Festivals Archive for September, 2012

Kent Jones On The Master

Kent Jones On The Master

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TIFF12: First Weekend In Telegraphese and Pictures

Monday afternoon: #TIFF12 Ah, autumn sun’s sweet mixed messages in sprint from venue to meet to venue #Toronto

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Lionsgate/Roadside Flip For Wiig’s Imogene

Lionsgate/Roadside Flip For Wiig’s Imogene

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Cieply Wants Stars To Say Something At Toronto Int’l

Cieply Wants Stars To Say Something At Toronto Int’l

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The Torontonian Reviews: Imogene

Bridesmaids went far last year, going the distance with many awards and cementing itself on plenty of Top-10 lists—mine included. More importantly, Bridesmaids made Imogene an easy sell in terms of anticipation: the world wants more Wiig, and I can’t imagine anyone is particularly upset to see her gaining more feature roles. Though her cameo career has been rather priceless thus far, Wiig is too good to be relegated to the sidelines.

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Anderson Teases The Master’s 70mm Ziegfeld Show With Another Shorn Scene

Anderson Teases The Master‘s 70mm Ziegfeld Show With Another Shorn Scene And – Tony Ortega On The Film’s Links To Scientology

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Kohn Defines TIFF12 Through The American Films He’s Seen

“When established filmmakers hit on common themes, the connection between them can indicate a cultural trend.” Kohn Defines TIFF12 Through The American Films He’s Seen

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What’s Next For Oscilloscope After Founder Adam Yauch’s Passing?

What’s Next For Oscilloscope After Founder Adam Yauch’s Passing?

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Agyness Deyn On Becoming A Serious Stripper In The Newest Pusher

Agyness Deyn On Becoming A Serious Stripper In The Newest Pusher

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Midnight’s Children Likely Not To Be Shown In India

Midnight’s Children Likely Not To Be Shown In India

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TIFF12 Review: Rust and Bone

One of my favorite films of the first few days of TIFF this year is Rust and Bone, the masterfully executed drama by Jacques Audiard (A Prophet) about the relationship between Ali (Bullhead‘s Matthias Schoenaerts), a rough-and-tumble backstreet boxer, and Stephanie (Marion Cotillard), an aloof trainer of killer whales. The pair meet when Ali rescues…

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The Torontonian Reviews: The Place Beyond the Pines

Derek Cianfrance’s direction is confident, on par with contemporary filmmakers who have been working for decades. But the writing of Pines is really the star of the show. How I wish I could spin such natural webs of dialogue! Cianfrance makes it look effortless, with not a single line sounding forced or out of place.

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Olsen On What’s Behind DePalma’s Passion

Olsen On What’s Behind DePalma’s Passion

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TIFF12 Video Of Cloud Atlas Press Conference With Wachowskis, Tykwer, Cast

TIFF12 Video Of Cloud Atlas Press Conference With Wachowskis, Tykwer, Cast

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Ebert’s Review Not One Of The Bipolar Range Of TIFF12 Cloud Atlas Notices, But…

“What did it sum up to? What is the through line? I can’t say. Not today, anyway. Not yet. Maybe there isn’t one.” Ebert’s Review Not One Of The Bipolar Range Of TIFF12 Cloud Atlas Notices, But…

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Cieply Concerned TIFF12 Doc How To Make Money Selling Drugs May Instruct Those Who Hope To Make Money Selling Drugs

Cieply Concerned TIFF12 Doc How To Make Money Selling Drugs May Instruct Those Who Hope To Make Money Selling Drugs

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TIFF12 Review: Seven Psychopaths

While Martin McDonagh’s highly anticipated Seven Psychopaths, starring an impressive cast including Sam Rockwell, Colin Farrell and Christopher Walken, and Woody Harrelson, lacks somewhat the depth of character that defined McDonagh’s 2008 standout In Bruges, it’s a mostly fun and entertaining romp through the lighter side of darkness — or at least, dark comedy. So…

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Period Piece Argo Timely As Canada Severs Diplomatic Ties With Iran

Period Piece Argo Timely As Canada Severs Diplomatic Ties With Iran

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Michael Mann’s Venice Jury Gives Controversial Best Film Nod To Kim Ki-Duk’s Latest, Pieta; The Master Gets Director, Acting For Phoenix, Hoffman

Michael Mann’s Venice Jury Gives Controversial Best Film Nod To Kim Ki-Duk’s Latest, Pieta; The Master Gets Director, Acting For Phoenix, Hoffman

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TIFF12 Review: On the Road

I’m glad now that I didn’t go to Cannes this year and thus, did not see Walter Salles’ On the Road until its re-cut state here at Toronto. I’d heard some negative buzz about the film out of Cannes, and had almost taken if off my TIFF list as my dance card started getting full….

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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