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TIFF ’11 – TIFF Kids Titles

Posted Wednesday, August 3rd, 2011 - Comments Off on TIFF ’11 – TIFF Kids Titles
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Toronto — The Toronto International Film Festival® presents a charming lineup of films in this year’s TIFF KidsTM programme (formerly known as Sprockets Family Zone). These selections from around the globe will captivate film-lovers of all ages, showcasing the best and brightest in family-friendly cinema. From battling ballerinas to a mysterious 3D monster, this colourful collection of characters animates the screen with hours of action-packed film fun for everyone.

First Position Bess Kargman, USA World Premiere This documentary follows six talented dancers (ages 9 to 19) from around the world, as they prepare for an international ballet competition that could transform their futures overnight. In the face of injury, disappointment and gruelling rehearsals, these dancers share a drive to succeed that trumps money, politics, culture and even war.

The Flying Machine Martin Clapp, Geoff Lindsey and Dorota Kobiela, Poland/China International Premiere The Flying Machine is a live action/animation family film about a stressed-out businesswoman, Georgie, who takes her two children to see the animated Magic Piano, which is being performed live by world-famous pianist Lang Lang. A magical event occurs and Georgie’s kids get transported inside the animation world. Starring Heather Graham.
A Letter to Momo Hiroyuki Okiura, Japan World Premiere After the loss of her father, young Momo moves to the old family house on a remote island: wooden buildings, terraced fields… and no shopping mall. Not too fond of the new environment, Momo is also feeling uneasy about an unfinished letter her father left behind with only two words: “Dear Momo.” Then, exploring the attic of her new house, she finds an antique book— and from that moment, strange happenings occur all around her.

A Monster in Paris Bibo Bergeron, France World Premiere Paris, 1910. Emile, a shy movie projectionist, and Raoul, a colourful inventor, find themselves embarked on the hunt for a monster terrorizing citizens. They join forces with the big-hearted star of the Bird of Paradise cabaret, an eccentric scientist and his irascible monkey to save the monster, who turns out to be an outsized but harmless flea, from the city’s ruthlessly-ambitious police chief. One of Dreamworks Animation’s finest directors, Bibo Bergeron (Shark Tale, The Road to Eldorado) returns to his homeland with a supra- inventive project. With its exceptional voice-cast, featuring iconic star Vanessa Paradis, A Monster in Paris invites audiences to an enthralling world of adventure and fantasy. Also stars Sean Lennon and Adam Goldberg.

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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