“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
Movie City Indie Archive for May, 2009
Indie returns shortly. Both images, Toronto in Kensington Market neighborhood.
A fuller bloom coming shortly. Here: the campus of Victoria College, near the Rogers Industry Centre and beside the Isabel Bader Theatre. And: Same view from 90 degrees east.
More photo coverage, including award winners and awards night, coming in a bit; a final wrap-up with reviews of highlights to be posted mid-week. Watching, running, talking, uploading and posting can get out of balance. Look for a devoted page in next couple of days…
In the Industry Centre, there are times when every conversation is about finance and sales. The refrain this year: “we don’t know next year’s slots”; “we aren’t buying right now”; “we’re waiting to find out our budget”; “Do you have a relationship with someone with money?”
Walking toward the HotDocs industry center, high-rise construction is displacing small bungalows. Such a typically bucolic Toronto home seems ever more calm next to the bite of demolition.
Toronto’s not a frustrating city, but getting there can be: from Chicago’s O’Hare to Pearson International to the city proper is a complication of aggravations. Pearson International has some lovely spaces, but it’s huge, takes a lot of time to traverse and customs lines are long. Then there’s the $C50 or so taxi ride into the city center if you’re in a hurry, or a cheaper shuttle service that’s also at the whims of traffic, almost Los Angeles-thick, taking an hour or more. After a weekend that almost canceled my trip to Hot Docs, it was gratifying to have one of the simplest trips of my life. Porter Air serves several cities in Canada and the U.S., flying 70-seat turboprop Bombardier aircraft, including Chicago. Their flights land at Toronto City Centre airport, on Toronto Island in the shadow of the CN Tower at the foot of Bathurst Street. I started with a 40-minute bus ride from my front door in Chicago and a 15-minute Orange Line train to get to Midway. Everyone had checked in early, so the flight took off something like 15 minutes early. Early! And arrived at YTZ half-an-hour early. (New planes, attentive service, lovely in-flight magazine from the same people who publish Monocle magazine. [current issue pdf]) Luggage? Five minutes. Customs? One attendant for one plane landing. Another five minutes. One of the world’s shortest ferry rides, 120 meters, and a shuttle into the business district. A sunny afternoon, and I’m ready for a 10 minute walk to my accommodations before getting my Hot Docs credentials. It’s been a long time since I’ve been cheerful after getting off an airplane. I’m ready for some nonfiction… [I mention this partly because Porter also flies between New York and Toronto… a hint for any New Yorkers heading to Toronto International in September.]
Come for the surrealism, stay for the gibberish. Terrible in a dull way that used to be more commonly called “unreleasable,” “shelved” or “deservedly forgotten,” Paul Morrison’s Little Ashes, starring Twilight biter Robert Pattinson, doesn’t rise to the level of dreadful. Pattinson plays a young, sallow, flabby Salvador Dali; Matthew McNulty, who looks absolutely nothing like the cockeyed, boxer-stout filmmaker Luis Bunuel, is a classmate and poet-playwright-activist Federico Garcia Lorca (Javier Beltran) becomes the center of the picture, which insists on a sexual obsession between he and Dali. Beltran has sturdy presence, unlike the other actors, but like the other actors, isn’t given a modulated style of performance over the film’s duration. “I’m trying to be constructive here!” a character bellows in a scene that may as well have been played up against construction paper in a high school production. ”Listen! I’m part of this underground movement,” Garcia Lorca explains. The only instant that rises from the doldrums is a scene that draws on the historical fact of Garcia Lorca’s assassination; the reality is touching even when the scene’s shot through blurred frills of field grass in an olive grove to the murmuring in English over the murmuring in Spanish of one of his seriously bloody poems. Also typical of the visual furze is a sunset scene where faces aren’t lit, golden hour replaced with molybdenum. (Call it “day-for-Twilight.”) Seriously, young Pattinson is given help by neither director nor editor, seeming in every other scene like he’s suffering the actor’s equivalent of dreams where you’re naked in a restaurant. To be more charitable, he delivers a rapt portrayal of mild bowel irritation. The gay and/or homoerotic component is negligible, even if you include the carbonated slow-motion scissor kick underwater to suggest twinkly infatuation between Dali and Garcia Lorca as well as a scene where Dali masturbates to the other man fucking a female friend (the fright-coiffed Marina Gatell) in a nearby bed and the composition of two shots centers oddly, even in an unrated film, on the woman’s bared, posturing anus. “We’ll go for breakfast at the Pelican and you’ll paint all afternoon!” A better line might have been “My best friend got executed in an olive grove and all he got was this lousy biopic.” The typing and formatting of the screenplay is credited to Philippa Goslett.
A bit of unexpected, painful misadventure kept me from getting a HotDocs preview together for today. Still, I should be arriving tomorrow afternoon for keen insight and swell weather. [Photo: Finnish director Arto Halonen double-palming at a HotDocs 2008 party.]