Toronto Film Festival Archive for September, 2014

Pete Hammond Counts Down The Quality Pics Without Distribution That Are Running Out Of Time For A 2014 Awards Season Release

Pete Hammond Counts Down The Quality Pics Without Distribution That Are Running Out Of Time For A 2014 Awards Season Release With – Fleming On New Purchasing Powers At Toronto

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The Torontonian reviews This Is Where I Leave You

Like a middling episode of House-“Arrested Development,” Shawn Levy’s This Is Where I Leave You—adapted from the Jonathan Tropper novel of the same name—is a dysfunctional family dramedy lacking in laughs and an emotional punch to really bring it home. The film gets by on its likable cast, but the fact that this film merely passes despite such a talented crop of comedic talent should speak to a general failure, or at least a sense of disappointment.

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How Par Plucked Chris Rock’s Top Five At TIFF, Plus Notes On Other Acquisitions

How Par Plucked Chris Rock’s Top Five At TIFF, Plus Notes On Other Acquisitions

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TIFF-Preemed 99 Homes Listed By New Distrib Broad Green

BROAD GREEN TAKES US RIGHTS TO HYDE PARK – IMAGE NATION’S ’99 HOMES’ BY RAMIN BAHRANI AND STARRING ANDREW GARFIELD, MICHAEL SHANNON AND LAURA DERN LOS ANGELES (September 16, 2014) – Broad Green Pictures (BGP) announced today that they have acquired all US rights to Ramin Bahrani’s feature 99 HOMES. BGP plans to release the film,…

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Alison Willmore Outlines How Baumbach’s Latest Is Really A Twist On Catfish

Alison Willmore Outlines How Baumbach’s Latest Is Really A Twist On Catfish

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Wrapping TIFF 2014

It was a really good TIFF. Solid.

What was missing, really, were the home run hitting feature films. (Great docs… but we expect that.)

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Confessions of a Film Festival Junkie: It’s a Wrap

Officially there were 366 features shown at the just completed edition of the Toronto International Film Festival. I saw about 30. So it should come as no surprise that few of this year’s public and jury prize winners managed to elude my grasp.

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The Torontonian reviews It Follows

One of the most enjoyable aspects of David Robert Mitchell’s It Follows—alongside its brilliant cinematography and chilling scares—is the inventive premise, which is as much to fun to describe as it is to watch (tell your friends about the “sexually-transmitted ghost” movie and watch their faces turn from disgusted to wildly amused).

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At Toronto, SPC Takes Still Alice For North America

  NEW YORK (September 12, 2014) – Sony Pictures Classics announced today that they acquired North American rights to STILL ALICE, starring Julianne Moore, Kristen Stewart, Alec Baldwin, Kate Bosworth and Hunter Parrish. The film reunites Co-Directors and Co-Writers Richard Glatzer and Wash Westmoreland (THE LAST OF ROBIN HOOD) with Sony Pictures Classics, who worked together…

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SPC Buys Into Julianne Moore-Starrer Still Alice At Toronto

SPC Buys Into Julianne Moore-Starrer Still Alice At Toronto

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At TIFF 14, Michael Moore Proposes A 13-Point Doc Manifesto

At TIFF 14, Michael Moore Proposes A 13-Point Doc Manifesto

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The Torontonian reviews Good Kill

Written and directed by Andrew Nicoll and riddled with all the appropriate military jargon like “rules of engagement” and “painting the target,” his script compliments the disconnected horrors of these drone strikes by underlining the ironies of this cyclical, cynical conflict

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HBO Doc Films Takes Broomfield’s Tales Of The Grim Sleeper At Toronto

HBO DOCUMENTARY FILMS TAKES NICK BROOMFIELD’S TALES OF THE GRIM SLEEPER CRITICAL FAVORITE CLOSES US DEAL FOLLOWING FIRST TORONTO SCREENING Toronto, ON (September 10, 2014) – Submarine announced today from the 2014 Toronto International Film Festival that HBO Documentary Films is acquiring US rights to veteran Nick Broomfield’s highly acclaimed TALES OF THE GRIM SLEEPER….

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In Toronto, Michael Moore Reminds Documentarians To Entertain

“People want to go home and have sex after your movie. Don’t make them feel urggghh. Don’t do that to your fellow sexually active people.” In Toronto, Michael Moore Reminds Documentarians To Entertain 

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Avers Jeffrey Wells

“I’m telling you straight and true that Paul Dano‘s performance as the youngish Brian Wilson in Bill Pohlad‘s Love and Mercy is almost spookily great.” Avers Jeff Wells

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“Yummy” Benedict Cumberbatch Seduces Toronto

“Yummy” Benedict Cumberbatch Seduces Toronto

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Confessions of a Film Festival Junkie

It’s kinda official. To be honest I really haven’t noticed anyone taking notice of the fact that Toronto mayor Rob Ford hasn’t shown his face at the Toronto International Film Festival. Granted the local attendees don’t appear to be his constituency and there is a mayoral race coming up before the end of the year. In fact, there either was a debate scheduled (there are three others on the ballot) or one that went forward that Ford opted out of without extending much of a reason.

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Imitation Game Screenwriter Champed To Tell Alan Turing Tale Since He Was 14

Imitation Game Screenwriter Champed To Tell Alan Turing Tale Since He Was 14

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Cieply Listens Into SPC’s Toronto Dinner To Get Some Award Season Cues

Cieply Listens Into SPC’s Toronto Dinner To Get Some Award Season Cues

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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