• Toronto Report #1
I walk out the hotel door and don't know where I am. I've spent almost ten months in Toronto, one film festival at a time, and I know my way around. So where am I? The concierge says the district is "near the Entertainment District."
Not far away are some of the big Toronto legit houses. Turn a corner and I realize
I'm near both Queen and King, two great streets for walking. And towering over everything is the new Bell Lightbox, the new high-rise home of the Toronto Film Festival.
The Reitman family, which includes Ivan and Jason, kicked off the Lightbox with a cool $22 million. Toronto developer John Daniels, who essentially underwrote TIFF in its earliest years, built the Lightbox and was a supporter. Among the many other donors was the late Toronto film critic Brian Linehan, in for a million. Those Torontonians. My far-flung correspondent Grace Wang has been inside the Lightbox and loves its theaters, public areas and festival offices. She has the intriguing title of Social Media Coordinator for the festival. When TIFF was founded, Social Media did not exist, and neither did Grace. I say we're seeing progress.
I haven't been to the Lightbox yet. Werner Herzog and Errol Morris will hold a discussion there Monday, and I'll be angling for the front row. In the meantime, all of our festival has taken place at the Scotiabank Cineplex, which replaces the familiar Varsity Cinemas as the venue for most of the press screenings. It's much larger and offers many more seats, which is just as well, because the press corps here is second only to Cannes. This is now a big, brawny film festival, one of the Big Three, or is it Four, and the unofficial starting line for Oscar season.Cameron Bailey and the schedule
Yes, but the true value of TIFF comes in its support for expert, passionate programmers and passionate volunteer screeners, who seem to consider almost every available film from everywhere for the final cut of merely 400 entries. I've been following the Tweets of fest director Cameron Bailey as he jetted from Europe to Africa to India, China, Japan, looking at movies. Then there was the jigsaw puzzle of finding times and theaters for everything. He says it's like simultaneously holding 400 birthday parties.
Some of the festival films were previewed in Chicago, New York and LA. Some played under the radar at Telluride. A lot played at Cannes. Wherever they came from, they go out from this time and place to bring nurture to a continent of movie lovers starving after the usually cheerless summer drought.
A few early examples, alphabetically:
Buried. (Rodrigo Cortés, Spain). One set, one actor, two props: A cell phone and a lighter. The universal nightmare: Being buried alive. Paul Conroy (Ryan Reynolds) has been taken hostage in Iraq and awakens in a coffin. His captors have apparently left the phone and the lighter in aid of their plan to hold him for ransom. He starts telephoning for help, and has infuriating experiences with a 911 operator, the Pentagon switchboard, and the private contractor he drives a truck for.
I knew the premise going in, and wondered if the film would be boring. Not at all. I fell into easy identification with the plot, having been marked for life by a childhood horror comic (adapted from a book?) about a millionaire so terrified of being entombed that he has a bell on his grave with a cord that can be pulled from in his coffin. But then, wouldn't you just know, something goes wrong.
The budget for "Buried" is said to be $3 million. In one sense, low. In another sense, more than adequate for everything director Cortés wants to accomplish, including his special effects and the voice talents of all the people on the other end of the line. Ryan Reynolds has limited space to work in, and body language more or less preordained by the coffin, but he makes the character convincing if necessarily limited. The running time, 95 minutes, feels about right. The use of 2:35 wide screen paradoxically increases the effect of claustrophobia.
Never Let Me Go. (Mark Romanek, UK). I found Kazuo Ishiguro's 2005 novel completely absorbing and probably difficult to film. The novel doesn't depend on a big surprise reveal at the end, but unfolds its secrets through a point of view that assumes everything is already known. In its alternative present, human beings are cloned to supply body parts. They're raised for this purpose, and after three, sometimes four, donations, they Complete. They're not intended to live full lives. They live within a social structure which encourages the full acceptance of their purpose of Donors.
Ishiguro's method is to accept that world as a given. His novel is about the meaning of human identity. Are cloned humans persons, or are they simply organisms for the supply of body parts? That's what the novel is about, in the intensely personal terms of the organ donors themselves. There are three central characters, Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley). All are cloned. All accept their donor roles. But all have feelings.
The way Mark Romanek ("One Hour Photo") approaches this material is rather unexpected in terms of the possibilities in this story for sensationalism. He and his writer, Alex Garland, treat it with respect. They seek Ishiguro's melancholy tone. That's inescapable -- unless they had turned it into a thriller about a revolt. As in the book, the film's moral questions center on whether the clones have a soul. Form your own opinion. Mine is that to the degree any human has one, all must have one.
