Toronto Film Festival Archive for September, 2010

Here Comes Fubar III

Here Comes Fubar III

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The Nebraska Cop Played By Rachel Weisz In The Whistleblower

The Nebraska Cop Played By Rachel Weisz In The Whistleblower

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Dargis Sez Fests Grow Up Even As Screens Grow Small

Post-Toronto, Dargis Sez Fests Grow Up Even As Screens Grow Small

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Aggregating TIFF 2010’s Real-To-Reel Doc-‘Em-Up

Aggregating TIFF 2010’s Real-To-Reel Doc-‘Em-Up

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Fubar II Not Forgotten

Fubar II Not Forgotten

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David Hudson Aggregates Contemporary World Cinema

David Hudson Takes TIFF10 To Consider Contemporary World Cinema Via A Scout Of Dispatches From All Around

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DP/30 @ TIFF ’10: Henry’s Crime actors Keanu Reeves, James Caan, Vera Farmiga

DP/30 – The stars of the unexpected TIFF hit get together to chat with David Poland about making the film.

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DP/30: State of the Union – Christine Vachon, producer

The queen of Killer Films, Christine Vachon, sits on a corner in Toronto with David Poland and talks about the indie industry, where she’s at (including a 5-part mini-series for HBO, Todd Haynes’ Mildred Pierce) and where we all might be going. (Watch out for passing buses!).

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Canadian Filmmakers Toonie In At TIFF

Canadian Filmmakers Toonie In At TIFF

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TIFF 2010: Photo & Video Array (all on iPhone)

Random moments at TIFF 2010, featuring Ebert, Dennings, Lucas, Ferrell, and Rainn Wilson

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Torontoist Tallies Its TIFF Best And Worst, From Lightbox To Score, From Scotiabank Theatres To Ebert

Torontoist Tallies Its TIFF Best And Worst, From Lightbox To Score, From Scotiabank Theatres To Ebert

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Toronto Restaurateur Reviews TIFF Party Scene

Veteran Toronto Restaurateur Reviews TIFF Party Scene

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Confessions of a Film Festival Junkie: Perspectives

C’est fini le fete international de film de Toronto. To be honest, the eleven days of the somewhat revamped Toronto International Film Festival are a blur. Three or four films a day, three or four hours of writing a night, one reception, innumerable dangling conversations and what do you get. The best I can come…

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TIFF 2010: It’s a Wrap

Another year of TIFF has officially wrapped, the awards have been announced, and everyone’s gone home. It was a really great fest this year with a solid slate, although I can’t say I disagree with those who feel the fest would benefit from cutting their slate a bit to be a little more discriminating. I…

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Gosling Says He Felt Real Love Shooting Blue Valentine

Gosling Says He Felt Real Love Shooting Blue Valentine

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Image Reflects On Passion Play

Image Reflects On Passion Play

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Anthony Hopkins On His Senior Moment In Tall, Dark Stranger

Anthony Hopkins On His Senior Moment In Tall Dark Stranger

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King’s Speech Ekes Aud Nod At T.O.

King’s Speech Ekes Aud Nod At T.O.

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Focus Ends Toronto With Beginners

Focus Ends Toronto With Beginners

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Never Let Me Go, screenwriter Alex Garland & novelist Kazuo Ishiguro

DP/30 – A chat with the two wordsmiths behind Never Let Me Go, screenwriter Alex Garland & novelist Kazuo Ishiguro

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Toronto Film Festival

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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