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Standing Ovations For 6 Toronto Film Festival Premieres

Standing Ovations For 6 Toronto Film Festival Premieres


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As a movie obsessive, I'm pretty heartbroken to not be at the Toronto Film Festival this year, especially since the lineup just may be the most impressive I've ever seen. With 366 movies on the schedule (including feature-length and shorts), I wouldn't be surprised if you're feeling a little overwhelmed by your choices. To help you out, here are the six that I've been dying to see ever since I first learned of their inception. Plus, there's a good chance we'll be seeing these touted as Oscar contenders the moment they're screened.

If you're not in Toronto right now, not to worry because unlike other film fests — I'm looking at you Sundance — TIFF tends to screen movies that already have upcoming wide release dates, so we won't have to wait two years to see something. Photo Courtesy of Fox Searchlight
12 Years a Slave
Release Date: October 17 It's no secret that I have been dying to see 12 Years a Slave ever since director Steve McQueen (known for Hunger and Shame, both starring Michael Fassbender) announced it in 2011, starring Chiwetel Ejiofor. By the time the rest of the cast was lined up (including Fassbender, Benedict Cumberbatch, Brad Pitt, and Paul Dano — no big deal) I was beside myself with excitement. The historical drama is based on the 1853 autobiography by Solomon Northup, a free black man who was kidnapped in Washington, D.C. and sold into slavery. Separated from his family, he worked on plantations in Louisiana for 12 years before he was finally released.

If the standing ovation at TIFF is anything to go by, with critics applauding the film's acting, direction, screenplay, production and score, this just may be the best movie you'll see in years. Though the film has award season buzz surrounding it, try to check the movie out before reading any in-depth reviews. If you don't want to listen to me, listen to Ejiofor, who has said he'd prefer people seeing it without the hype so they can reflect on it in their own way. If the rumors are true though, the Oscar race for Best Actor ended with his performance. Photo Courtesy of Warner Brothers
Gravity
Release Date: October 4 I've had a soft spot for Alfonso Cuarón ever since I first saw A Little Princess in 1995 (that's right, I'm taking it way back). The talented Mexico City-born director continued on to make Great Expectations, Y Tu Mamá También, and Children of Men — he even directed one of the Harry Potter flicks. His most recent film Gravity (which he co-wrote, co-produced and co-edited) is only 91 minutes long and is about two astronauts (Sandra Bullock and George Clooney) stranded in space after their shuttle is mostly destroyed by satellite debris. The movie has been surrounded by hype for months now, with early reports on the filming style (with super long takes) and the silent reflection of space (for instance, you may hear explosions in the trailer but they are silent in the actual film). James Cameron even told Variety, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time." Photo Courtesy of Dreamworks Pictures
The Fifth Estate
Release Date: October 18 Directed by Bill Condon (let's forget about Twilight, shall we?), The Fifth Estate is a dramatic thriller based in-part on Daniel Domscheit-Berg's book Inside WikiLeaks: My Time with Julian Assange and the World's Most Dangerous Website. The film follows WikiLeaks editor-in-chief and founder Julian Assange and its former spokesperson Domscheit-Berg, as they struggle to expose deceptions and corruptions amongst the most powerful names involved with the Internet upstart. Starring Benedict Cumberbatch and Daniel Brühl — as well as the future Doctor Who Peter Capaldi — this is the film of the 21st century.

Cumberbatch also stars in a third TIFF film, August: Osage County. Photo Courtesy of Film 4
Under the Skin
Release Date: August 29 Possibly the strangest flick playing this year, Under the Skin is director Jonathan Glazer's (Sexy Beast and Birth) attempt to out-Kubrick all other contemporary filmmakers. Adapted from Michel Faber's novel of the same name, the movie tells the story of a sexy alien (Scarlett Johansson) who was sent to Earth to snatch up hitchhikers in Scotland. Responses have been positive, with many impressed with Glazer's pacing and the flick's inevitable future as a cult classic. Photo Courtesy of Exclusive Media
Can a Song Save Your Life?
Release Date: September/TBA All I need to know about this musical drama is that it's written and directed by John Carney, the genius behind Once. As the former bassist of The Frames (the singer of which, Glen Hansard, starred in Once), Carney stretches his filmmaking even further with this high-profile flick. The movie is about aspiring singer Gretta (Keira Knightley) as she deals with the end of her long-term relationship with a celebrity (Adam Levine). Finding help — and love — in the form of a record producer (Mark Ruffalo) and a hip-hop star (Cee Lo Green), Gretta embarks on a journey to make herself into a successful performer.

Music fans will clamor for this considering Gregg Alexander and Danielle Brisebois (of the New Radicals), famed songwriter Rick Nowels, Carney himself, and Glen Hansard all contributed new musical material for the movie. Will Carney be able to recapture the magic he wove into the Irish indie Once or will having a reasonable budget and filming permits this time derail the whole thing? Photo Courtesy of Focus Features
Dallas Buyers Club
Release Date: November 1 Remember the days when we used to mock people for being a fan of Matthew McConaughey? That couldn't have just been me. The guy didn't have a very good track record prior to The Lincoln Lawyer, but ever since he's been rapidly proving himself as a formidable actor and I've had to eat my rash judgments. In Dallas Buyers Club he plays a man with HIV struggling to find medical treatment, eventually smuggling alternative medicine for the masses with a transgender woman (played by Jared Leto). McConaughey dropped 38 pounds for the role (Leto also lost 30) — which is based on the true story of Ron Woodroof — and we all know how much critics love it when performers drop weight for a part (how's that Oscar doing, Anne Hathaway?).


