Festivals Archive for July, 2010

CELEBRATED ACTORS AND FILMMAKERS TAKE CENTRE STAGE AS TIFF ANNOUNCES STELLAR LINEUP OF GALAS AND SPECIAL PRESENTATIONS

Toronto – The Toronto International Film Festival® rolls out the red carpet with a selection of 15 Galas and 35 Special Presentations for this year‟s Festival, including 25 World Premieres.

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Has The Kids Are All Right Snapped The Big-Buy “Sundance Curse”?

Has The Kids Are All Right Snapped The Big-Buy “Sundance Curse”?

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Hoser Hoedown: Toronto Int’l To Open With Olivia Newton-John Hockey Musical

Hoser Hoedown: Toronto Int’l To Open With Olivia Newton-John Hockey Musical

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Regional View: How Georgia’s Film Fests Are Holding Up

Regional View: How Georgia’s Film Fests Are Holding Up

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Eug On The Film Society Of Lincoln Center Shake-Up

Eug On The Film Society Of Lincoln Center Shake-Up

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Rose Kuo New Exec Director Of Film Society Of Lincoln Center, Succeeding Mara Manus, Out After 2 Years

Rose Kuo New Exec Director Of Film Society Of Lincoln Center, Succeeding Mara Manus, Out After 2 Years

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Indie Filmmaker Still Recovering From LAFF’s “Seize The Power” Symposium

Indie Filmmaker Still Recovering From LAFF’s “Seize The Power” Symposium

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Fincher’s Facebook Foursquared Away As NY Film Fest Opener

Fincher’s Facebook Foursquared Away As NY Film Fest Opener

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Noah Cowan On Fave Pieces From Inaugural Bell Lightbox Exhibits, From Maddin, Hitch And DeNiro’s Hack License From Taxi Driver

Noah Cowan On Fave Pieces From Inaugural Bell Lightbox Exhibits, From Maddin, Hitch And DeNiro’s Hack License From Taxi Driver

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Toronto FF’s Inaugural Bell Lightbox Gallery Exhibitions Include Work By Maddin, Egoyan

Toronto FF’s Inaugural Bell Lightbox Gallery Exhibitions Include Work By Maddin, Egoyan

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Festivals

allgemeine kreditversicherung aktiengesellschaft on: Cannes 2014: Opening Day

http://www.abelduarte.com/ on: Cannes 2014: Opening Day

Alex on: Sundance Reviews: Cutie and the Boxer, Fallen City

10 More Clash of Clans Strategies, Tactics, and Tricks ... on: Never Let Me Go actors Carey Mulligan & Andrew Garfield

Stella's Boy on: Wrapping TIFF 2014

David Poland on: Wrapping TIFF 2014

David on: Wrapping TIFF 2014

movieman on: 31 Weeks To Oscar: Telluride, Toronto & New York

PatrickP on: 31 Weeks To Oscar: Telluride, Toronto & New York

Ray Pride on: 31 Weeks To Oscar: Telluride, Toronto & New York

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas