Most of us have grown up with many Disney films; animated or otherwise.  During the decade between 1984 and 1994, Disney underwent several changes in their corporate structure, which came to affect the animation department as well as the films that would be created during that time.

Former Disney employees Peter Schneider (President of Feature Animation) and Don Hahn (film producer) got together about a year and a half ago to discuss the idea of making a film about animation and the Disney company.  The result is Waking Sleeping Beauty, which premiered last night to great response.  The film was composed of all archival footage filmed by Disney Studios during the years between 1984 and 1994.  Hahn explained during the Q&A that they used archival footage only and no interviews with other former Disney employees to transport the audience back to that time and to give us a more intimate look.   

Schneider explained a little bit about the three main executives of the time and their response to the film.  All three (Michael D. Eisner, Jeffrey Katzenberg and Roy Disney) have seen the film.  Katzenberg found it powerful and was "very moved by the movie."  Eisner was tougher and demanded better; he said "you guys can do better."  The second he saw the film, he said it was better.  Interestingly, Hahn shared with audience how the making of the documentary was a means for these three men to apologise to each other and would ask about the others' reactions and their comments to the filmmakers.  That time at Disney was so chaotic and tension among the three execs ran high; thus, the lack of contact after so many years.

In terms of what came to a surprise while making the film, Schneider said he found it interesting how each of the executives would say "I come off like an idiot and the other two look great."  For Hahn, what was surprising was how important Frank Wells' (President and COO at the time) role was, since he was like "the marriage counsillor."  When an audience member asked Schneider whether documentary films were harder to make than animation or vice versa, his response was "the medium is secondary... the hardest things is to tell a compelling story."  In Waking Sleeping Beauty, they have achieved this.  It is interesting, keeps the audience engaged and the archival footage certainly takes you back in time.

The film screens two more times at the festival.  For more info, go here.  

(Photo by Heidy M. From L to R: Thom Powers, Peter Schneider and Don Hahn)

Many of us probably have little knowledge of Israeli Cinema.  In this year's City to City Programme, we have a chance to learn more about its history via A History of Israeli Cinema Parts 1 and 2 by Raphaël Nadjari.

Part 1 covers films from 1932 to 1978.  Israeli Cinema began quite early in the 20th century with works that emphasized the idea of Zionism.  Then WWII happened and no films were made.  After 1948, fictional films became more prominent in which the Jewish male character becomes the "hero."  As time progresses, more filmmakers move away from making film that support Zionism and began making films that focused more on the indvidual experience.  Some of these filmmakers include Efraim Kishon, Menachem Golan and later on, Uri Zohar.

Nadjari uses interviews with film scholars, critics, produces, actors and filmmakers to reconstruct this history.   The archival footage helps us in learning more about Israeli culture; its many incarnations and of course, its rich cinematic history.

For those of you who enjoy a history lesson, this film will screen one more time on Sept. 16th.  For further information visit TIFF's website.

 

 

The Reel to Real Programme at TIFF has become one of the hottest ones in the festival over the last few years.  This year the programme began with L'Enfer D'Henri-Georges Clouzot by Serge Bromberg and Ruxandra Medrea.  The film premiered at Cannes earlier this year.

Bromberg brings us a film that tells the story behind the major production behind one of Clouzot's great ideas, which never really came to fruition.  The year was 1964 and Clouzot decides to have Romy Schneider (picured here) and Serge Reggiani star in his latest project L'Enfer.  The story was that of a man whose raging jealousy wrecks his marriage.  Of course, Clouzot's main point was to create a film that would depict the "madness from the inside the brain of a madman," as Bromberg described in tonight's opening screening at the Varsity theatre.