Tabloid (Errol Morris, U.S.) is one of the damnedest films ever made by this artist as documentarian. He presents his "favorite protagonist," Joyce McKinney, who in 1977 was involved in the infamous "Case of the Manacled Mormon." She was alleged to have kidnapped an American Mormon missionary in the UK, handcuffing him to a bed, and making him a sex slave. In the British tabloid version of the story she became sexually obsessed with him about a relationship.The case exploded into a tabloid war at the time, occupying many front pages. It had been all but forgotten when McKinney surfaced again in recent years after finding a South Korean scientist to clone her dog. Morris gains full access to McKinney, then a somewhat shady nude model, now a poised and persuasive 60-something, who proclaims full innocence and has an explanation for everything. As if often the case with Morris, we can never be sure what he thinks, only that he wants to baffle us with the impenetrable strangeness of reality.
The Scotiabank Escalator of Terror: Scarier than a horror film
"Rashomon" will inevitably be evoked in discussions of this film. Morris presents lawmen with boundless reasons to think McKinney guilty of stalking, abduction and possible rape, He also allows McKinney to offer a perky alternative perspective on the same events. Her alleged victim is portrayed in murky ambiguity; once unshackled, the prudently has refused all interviews. As often, Morris surrounds his story with unexpected asides, blindsides us with surprise revelations, and weaves in an ominously urging score by John Kusiak.
Errol Morris makes intensely personal films, which are neither about his subjects nor himself, but about the intensity of his gaze. No wonder he invented the Interrotron, which allows Morris and the person he is speaking with To peer directly into each other's eyes. He, and we, are constantly asking what we think of this person--and what's really going on here? If "Tabloid" is a love story, it is one only Errol Morris could film.
☑ Recent entries in my blog, Roger Ebert's Journal.
Did you actually write Werner Morris?
I think you are the last person I would have expected to make this mistake.
Oh, to be there. Someday.
I'll have to live vicariously through your excellent reports.
Excellent reporting Roger. Welcome back to Toronto! Sorry you're seeing it under so much construction.... Bloor St. at Yorkville looks awful right now.
I've yet to check out the Lightbox but it has to be better than the sorry headquarters TIFF had previously been working from. Glad to see they have a new home and that it also boasts great theaters.
There are a few films I have my eye on so I'll say hi if I happen to see you around. Do you have anymore panels or public discussions coming this week? Hope that Tweet-Up (or whatever that was) went well.
@JoyPlaza
Great. As an Architect and Torontonian I knew you would give an audience an intro about our new building complex for TIFF. I knew you won't go straight to the movies. Thank you for that. Now, you gave us your preliminary overall emotions. Once you have time (I know that cinema comes first, it is indeed), but once you have time - give us your architectural impressions from this new project. Would you, Roger? (You love architecture, your essay about Chicago was very witty and elegant...)
You're always welcome in my hometown, Roger. But FYI, "Queen and King" isn't an intersection downtown. They're parallel east-west streets. Sounds like you were near King and John.
Ebert: I know that very well, but added the word :both" for clarity.
All of these films look good, but Never Let Me Go is the one I'm most interested in hearing about. Then again, it might be better to read the book first, or read the book without seeing the movie, even though the movie looks really good.
I remember that elevator. Then I remember the weird food court and the infomercials that proceeded the movie there for actual products that you ordered over the phone, both of which are similarly terrifying in their implications for future giant multiplexes, at least where I live.
However, those seats are very comfortable. Tons of space.
Again, interesting films begin to show up in TIFF. As always, they will come to me some time later by one way or another and then I will remember you talked about them.
"Never Let Me Go" is one of the best books I read this year(I'm very grateful that you mentioned the book in the review for "The Island" years ago). I also had some doubt about the movie version because, besides its subtlety, the plot structure of the novel is a little complex to be adapted on the screen. Glad to know the movie is good - at least in your view.
"Buried" reminds me of the ending of that Dutch thriller I can't mention due to spoiler problem(hint: a wretched American version). Boy, it was very chilling.
By the way, Roger, Werner Morris? who is he?
"Because we are all mad, we have difficulty remembering we're all mad." -- Errol Morris, professional genius
Can't wait to see "Tabloid," have been anticipating it ever since I heard about it. Do you follow Errol Morris' Twitter, Roger? It's as fascinating as his films, someone should publish the whole collection of Tweets when he's done with it.
