Famous @ The Fest

10 days, 21 films, fifteen hotdog dinners, 8 nights of little sleep and one TTC pass. The madness that is the TIFF is behind me again for another year, and for the second year in a row I couldn't be happier with what I got to watch. Here's the final round.

It goes to figure that it would take until Day Ten for me to get a morning where I didn't have to go to the Manulife Centre Box Office. I can't remember the last tim waking up at 8:30 felt so damned good. Coffee and bagel in hand, I headed over to The Varsity for Spike Lee's documentary WHEN THE LEVEES BROKE: A REQUIEM in FOUR ACTS. While I was waiting in line, a volunteer started working his way down the que giving the people waiting a small bit of information, and when he got to me I immediately understood the reactions I was seeing on people's faces. All it takes to raise some eyebrows before a four-hour screening is two simple words - "No Intermission".

Why this decision came down is beyond me, especially since it made for people coming in and out throughout the screening. The film itself is absolutely amazing, and does well to show the audience exactly how big of a clusterfuck Hurricane Katrina turned into. It's a very powerful film that leaves you very saddened by some of the stories recounted by the survivors, and really has you scratch your head at how such a thing could happen to the richest nation in the world. In the end, it didn't feel like four hours- a sign that Spike paced the feature properly. Speaking of Mr. Lee, I was very disappointed to find that he didn't make the screening to introduce the film OR answer questions. He was in town Friday...he couldn't have waited until Saturday afternoon to leave??

After a quick stop at home, I reached the end of the yellow brick road with my final screening OUTSOURCED. My girlfriend picked this one, as per our tradition of trying to make our last screening one that we see together, and something upbeat. The film is really sweet, and tells the story of a guy whose job gets outsourced to India, and is then sent to train his replacement. It's your basic fish-out-of-water story, but is done with such heart that it leaves you with a smile on your face. Gorgeously shot on location in Bombay, it's funny, clever, and sweet. Not only that, but it managed to nifty trick of making me want to book an Indian vacation right after the screening. It doesn't have a distributor yet, but once it gets picked up I urge everyone to see it when they have the chance. If you do, watch for a particularly amusing scene where the workers use movie quotes to try and perfect their American accents.

So before I shuffle off for the year, here's Springer's Final Thought...

Favorite Films: VOLVER, BABEL, SHORTBUS, FOR YOUR CONSIDERATION, LITTLE CHILDREN and KURT COBAIN ABOUT A SON

Standout Performances: Kate Winslet (LITTLE CHILDREN), Penelope Cruz (VOLVER), Koji Yakusho (BABEL), Fred Willard & Catherine O'Hara (FOR YOUR CONSIDERATION), and Sook Yin Lee (SHORTBUS)

Films I Missed That I'll Be Looking For: PAN'S LABIRYNTH, VENUS, THE WIND THAT BLOWS THE BARLEY, 2:37, FIDO, THE LIVES OF OTHERS and BLACK SHEEP

Films That Disappointed: ALL THE KING'S MEN (In a league all its own), and THE U.S. vs JOHN LENNON

Worst Fest Memory: Not a memory per se, but I really wish they'd ease up on the anti-piracy gestapo...something tells me that will get worse before it gets better.

Favorite '06 Fest Memory: Getting a hug from John Cameron Mitchell was amazingly cool.

The end is very much in sight. But the more things change, the more they stay the same...strike three this morning on trying to same-day D.O.A.P. Oh well, at least Newmarket Films picked it up, so I'll be able to catch it at The Carlton in a month or so. Still, it was a decent day all around, continuing what has been a rather enjoyable Festival experience for me.

The merriment began early with THIS FILTHY WORLD. After the Waters/Mitchell conversation the other night, this was an essential selection, and truthfully I couldn't think of a better way to start my Friday. Waters cracks me up like few others, just by how witty he is and also how savvy he is about just about every damned thing concerning pop culture. It was short, sweet, and to the point...86 minutes of pure laughter. Waters was there to introduce it, but sadly couldn't stay for questions after. Didn't bother me much though, I had to boogie to get to the next show.

