Festivals Archive for September, 2011

SPC Acquires TIFF Audience Choice Where Do We Go Now?

SPC Acquires TIFF Audience Choice Where Do We Go Now?

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The Blur Of Indie Sales: TIFF ’11 Edition

with all the chatter about the 30+ sales at TIFF this year, there were a total of 6 buys by companies in those 20 that generate major dollars. Searchlight bought Shame, CBS bought Salmon Fishing in The Yemen (which seems to be the high sale of the year at $4 million), Lionsgate bought two films, one with Roadside (Friends With Kids) and the other on their own, You’re Next, The Hunter, and IFC grabbed Your Sister’s Sister and for their new IFC Midnight division, The Incident.

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Millennium Locates Rampart

Millennium Locates Rampart

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Kino Lorber Picks Up Pen-ek Ratanaruang’s Headshot

Kino Lorber Picks Up Pen-ek Ratanaruang’s Headshot

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DP/30: God Bless America, writer/director Bobcat Goldthwait

Earlier with Bob…. after the jump….

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Friedkin Talks Killer Joe

Friedkin Talks Killer Joe

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Longworth Spies No Award Frontrunners In TIFF11 Wrap

Longworth Spies No Award Frontrunners In TIFF11 Wrap

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Lionsgate Sez You’re Next

Lionsgate Sez You’re Next

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Bobcat Goldthwait On His Rage And God Bless America

Bobcat Goldthwait On His Rage And God Bless America

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TIFF ’11 Reviews: Last Roundup — Your Sister’s Sister, Chicken with Plums, Pink Ribbons, Inc. and Lucky

Your Sister’s Sister With her latest film, Your Sister’s Sister, writer-director Lynn Shelton again teams up with Mark Duplass, who plays Jack, an affable slacker caught between two sisters, Iris (Emily Blunt) and Hannah (Rosemarie DeWitt) in this lightly drawn but well-executed tale. Shelton has a knack for putting average people into beyond-average situations, as…

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Music Box Films Into Deep Blue Sea

Music Box Films Into Deep Blue Sea

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TIFF ’11 Reviews: Oslo, August 31 and Melancholia

Oslo, August 31 One of the last films I caught at TIFF this year, almost by accident, was Oslo, August 31, the sophomore effort of Reprise director Joachim Trier. Oslo, August 31 reunites Trier with Anders Danielsen Lie (who played Phillip, the troubled writer of Reprise) in this spare film about addiction, the choices that…

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Talking Wavelengths With TIFF’s Andréa Picard

Talking Wavelengths With TIFF’s Andréa Picard

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Toronto’s People’s Choice Award Goes To Nadine Lebaki’s Lebanese Talkie Where Do We Go Now

Toronto’s People’s Choice Award Goes To Lebanese-Canadian Nadine Lebaki’s Talkie Where Do We Go Now And – “The Fresh New Face Of Lebanon” Plus – Other Prizes Go To The Raid, The Island President, More

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Nat’l Post’s Worst-Best Glimpses Of TIFF

Nat’l Post’s Worst-Best Glimpses Of TIFF

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DP/30 @ TIFF ’11: Your Sister’s Sister

Meet the family of My Sister’s Sister. Writer/director Lynn Shelton and co-stars Mark Duplass and Emily Blunt.

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TIFF ’11 Review: Alps

One of my strongest festival memories is of watching Giorgos Lanthimos’ third film, Dogtooth, at TIFF in 2009, and walking out of the theater with a mass of fellow dazed critics, filled with excitement at having just seen this bizarrely brilliant work by an artist who seemed to materialize out of nowhere with the rare…

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10 Not-Unseen Films At TIFF Still Without U. S. Distribution

10 Not-Unseen Films At TIFF Still Without U. S. Distribution

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TIFF ’11 Review: Goodbye First Love

With her latest film, Goodbye First Love, Mia Hansen-Løve handles her subject matter of adolescent love in a way that’s remarkably free of pretense and condescension, even as her youthful characters occasionally make choices that make you want to throttle them. The story is pretty simple: 15-year-old Camille (Lola Créton) and 18-year-old Sullivan (Sebastian Urzendowsky)…

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Three Canucks Comment On Whit Stillman’s Extended Absence

Three Canucks Comment On Whit Stillman’s Extended Absence

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Festivals

Sunny Kim on: The Daily Buzz Podcast from Sundance

allgemeine kreditversicherung aktiengesellschaft on: Cannes 2014: Opening Day

http://www.abelduarte.com/ on: Cannes 2014: Opening Day

Alex on: Sundance Reviews: Cutie and the Boxer, Fallen City

10 More Clash of Clans Strategies, Tactics, and Tricks ... on: Never Let Me Go actors Carey Mulligan & Andrew Garfield

Stella's Boy on: Wrapping TIFF 2014

David Poland on: Wrapping TIFF 2014

David on: Wrapping TIFF 2014

movieman on: 31 Weeks To Oscar: Telluride, Toronto & New York

PatrickP on: 31 Weeks To Oscar: Telluride, Toronto & New York

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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