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


For movie makers, TIFF audiences are a ‘gladiators’ arena’

From boos and catcalls to thunderous applause and standing ovations, premiere screenings like the ones at this week’s Toronto International Film Festival can elicit a wide range of audience reaction.

And for the talent behind those films, attending the first-ever public screening can be akin to going into battle.

“You have to know what you are doing and, of course, the risks sometimes are there,” says Oscar-nominated filmmaker Werner Herzog, who will be at the Toronto fest with Salt and Fire.

“It’s the same thing like staging an opera in Milano at La Scala. (Maria) Callas was booed and never sang again and (Luciano) Pavarotti was booed and never sang again at La Scala.

“You have to face the gladiators’ arena.”

The Cannes Film Festival, in particular, is 𠇊 blood sport,” says Oscar-nominated filmmaker Baz Luhrmann, director of the new Netflix series The Get Down.

“When I played Strictly Ballroom in the middle of the night at Cannes, I heard two chairs go up. When the chairs go up, by the way . they spring up and go �ng,’ so you feel like you’re being shot at. I thought we were a disaster, but by the end there was a standing ovation and one’s life changed.

“However, when I did Moulin Rouge, honestly, there was booing and clapping and there was almost fighting. I think in Toronto, though, it’s really simple.”

Running Sept. 8 to 18, the Toronto fest is open to the public and often features Q-and-A’s with film talent at the end of screenings, adding an air of excitement.

As a result, its audiences tend to be more generous than they are at some other festivals.

“The audience is so with you and they’re rooting for you and they want to watch good work, so there’s just a really positive energy from the audience,” says Drake Doremus, who screened Equals at last year’s Toronto film fest.

Cannes, by contrast, is largely closed to the public and has mostly industry members in its audiences. That has resulted in some fiercely passionate reactions at screenings, including rapturous standing ovations and loud jeers. (Films booed at the most recent fest in May included Olivier Assayas’s Personal Shopper starring Kristen Stewart, which will also screen at TIFF.)

“When (booing) happens there, my understanding is that it’s generally journalists that are doing it,” says actor Viggo Mortensen, noting he was “relieved” when his film Captain Fantastic got a standing ovation at this past Cannes.

“There is something about Cannes that . there’s a tradition of the best and worst behaviour, not just from audiences but also from the people who show movies,” he adds. “In Cannes, there’s something more concentrated about the ugly and the beautiful that happens.”

Social media has amplified such extreme reactions, as the writer-director duo behind Swiss Army Man found out when it premiered at the Sundance Film Festival in January.

Daniel Kwan and Daniel Scheinert say they thought they𠆝 received a “warm and fun” reception for the quirky dramedy. But the next day, they woke up to headlines claiming there were many walkouts.

“One guy got kind of pissed off at the movie and he was the first one to tweet about it, because he left early and then that was the story,” says Kwan.

Loading.

“I think the Internet blew that thing out of proportion in a really scary, funny way,” he adds. “It’s the big fish story that gets six feet long or whatever.”

Mortensen says that’s why he only takes festival screenings “with a grain of salt.”

“There are the fad, of-the-moment kind of reactions that can be kick-started by one or two journalists and then it becomes the accepted wisdom, or lack thereof, about a particular movie coming out of Toronto or coming out of Cannes or any festival.”

Still, many filmmakers embrace such feedback.

𠇊s a filmmaker, focusing on what you did as seen through the eyes of strangers, as a tool, is remarkable,” says director Ivan Reitman, noting he cut over half an hour out of Meatballs and reshot a bunch of new scenes after it 𠇍idn’t play very well” during screenings for several studios in Los Angeles.

“Part of the journey of my life, as a storyteller and as a filmmaker, is to learn how to keep my eyes open and fresh, and one of the greatest tools for it is to watch it with other people,” he adds. “It’s a way of becoming a virgin again, as far as your art is concerned.”

Pete’s Dragon star Bryce Dallas Howard says her father, director Ron Howard, feels the same way.

“When I was a kid, the night that one of my dad’s movies would come out, we would get in the family Suburban, all of us, and we would drive from movie theatre to movie theatre to see what the reactions were like,” she recalls.

“I think that the trouble of this storytelling business is that sometimes filmmakers or actors or producers or studios shield themselves from honest reactions and that’s really damaging. It’s not how it’s meant to be.

“Going back to live theatre, having a real-time reaction is essential for feedback.”


Watch the video: Zellweger emotional about TIFF standing ovation (July 2022).


Comments:

  1. Tuktilar

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  2. Bryant

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  3. Kagale

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  4. Deakin

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