The film itself was never completed as none of the dramatic scenes were ever shot.  Bromberg obtained full access to test shots and whatever bit of filming that was done.  As Bromberg explained in the Q&A, L'Enfer seemed doomed from the start.  Clouzot's obsessiveness about everything being just "perfect" took a toll on the crew.  After just five days from the beginning of filming, the lead Serge Reggiani walked out.  Even if there is no actual film, you will be captivated by the story Bromberg has put together using test shots, interviews with crew members and even some film shots along with photographs of Clouzot himself.  The result is a kaleidoscope of images that will leave you wanting to see more.  Not only are the images beautifully haunting - considering the innovative and creative techniques of the time - but they're also a testament of Clouzot's own mind.

I leave you with a clip from the film.  You still have a chance to see this film either on Sept 12th and 18th; for more info on times and location go here. 

 

After doing TIFF for a few years I thought I had the whole scheduling thing figured out.  With a festival pass I almost always got 90% of my first choices through the lottery and eventually I figured out ways of increasing my odds of getting my first choices:

1)      Avoiding 1^st screenings of world premiere Special Presentations. These would always be popular so if I really wanted to see it I'd check out the 2^nd screening.

2)      Avoiding evening screenings at the Elgin. A lot of those seats went to Elgin Pass Holders and again, the remaining seats would be pretty in demand and I'd be content catching a second screening.

I never got that bent out of shape about not getting a first choice ticket... until 2006. Which was the year that Borat premiered during Midnight Madness.  While all you dedicated Midnight Maniacs were in there watching Michael Moore try to fix a projector and Colin being threatened with castration; I was back at my Hotel watching some show called "This Hour has 22 Minutes".  I'm not kiddin, seriously... Check it out

That was when I learned a  powerful lesson: With Great Power Must Come Great Responsibility. Wait... That was Spider-Man; what I meant was that I needed a Midnight Madness pass. No other pass at the festival GUARANTEES you a seat at the World Premiers of Jennifer's Body (written by Oscar winning TIFF Alum Diablo Cody's new flick) & George A. Romero's Survival of the Dead. If you already have a 10 or 30 ticket pass, go ahead and get a madness pass too. The extra cash is worth it, plus you'll be able to use your tickets on some of the other genre films playing at TIFF this year.... More about those in another post.

                Last year's Madness was all about discovery:  emerging directors and talent coming to show off their midnight skills. Plenty of screenings sold out, but if you got to the Rush line in time you got a ticket. But this year, you've got films and directors with entrenched fanbases all competing for those precious  seats in the Ryerson.  Don't be left empty handed in the Rush line while the rest of us are tossing around a beach ball waiting for the premiere of Ong-Bak 2 or [REC] 2; get your pass now!

                Pick up The Midnight Madness Package for $156.51, and available to students and seniors for $100 (prices do not include GST, building-fund fee and service charges).  Purchase online here, by phone at 416-968-FILM or 1-877-968-FILM (Monday through Friday, 10 a.m. to 7 p.m., closed weekends and holidays) or in person at the Festival Box Office at Nathan Phillips Square (Box Office hours are 10 a.m. to 7 p.m., seven days a week), located at 100 Queen Street West, in the white tent, west of the square.

Subscribing to that theory, better late than never here is the Star of Chocolate Jija Yanin and her message to the crowd at Midnight Madness

More...

 

Jija set the place on fire!

 

MM Scorecard:

Screenings Attended: 42/47

Screenings Missed: 5

Average Hours Slept Per Night: 4.5  

It's a good thing there was a firetruck nearby after the midnight screening of Chocolate because the  crowd was on fire!  Prachya Pinkaew's triumphant return to midnight madness once again brought the crowd to its feet and introduced us all to another Thai whirlwind: Jija Yanin. The icing on the cake was the brutal outtake sequence that showed the audience what our beloved action heroes go through to keep us on the edge of our seats. And an event that started with an aging JCVD regaining past glory concluded with the emergence of a new bone shattering Thai butt kicker.

 

The adrenaline rush from the last madness usually keeps the post fest blues at bay for a few weeks, but after that usually we're on our own for about year. However, this year a few of us dedicated bloggers are gonna keep the blog alive, or at least undead, so hopefully it'll help stave off madness withdrawals for awhile.

 

As promised here is the Intro & Q&A for Chocolate: More...