The final coupon out of my 30 Pass was used today, well spent on the Aussie flick SUBURBAN MAYHEM. SM isn't exactly Shakespeare, but it was pretty entertaining and well acted. The lead actress Emily Barclay does a bang-up job of playing a damaged girl, she reminded me of someone I've met somewhere in my past...but after watching all the screwed-up things she does in this flick, I dare not try to dig any deeper in my memory. Another serious movie, which seemed to be a trend for me this year, but this one didn't leave me as spooked as some of the others (casts a leery look in BABEL's direction).

After some time spent in The Annexe buying some new music (Flaming Lips, Bob Dylan, and Keane in case you are curious about such things) I took a long walk from Bloor & Bathurst back to Yorkville for my final show of the day ZIDANE: A 21st CENTURY PORTRAIT. This one was...okay. While I thought the idea of having seventeen cameras following one player was an intriguing idea...it wasn't until about ten minutes in that I put the pieces together. The cameras were going to follow his every last move. So the 90 minute running time was chosen, because that's exactly how long a football match lasts. See, this doesn't jive for me, because football is a sport where a lot of the activity away from the ball is players walking or trotting back and forth. So while it was thrilling to watch him challenge, move in for a strike, and set up a goal...the moments spent in between can leave you restless. A decent, if underdeveloped idea that for now, appeals to football fans only.

Last call folks, have a good day ten!

Hey Isn't That? : John Waters

Dude You Gotta Try This!: There's a pretty decent breakfast place across from the ROM...For the life of me, I can't remember the name of the place.

I'm Hearing Good Things: Damn near no line chatter today.

Do I Need a Coat?: Saturday will be a mix of sun and clouds (again), this time with a daytime high of 23 degrees.

Geez. You can tell that the festival is winding down when a waiting line that usually consists of ten or twelve people is suddenly just you.
After my early morning box-office routine, it was back home for some much-needed rest before my screenings. My first one wasn't until 3pm so it was a very welcome switch...maybe next year I'll look into trying to avoid morning screenings as much as possible. But I digress. 

So to begin with we had THE FOUNTAIN, the new film from director Daren Aronofsky who is most well known for REQUIEM FOR A DREAM. I watched this movie with three other friends, all of us rather film literate, and I'm sorry to admit that none of us completely understood what we had just watched. The film is interesting, gorgeous looking, and has a lovely (if not repetitive) musical score that leads you through the story. But I really could have done with a Kaiser Soze-like explanation scene just to sum things up. At first it seems like the characters played by Rachael Weisz and Hugh Jackman have been alive for 1000 years...but that doesn't add up in the end. Are there cliffs' notes I can read? I heard that THE FOUNTAIN was booed when it premiered at The Venice Film Festival last week. I don't know if booing is in order, but a DVD commentary track certainly is.

From there it was off to The Elephant & Castle for dinner before hopping down to The Visa Screening Room for THE EXILED. I gotta be honest, the film was cool and all but it really didn't do a whole lot for me. From what I understand, it's part of a series by director Johnie To...and something tells me that I'd get a few plot holes filled in by seeing those other films in the series. there were some fun action sequences, some funny lines...but at the end of it I just shrugged and headed home. It was a last-minute pickup anyway, so no worries.

We're in the home stretch folks. I have five left to go, hopefully I can end it out with a bang. 

Hey Isn't That? : Johnnie To

Dude You Gotta Try This!: Elephant & Castle on Yonge & Gerrard does a decent fish and chips.

I'm Hearing Good Things: They're mostly in hindsight now, but BLACK SHEEP and PAN'S LABYRINTH

Do I Need a Coat?: Friday will be mostly cloudy with a daytime high of 18 degrees.

So after yesterday being so damned amazing, I almost wanted to take the day off because there was no way it would live up. But today turned out to be yet another good one. After a trip to Manulife that landed me three-for-three in the tickets I wanted, it was down to Ryerson for the second screening of DIXIE CHICKS - SHUT UP & SING. It was a very spirited crowd for a morning screening, so it was too bad that The Chicks couldn't make it for an intro or a Q & A.