Ps. Roger, a friend sent me clips from the pilot of your new "At The Movies." I don't know if I can adequately express my gratitude for what you and your whole team put together. The final two segments, Kim talking classics, Omar talking the ongoing (and changing) history of film culture, the past and future of film side by side, I just don't know if I've ever seen anything like this on TV. I wanna say in the original At The Movies -- you and Gene did what you could I guess -- but even in its edited-down version this was so fresh, with Kim in black and white outside the ferris wheel, and the various details and video footage of the online world assembled for Omar's, it's exactly what movie discussion needs more of right now, it's what film lovers have prayed for, and I think I may have gotten high off it.
Pps. I agree, that Scotiabank Escalator of Terror gives me vertigo every time.
I wish I was there. I suppose I would have to be invited, wouldn't I?
Forget about the movies, I'm intrigued by the ScotiaBank Escalator of Terror! It, uh, looks less than terrifying in your photo, so I anxiously await Ebert's Tales of Terror.
Ebert: The photo doesn't do it justice. A vertiginous drop. Speed it up and it would be a ride at Disney World.
"I fell into easy identification with the plot, having been marked for life by a childhood horror comic (adapted from a book?)...". Yes, it's The Premature Burial, from Poe.
Mr. Ebert,
A couple of months ago you tweeted about the new rep theatre called the Toronto Underground as one of the last hopes for film. Right now they are hosting the Toronto Indie Film Festival, showcasing the independent films of Toronto that aren't in TIFF. Would you consider coming for a viewing?
Nice entry, as always. I look forward to seeing the Lightbox in action myself, and you've gotten me intrigued about Tabloid, a film I've heard little about until now.
Question: Are you seeing Cave of Forgotten Dreams while you're in town? I hear that Herzog is here and hope that he'll be attending the Monday screening. If you're there, that'd only sweeten the deal. Regardless, it's my most anticipated film of the festival. I'm curious to see what Herzog can do with the 3D documentary.
totally off topic, but congratulations on the new show. been watching since you and gene started on channel 11 and it made me smile to see the news in the sun-times this morning.
welcome back. you've been missed.
Look forward to this serial!!
THAT'S what the new Morris is about!? I'm so down that I would shell out the seven figures necessary to acquire it myself if I had the money. Can't wait.
Toronto is the best!! Escalator of terror indeed!!
Greetings Roger and fellow readers!
It is a sheer delight to welcome back the world's greatest film critic to the land of the maple leaf. Roger, your contributions to the understanding of film in our modern world society are simply inestimable.
Congratulations also on the re-emergence of At The Movies. It looks like the hosts have a well-defined framework that permits independent and foreign language films to be spotlighted, dependent on their merit.
As a slight aside, I believe that WBZ film critic Joyce Kulhawik should play a role in the new show. Readers may remember that she was a co-host with Roger during the 1999-2000 post Siskel period. One of the most electrifying segments in the history of modern television film criticism occurred during the exposition of their divergent views on the 2000 film "Gladiator." I have always thought that Kulhawik should have been Siskel's natural successor because the on-air chemistry between she and Roger was keenly respectful, intelligent, passionate, and occassionally combative on substance.
Returning to TIFF, which has developed into one of the world's great gathering places for lovers of film, there appears to be another breath-taking array of movies from all over the world. I'm very proud to live in a country where all levels of government (municipal, provincial and federal) as well as private citizens, have poured money into this great festival because of its highly beneficial social, cultural, and economic outcomes.
Welcome again to Roger and others!
Chris Alders
Ottawa, Canada
Ebert: The photo doesn't do it justice. A vertiginous drop. Speed it up and it would be a ride at Disney World.
Twilight Zone Escalator of Terror? Well, that would be a variation... ;)
Hey Ebert,
I have a feeling that TIFF will be great this year.
Wish I could be there... even though I technically am (Toronto = hometown). Can't wait to see "Buried" now that I have read this article. I will look forward to reading your other reports on the festival.
Also congrats on the new show, I'm sure its gonna be fantastic.
Ebert, when're you gonna watch stone? Really really looking forward to reading your review of it.
THE TOWN looks good.
This post would have been enthusiastically received no matter what the topic. It moved the portrait of Palin off the home page!
Escalator of Terror... that is so funny. I live in Toronto and see movies there all the time, and you are correct, the drop can give you vertigo. If for some reason one escalator is out of service and you have to walk down the stairs, I always feel like I might trip and go into a freefall tumble to the bottom. Notice in the photo nobody is using the stairs? Vertigo.
