Toronto Film Festival Archive for September, 2008

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…

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Confessions of a Festival Junkie: It’s A Wrap

For at least the press and industry segment that attends the Toronto International Film Festival it’s an event that kind of fizzles out. Toronto doesn’t have an official market component even though there are years (not 2008) when there’s as much buying and selling going on to equal Berlin or the American Film Market. It’s…

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The Secret Life of Bees Directed by Gina Prince-Bythewood

Fox Searchlight’s The Secret Lives Of Bees actually plays… and not just for girls. It’s in the spirit of Sounder and the Toomer story in The Great Santini and To Kill a Mockingbird. It’s clearly Dakota Fanning’s coming out party as a young woman, a stark contrast fromHounddog, which smelled of her exploitation by a well-intended by overreaching writer/director….

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Confessions of a Festival Junkie: Dayzzzzzz

Following the flood of weekend movie junkets, it seemed an apt time for some serious business. There had been speculation that Steven Soderbergh’s Cannes premiered Che had finally made a deal for North American distribution rights but all players involved kept their cards very close to their chests. There were other murmurings and speculative questions that…

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The Confessions of a Film Junkie: The Weekend

There’s something a bit daunting about the fact that two of the most acclaimed films coming into the Toronto International Film Festival are titled Hunger and Blindness. Both premiered at Cannes withBlindness receiving the prestigious opening night slot and Hungerwinning the Camera d’or award for best first feature. I prefer Blindness, at least the type one encounters cinematically….

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Blindness Directed by Fernando Meirelles

There’s something a bit daunting about the fact that two of the most acclaimed films coming into the Toronto International Film Festival are titled Hunger andBlindness. Both premiered at Cannes with Blindnessreceiving the prestigious opening night slot and Hungerwinning the Camera d’or award for best first feature. I prefer Blindness, at least the type one encounters cinematically. Based…

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Lovely, Still

There have been some good films so far, but with the talent involved, good shouldn’t be a surprise. But the first “wow, didn’t see that coming” for me is Nik Fackler’s Lovely, Still… a tiny movie about age and love and family, small in scope, but movie stylized, with two home run performances by Martin Landauand Ellen Burstyn. I…

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Rachel Getting Married Directed by Jonathan Demme

Rachel Getting Married is the best Altman movie in 15 years. Of course, this film is not by Robert Altman, but byJonathan Demme, one of America’s great filmmakers, of a generation that came up behind the Altmans and others of the early 70s, who made his first high profile film, Melvin and Howard, one decade after…

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Tears For Sale Directed by Uros Stovanovic

Mike Leigh’s advice was well taken, as Uros Stovanovic has the kind of visual muscle to make him one of the next hot candidates for a Hollywood slot. The film is, essentially, a fairy tale filled with dark jokes, estrogen, sex, and explosions. Simplifying the story is probably a mistake, but I will offer the broadest…

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Confessions of a Festival Junkie

The Toronto International Film Festival began today and, I regret to say, all the good intentions of preparing for the onslaught of somewhere around 300 movies flew out the window. I did not carefully peruse the catalogue; prepare a preliminary screening schedule; or meticulously research the more obscure or arcane films from Asia, Eastern Europe,…

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IMAGE ENTERTAINMENT ACQUIRES EXCLUSIVE NORTH AMERICAN DISTRIBUTION RIGHTS TO COMEDY “$5 A DAY” AT TORONTO INTERNATIONAL FILM FESTIVAL

Amanda Peet, Sharon Stone, Christopher Walken, Alessandro Nivola, Peter Coyote and Dean Cain star in comedy about the hilarious antics of a con man and his conservative son TORONTO, Sept. 5, 2008 – Image Entertainment, Inc. (NASDAQ: DISK), a leading independent licensee, producer and distributor of home entertainment programming in North America, announced today at…

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Toronto Film Festival

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