The doc is amazing, and a textbook case of catching lightning in a bottle, because the filmmakers were there that fateful night in March 2003 when lead singer Natalie Maines told a UK crowd that the band was ashamed that President George W. Bush was from their home state of Texas. The camera follows them for the shit-storm that followed, and weaved that story perfectly with the story of the band recording their new album. The film stands in stark contrast to THE U.S. vs JOHN LENNON, which wasn't nearly as engaging or revealing. But like that screening, it was the crowd that made this morning...they laughed, they cried, they booed Dubya, they clapped and they sang.

From there, I hopped on the subway to get to Varsity for the afternoon showing of LITTLE CHILDREN. Strangest sounding question of the festival: a volunteer asking me upon arrival "Are you here for little children?" (I just wanted to watch a movie). LC is directed by Todd Field, the same guy who did IN THE BEDROOM. This movie is equally as serious and dark, but I enjoyed it much more than ITB. It felt more focused, and leaner. The cast is stellar, particularly Kate Winslet who might be looking at an Oscar nomination. Like BABEL earlier this week, it left me with a gloomy gut feeling inside, but left an indelible impression too. catch this one when it hits theatres, but don't be dissuaded by the very cryptic trailer.

I had to miss the Q & A since I was running late for my next screening at The Visa, an Italian film called GOLDEN DOOR. I don't think I can recall any film that I wanted to walk out of that badly that ended up being that good. It's a simple story really, one where a family emigrates from Italy to America at the turn of the century. I was rather antsy, because it felt like it took the family 45 minutes of screen time just to get on the damned boat, but once they did (and took the subsequent voyage to Ellis Island), the film becomes elegant, funny, and heartbreaking. Give it a look if you have the chance. BTW, what is up with so damned many Visa reserved seats in the balcony of The Visa?? They seem to be hanging on to them for Cardholders, but all the cardholders are sitting down below. I think a memo has been missed.

Dear reader, I can tell you that without a doubt, this will go down as one of the most memorable days for me in the six Fests I have attended.

I had three items on tap today. the creamy center in this Oreo cookie was COPYING BEETHOVEN. Now I quite enjoyed it, but given the polite applause that followed the screening I get the distinct impression that I was in the minority. Obviously anytime you make a film about a classical composer, there will be comparisons to AMADEUS or IMMORTAL BELOVED (And this isn't as good as either of those)...but that doesn't mean it is without charm.

Ed Harris is entertaining as Ludwig van Beethoven, and Diane Kruger is charming as his copyist Anna Holtz. While I should have known better, I was a bit surprised to learn that the whole story was made up. Seems a little silly to make up such a yarn. However, there is a scene that involves the premiere performance of Beethoven's 9th Symphony that is quite something. I'd recomend seeing it if only for that one amazing (and lengthy) scene.

But the day was made at 8:30 when I settled into a third row seat at The Al Green Theatre for a conversation between John Waters and John Cameron Mitchell. It was such a treat, and truly hilarious to hear these two vanguard directors riffing off one another. I got to ask a question that's been bugging me for months (Did Waters write A DIRTY SHAME knowing he was about to earn an NC-17...Anser: "No"), and also compliment him on his socks (you had to be there). After the screening was over, I approached Cameron Mitchell and thanked him for his film indirectly sparking my relationship with my current GF. Long story short- in one of our first conversations HEDWIG came up, and I was impressed at her good taste. JCM was touched that had brought two lovebirds together, and said that was one of the sweetest things he'd heard...

...and then he hugged me!! I couldn't believe it!!! I was so caught off guard by how down-to-earth the guy was, and how genuine an interest he took in my silly little story. Suffice to say, he's gained himself an even bigger fan. After that, he posed for a rather lovely photo with my GF.

What can I say...a day to remember for sure.

It had to happen sometime- I slept through my alarm. As result I missed out on a ticket or two...but those tickets were ones I was picking up for other people. (Not sure if that makes things better or worse). I did get the pair that I was after for myself, so after skipping breakfast, it was off to The Paramount for the first time this year to see KURT COBAIN ABOUT A SON.