Roger,
Enjoy your time in Canada and at TIFF. A question/request for you: you've written eloquently on your blog about the ins and outs of Chicago, London, Cannes, etc. Any chance you could do a blog entry on your experiences with Toronto? It would do wonders for many Americans to better understand the vibrant urban communities found in our country. Cheers!
Roger, I could be wrong but I believe John Carpenter's The Ward is playing Monday at midnight. Let us know if you see it! I have been anticipating this movie for a year and a half!
A little steeper viewing angle of the escalator:
http://farm3.static.flickr.com/2463/3917907958_9313cdb852_o.jpg
And a lot of Yelpers commenting on the ride:
http://www.yelp.ca/biz/scotiabank-theatre-toronto
I wonder, was that horror comic you read an adaptation of Poe's "The Premature Burial"?
Because it sounds very similar.
I am looking forward to Buried - I think Ryan Reynolds is a great actor. So glad that you reviewed it here and endorse it.
Just saw you on the local Toronto news having some sort of mad tweeting competition – it reminded me to check your first TIFF update. I too am looking forward to seeing the new Bell Lightbox – already have my tickets to some of the offerings in their upcoming Essential Cinema series. 100 films? I may have to set up camp in the lobby.
Love your acknowledgement of Scotiabank escalator of terror. For those of us who don’t do well with heights it’s been a challenge on a few occasions. I have vertigo so bad I can’t even be in a room with someone who looks like Kim Novak, never mind ascend a staircase designed for an amusement park in hell. Hang on tight and pass the Gravol!
I was thrilled at your inclusion of the Scotiabank Escalator! Every time I see a movie there I get extremely nervous leaving the theatre for fear of dying on that thing. I also love the sign at the bottom that warns of the dangers of wearing Crocs on it.
Hello Mr. Ebert,
First of all, congratulations on your show returning to television. I wish it the best.
However, what motivated me to write this post is the joy I feel at the news that the very talented Mark Romanek is working again. At first it appeared as though he would be one of the "Music Directors" as I like to call them. Men like Spike Jonze and David Fincher who broke out of the music video genre to become formidable film makers in their own right. After the immense promise of "One Hour Photo" Romanek was denied the chance to work for various reasons. I feel that he was robbed of a decade.
Well, here's to hoping he gets the opportunity to give quality films to the public again--this time without interruption.
Roger,
Welcome back to Toronto! I was one of those in the box office lineup when you passed by on Friday night. :)
Ebert: Maybe you're in my photo. I will publish some online.
Roger,
I was disheartened by TIFF '09 but TIFF '10 is off to a scorching start for me. I'm 6 for 6 so far and even though many of them were Cannes' films, well, hey, they're new to me and they're still great movies. "The Four Times" is the best so far, and the most pleasant surprise is "Marimbas from Hell." Look that one up if you have a chance - it was one of those "it's the only one in that time slow" choices for me and I'm thrilled.
Tomorrow I get to see the unique back to back combo: Boxing Gym (Wiseman) and Tabloid. From Wiseman to Morris - traversing two opposed modes and about 4 decades worth of documentary filmmaking by turning the corner and heading to the screen next door. Now that's what a film festival is all about!
I'm looking forward to the official Light Box opening tomorrow. After all these years...
Hope to see you around somewhere, and hope you have a blast!
Ebert: From what I've seen and heard about, the rest of 2010 is gonna be a hell of a ride.
By David Roche on September 11, 2010 6:35 AM
Forget about the movies, I'm intrigued by the ScotiaBank Escalator of Terror! It, uh, looks less than terrifying in your photo, so I anxiously await Ebert's Tales of Terror.
Ebert: The photo doesn't do it justice. A vertiginous drop. Speed it up and it would be a ride at Disney World.
And Marion Cotillard had to go up it in high heels today. (If you ever interview her Rog, ask her about it, she'll tell ya of the grueling journey.) I wonder if she felt like she was back in "Inception." Anyway, if you wanna know more, read on...
Still here? Okay. So trying-to-make-a-screening happen worst nightmare horror story time... and, in this episode, the Scotiabank Escalator of Terror!
