, each hoping to witness a miracle.

Restless Gus Van Sant, USA North American Premiere Restless is a powerful and emotional story of discovery that centres on the relationship of two outsiders brought together by unforeseen circumstances. The story of friendship becomes an engaging and provocative love story.

Be Sociable, Share!

Comments are closed.

The Hot Blog

Quote Unquotesee all »

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