I think this one will stand as one of the best ones of the festival for me. A few days ago, i mentioned that as a film THE U.S. vs. JOHN LENNON was a disappointment because it contained no new information, and wasn't put together in an interesting way to compensate for that. COBAIN is the antithesis of that experience. The source material is audio tapes of interviews Cobain gave that were never published, so he tells his story in his own words...and many of these thoughts had never been heard before. It evoked memories of TUPAC RESURRECTION, since both films have dead subjects telling their own life stories.

Setting it even further apart were the visuals. For a documentary about one of the most important musicians in rock history, it was a daring decision to include no performances by Kurt or Nirvana, no Cobain/Nirvana music in the soundtrack (?!), and precious little images of the man either. The footage is all taken around northwestern Washington State...showing shot after beautiful shot of the three towns where Kurt lived (Aberdeen, Olympia, and Seattle).

KCAAS is filled with some of the most beautiful video footage I have ever seen, with lavish colours, delicate lighting, and some lovely portraits of it's local people. The film is original, breaking from the usual "Rock Doc" genre and intriguing in the way that it steers clear from much of the story of Nirvana as a band. It has chosen Kurt Cobain as its subject, and has wisely resisted the bait to get the man confused with his music.

After a very informative Q&A, I got to speak with the director AJ Schnack. He was very approachable, gracious and friendly. It's rare that you get to tell a director how much you like their work to their face!

That was a great start to the day. And the John Waters/John Cameron Mitchell Conversation will undoubtedly end it well. The question is...will my 4:30 screening of COPYING BEETHOVEN bridge the gap well?

This morning I hoped to add a ticket to LITTLE CHILDREN to my schedule for the day, but found myself shutout for the first time all week. In the end it was probably a blessing in disguise, since I find myself dog-tired and can really do with a night off. So, I set out for a light festival day...but a memorable one nonetheless.

It began at The Ryerson with ALL THE KING'S MEN, the political drama with an all star cast that includes Sean Penn, Jude Law, Kate Winslett, James Gandolfini, Sir Anthony Hopkins, Patricia Clarkson, and Mark Ruffalo. I came to this movie with great intrigue, since the release date was pushed back almost a year. What would that extra year bring? A snappier story? A more refined cut? Sadly, the answer is "No, none of those". I'm a pretty bright guy, but I really had a hard time following what was happening in this movie. All I can really tell you is that the story is one of how political power can corrupt even the most well-intended candidate. Sean Penn is amazing in it, but the rest of the cast are sadly wasted. The score is particularly annoying, as it seems to drive every important point home with a "dum-dum-DUUHHHHHH". There are some great lines in the script, but on the whole it wasn't enough for me to see this film as anything more than a big disappointment. And of course, given that it was the late gala last night there wasn't a soul from the cast or crew for any introduction or Q & A.

...By the way, am I the only one left scratching my head after those Motorola shorts?...

From there, I had to double-time it down to the Visa Screening Room for my 12:30 show of FOR YOUR CONSIDERATION. Without a doubt, this screening will stand as one of the most memorable I have ever been to. The film itself is hysterical, a satire at the movie industry and specifically the antics that ensue when actors began to get Oscar buzz. Director Christopher Guest has become known lately for his "mockumentaries" (WAITING FOR GUFFMAN, BEST IN SHOW, A MIGHTY WIND), and while he breaks from that format for this film...he really doesn't stray very far. 

Giving his immensely talented cast free reign to show off their improv skills, Guest crafts another comedic gem that will stand as one of the very best of the year. As if that wasn't treat enough, the film was followed by one of the best Q & A sessions I've been to. To begin with, you gotta remember that films at the VSR are almost never followed by a Q&A.  On stage Guest trotted out seemingly his entire rat pack. All were lots of fun, and kept the laughs coming as they engaged in a very long Q & A session. My GF even managed to get some decent photos, and it was refreshing to pull out the camera without security breathing down our necks.

Only one flick on tap for tomorrow, but I'm hoping to add one or two more. Oh yeah, in the "don't believe everything you read online" file, IMDb's news section is reporting a rain of boo's at the BORAT premiere last week. I've heard lots of stories from lots of sources about that eventful night...can't say any of 'em involved boos.

