TIFF Originals Archive for September, 2011

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

Earlier with Bob…. after the jump….

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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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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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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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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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TIFF ’11 Dispatch: So Long, and Thanks for All the Films

This was a pretty fantastic year to be at TIFF. I saw many solid films, a fair number of fair-to-middling films, only one film bad enough to warrant a rare walkout, and even a few that were great. The area around the Lightbox and Scotiabank felt like a real live festival center this year, complete…

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Annnnd…. Scene!

It was the easiest, hardest, best, worst, perfectly imperfect TIFF ever… made more so by the fact that I am summing it up days before it even ends. Sony, first through Sony Classics and then through the only studio doing serious TIFF junketting this year, Columbia Pictures, dominated the festival in every way. Clooney and…

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TIFF ’11 Review: Take This Waltz

Take This Waltz completely slayed me. With her 2006 feature film debut, Away from Her, Sarah Polley examined the intricacies of a long-term relationship through a couple married for many decades, who were faced with one of them dealing with early-onset Alzheimer’s. In that film, she explored marriage, infidelity, and commitment with a deeply innate…

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Confessions of a Film Festival Junkie: Day 4

Glitch! Saturday morning’s early morning screening of The Descendents – Alexander Payne’s new film starring George Clooney – at the Toronto International Film Festival got into rather severe technical problems. Those of us standing in line were told at about 20 minute intervals that there was a problem but exactly what problem was kept vague….

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TIFF Dispatch #2: Catching Up

It’s been a very busy few days for me here at TIFF, as I’ve been aiming for four-five films a day this year and trying not to be hunched over a keyboard in the 15-20 minutes I have between screenings. So here’s a nice catch-up for you of some of the films I’ve been enjoying…

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TIFF ’11 Review: God Bless America

Think of God Bless America, directed by Bobcat Goldthwait, as kind of a mix of Falling Down and Super — but funnier than Falling Down, considerably more accurately satirical than Super, and relentlessly violent in a blackly comedic way, without being meaninglessly so.

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TIFF ’11 Review: A Dangerous Method

David Cronenberg’s A Dangerous Method stars Viggo Mortensen as Sigmund Freud and Michael Fassbender as Carl Jung in a stagey drama about the professional relationship between two men whose ideas shaped the field of psychoanalysis, and their relationship with Sabine Spielrein (Keira Knightley), Jung’s patient-turned-protegee, who went on to become a psychoanalyst in her own…

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Confessions of a Film Festival Junkie: Toronto 2011 – Day II

Historically the festival has an almost unerring capacity for choosing the wrong opening night picture. This year was no exception with its selection of the U2 profile From the Sky Down. More rumination than concert film, it focuses on the group’s preparation for the 2011 Glastonbury festival, one of England’s most beloved musical events. They decide to revisit their seminal album Achtung Baby, recorded 20 years earlier in Berlin.

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TIFF ’11 Review: Pina

One of my favorite films of this year’s TIFF so far is Wim Wenders terrific 3-D documentary, Pina, a visually evocative, stunningly lovely tribute to legendary German choreographer Pina Bausch. If you are inclined to enjoy the language of dance, and you like to see terrific, creative choreography that utilizes all the subtleties of movement…

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TIFF ’11 Dispatch #1: Can You Say Party? I Knew You Could.

Another year, another Toronto International Film Festival. It doesn’t feel like a whole year since the last TIFF, but here we are, back in the land of ketchup chips and butter tarts, churning through four-five movies a day. The fest has a different feel to it this year, with most everything officially moved down to…

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CONFESSIONS OF FILM FESTIVAL JUNKIE: Toronto 2011

There are some festivals that pivot abruptly from being a film geek favorite to an industry whistle stop. Historians cite the 1989 screening of sex, lies, and videotape as just such a turning point for Sundance. It wasn’t simply a rabid audience response (it was crowned their favorite but failed to nab the jury award)…

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TIFF ’11 Preview: Real to Reel

There are 26 films in the Real to Reel section of TIFF this year, of which I’ll be able to catch maybe five or six. As always, it’s hard to tell by the catalog descriptions which films you’re going to love and which you aren’t; in 2009, I wouldn’t have necessarily had The Topp Twins…

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Two Doc Reviews – Crazy Horse & Paul Williams Still Alive

One is classic documentary form… no voice over… no director in the movie… beautifully shot and edited reality about an interesting subject. The premise of the other is that the director thought a star he once loved was dead and found out otherwise.

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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