Hey Isn't That? : Christopher Guest, Eugene Levey, Catherine O'Hara, Parker Posey, Jennifer Coolidge, and Fred Willard.

Dude You Gotta Try This!: If you're looking for a decent breakfast downtown, you can't go wrong with Fran's Diner (200 Victoria Street and 20 College)

I'm Hearing Good Things: VENUS

Do I Need a Coat?: Tuesday will have light rain most of the day with a daytime high of 18 degrees.

So after a pit stop back home to rest up (gotta love living downtown this time of year) it was off to The Ryerson for a 6pm screening of THE LAST KISS. LK was a last minute addition, and mostly one of convenience. Having read mixed reviews of it, and knowing full well that it's being released in theatres in one week, I had my hesitations. However, when I scored an unexpected ticket for SHORTBUS this morning, taking a ducat for the film right before it in the same theatre seemed like a gimme.

I left the film somewhat unsatisfied. I've heard comparisons to GARDEN STATE. Hear me now- this film is no GARDEN STATE. It lacks much of the humor, self realization, and heart that made GS a cult hit. Similarly the amazing soundtrack has drawn GS comparisons (especially since this one was also partially compiled by Zach Braff). I can tell you without a doubt, that the music in LK doesn't play nearly the same role that the music in GS does. There is no Simon and Garfunkel moment coming this time, no Shins on the headphones that will totally change your life.

Having said all of that, I can't say it's a bad movie either. It takes a long hard look at people around the age of thirty suddenly wondering "what if?". At the centre of it all is Zach Braff's character Michael who in a quasi-midlife crisis finds himself being tempted by Rachael Bilson's Kim, althewhile trying to stay faithful to his pregnant girlfriend Jenna as played by Jacinda Barrett. It takes a long look at the nature of relationships and fidelity, and asks some tough questions along the way. 

I guess in the end, I'm not satisfied with having used a festival pass on it. Had I seen it next week on a Saturday night, having enough change left over from my twenty for a pop and candy, I'd probably been singing a different tune.

In other news I found myself to be in a rather limited demographic at this premiere - male, watching the movie alone. *shrugs* What can I say, I have no shame. I was also lucky enough to get Zach Braff to autograph my GARDEN STATE dvd. Having seen some stars walk by the fans at the stage door with nothing more than a shrug, and others yet actually go sprinting for their limo, I must say that Mr. Braff was rather accommodating with the sizeable crowd (signing quite a few pieces- on both sides no less, and posing for pictures with a fan or two).

Still giddy from my new autograph, I joined my girlfriend and her sister to see John Cameron Mitchell's SHORTBUS. This one had a lot of buzz behind it, since it featured lots (and I do mean lots) of sex scenes, where the sex acts were in no way simulated. Y'know, Saturday morning I thought to myself that the opening sequence of VOLVER, where the town women clean their families' gravestones in a windstorm was among the most memorable I've ever seen. Suffice to say, the opening sequence for SHORTBUS beats VOLVER for most memorable...and it beats it by a few touchdowns!

It's more than just "A porno with a plot" as it was often described. It's about loneliness, connection, contact, and self discovery. The actors are primarily unknowns, but to a man they are wonderful. Toronto's own Sook-Yin Lee stands out as a couples' counselor that cannot achieve orgasm. I'm going to leave much of the plot out of this, but if you do see it - watch for a truly beautiful scene between a young homosexual, and an elderly former mayor. It is one of the most tender and honest scenes I have seen in a long time.

Before I head to bed, I have to thank director Robert Lee King- who sat next to me and my gf in the SHORTBUS screening -for one of the best cinema conversations I've had at any festival.

Hey Isn't That? : John Cameron Mitchell, Paul Haggis, Zach Braff, Rachael Bilson

Dude You Gotta Try This!: Franz Hot Dog Bar at 335A serves a tasty, if slightly pricey, frank. Cooked your choice of boiled, bbq'd, or grilled.

I'm Hearing Good Things: 2:37, LAKE OF FIRE, WIND THAT BLOWS THE BARLEY

Do I Need a Coat?: Monday will be primarily cloudy and cool again, with a daytime high of 17 degrees

Went to the box office this morning to pick up a ticket to THE LAST KISS, and ran into some slight technical difficulties. By slight, I mean that processing my order of two tickets took about half an hour. I mention this because the volunteer helping me with my tickets was really great about the delay. It's moments like that that make or break certain festival frustrations.

After getting a bit more rest, it was off to The Visa Screening Room for this morning's showing of BABEL. Note to the dozen of star gazers with digital cameras on Yonge Street waiting for Brad Pitt- it's Sunday morning, he's still asleep. The movie itself was amazing, gritty, rather dark and sombre. Basically anyone who thought 21 GRAMS was too warm and fuzzy will love this one. Director Alejandro Gonzalez Innaritu's previous films followed the same style...of a handful of parallel stories that eventually intersect. While it had a moment or two where it felt a tad slow, it still stands as one of the best movies I've seen this year and I highly recomend seeing it when it's released in November.

Off to The Ryerson now, will write more later

Another day, another 6am departure from Casa del Famous. So far that hasn't been a struggle, but stay tuned. The funny part of me waking up at such ungodly hours- after three mornings getting to the box office for its opening, I have so far picked up just one ticket for myself. I seem to be everyone I know's same-day-ticket delivery boy. Oh well, I may need such favours down the road.

Before I go any further...am I the only one left scratching my head after those Motorola Shorts??

The morning began with waiting outside of Ryerson Theatre for VOLVER. I must digress by saying rain on me once, shame on you - rain on me twice, shame on me. That's right folks, yours truly got caught without jacket, hood or umbrella for the second time in twelve hours. Once I settled into drier conditions, I was able to enjoy Almodovar's latest delight. The film is moving, beautiful, and darkly funny. It centres around a group of five strong women, all connected in ways I dare not spoil. Penelope Cruz really gives a fantastic performance...it had me wondering why she doesn't do films like this more often and forget about popcorn flicks like SAHARA. One can only wish. There were no cast or crew present for any sort of a Q & A, but one has to expect such things when a 9:30pm gala is followed by a 9:30am screening the next morning.

Once outside it was around the corner to The Big Slice for some much needed sustanance (those early mornings are really mucking with my eating habits) After wandering around the Yonge & Dundas area and trying not to blow my budget for the weekend at HMV, I had headed back up to the Ryerson for my second screening of the day. There I met up with my girlfriend who told me that the Q & A session for PENELOPE had just set a new low for displays of audience intelligence. I'll spare you most of the gory details.

THE U.S. vs JOHN LENNON was my second screening for the day, and i walked away from it with mixed emotions. As an event, the screening will stand as one of the most memorable I've been to in the six festivals I've attended. Michael Moore decided to attend, and was greeted by a warm hand when he came in. That was handily trumped though, when Yoko Ono came into the auditorium and took her seat to a standing ovation. After a slightly lengthy intro, the film began. We laughed, we cried, we clapped, we sang. And the moment the house lights came up, another standing ovation began...with many people's hands in the air giving a peace sign.
...But...
As a documentary, and specifically as a John Lennon documentary, I was left somewhat unsatisfied. There wasn't much to be had in the way of new information or stories we hadn't heard. It's a lot of talking heads cut with archival footage, and it's the sort of film that will tug at the nostalgic heartstrings of every Baby Boomer. For me, what really stung was how they end the movie on the note of his violent shooting. Why spend ninety minutes stirring so many feelings of peace just to kick everyone in the gut during the last three? It's still worth a look for any lover of music, Lennon, or 60's culture.

Day Four awaits. The following bits were inspired by similar thought on moviepie's blog...

Hey Isn't That (Famous folks I saw): Yoko Ono, Michael Moore

Dude You Gotta Try This!: A Veal Parm sandwich from The Big Slice at 385 Yonge, $4.95 plus tax

I'm Hearing Good Things: FIDO, THE LIVES OF OTHERS

Do I Need a Coat?: Sunday will be a mix of sun & clouds, daytime high around 17 degrees.