The original screening of "Little White Lies" (directed by Guillaume Canet who made "Tell No One") had a technical problem and so the stars and most of the audience had to re-locate to the Scotiabank Theatre. This prompted Cotillard, Canet and Jean Dujardin to have to bravely face the escalator of terror on their way in to Scotia. Don't worry though, they survived, were good sports about the whole mess (as was most of those in the audience), and the film was very warmly received by the audience that made it to that screening. There were gasps, laughs, tears. Afterward someone in the audience felt the film was comparable to "The Big Chill." I kept wanting to ask (but also didn't wanna waste a precious question on asking) Canet if he'd seen "Rachel Getting Married" because I think he'd like it based on how "Little White Lies" is really a movie about little details in behavior, tension in a room, exchanging glances, faces, dialogue that hides something else, the ups and downs of emotions (one cut in the movie, contrasting two shots of Marion Cotillard is a very nice little insight from him)... I think he'd like Jonathan Demme's movie. There's also a backdrop to the film of Jean Renoir's "Rules of the Game" and Woody Allen movies, oblivious bourgeois trying to party off their unnecessarily complicated social life while others in the world have real problems. Maybe Canet's biggest accomplishment is how the characters charm us too into not thinking about what they should be focused on.
Ps. The technical error? Digital subtitles that wouldn't play, meaning the film was left in French. The same thing happened at "Film Socialisme" on Thursday, which I think was half the explanation for the walkouts at that screening.
And on that, for the record, I saw a stat somewhere that 30% walked out. That's bull. I counted twenty (individual audience members) maybe and, yes, I didn't see everyone but there's no way it was 30% and that paints the wrong picture anyway because those who were there, for the most part, just reacted with indifference. There was much audible bewilderment too, some of that was the film, some of that was the lack of subtitles. I think where Godard lost just about everyone in attendance during the final act, a foreign film montage/storm of clips of suffering, a beat it into your eye sockets approach inspired by Sergei Eisenstein but of course. We'd had enough, he wasn't giving us any way in we didn't already have at that point. The first act though: woah. Yeah, it's not for everyone but if you're a fan of Godard's experimental stuff that worked in and of itself, like "Week End," then it's for you. It shows Godard in complete control of his craft as he's ever been. Which is what makes the final act all the more painful, you know he knows exactly what he's doing, that he really does just wanna grab our heads and ram our faces into all the problems the world has... as if we weren't already aware and overwhelmed. To me the final act just shows Godard at his most desperate to make an impression.
On the other hand, the first act of "FM" is some of the best visual and editing work of Godard's career, the gorgeous cinematography of waves crashing in the space-black ocean surrounding a Titanic-esque ship, the cruise and its luxuries being an obvious metaphor for contemporary Western/European bourgeois society living floating along carelessly with our souls sold out to gizmos and gagdets, gold and gambling and gourmet and gayness, gayness as in blind happiness... Ssome of his ideas are kind of cruel, kind of brilliant. Thanks to some stylistic sleight of hand, the experience is terrifying in a "Requiem for a Dream" way -- for example, the zappy sound and flickering image combine make a club dancefloor appear to be some sort of horrifying re-energizing station for robots. And that's Godard is trying to do with most the passengers, make them seem like droids or animals in a zoo of pathetic amusements... Yeah, it's condescending... but he also has a point and makes it unforgettably. I wish I could say the same about the rest of the movie. Second act is somewhat redeemed because there's a cute kid in it Iand flashes of the young, playful Godard who captured behavior. Then he became a political revolutionary... with mixed results... and finally he seems to now be a horror filmmaker. This is nothing against horror, this is more for Godard on a personal level: how sad a transformation for a man who once said all he wanted to do was make a movie about love... but felt he couldn't because capitalism was broadcasting waves into the part of his head that affects his ability to connect with people as individuals anymore. Or, at least, I think that's what happened. It's been a long time since his films were really interested in people, not just masses.
But as the celebs of "Little White Lies" showed, some French are more willing to connect than others. Canet apologized repeatedly for the theater-swap confusion and if I could have spoke to him without having to shout (I'm too shy) I would have told him, "You came from France. You switched theaters. Stayed for Q & A's. Apologized to us in earnest and asked us kindly if today we could please be your friend. And, on top of it all, to make all this happen you had to climb the Escalator of Terror. Godard just left us hangin with NO COMMENT."
Ebert: So good, I'm making this a Twitter Page!
Mr. Ebert, we will always be linked by our appreciation of quality cinema and cooking. I am 33 and as a child/young adult, grew up watching you and Gene do your thing on my own personal black and white television. Of course I only had a half dozen television channels that would come in clearly, but you and Gene were always (or mostly) “must see” television for my father and I.
I have been unemployed for almost 10 months now, and although it has been difficult in some ways, I try to make the most out of what I have. And what I have is Netflix. Wow, so many movies, so much free time. Let’s see; Thx 1138 (is this the same Lucas that made those last 3 Star Wars movies?), Eraserhead (David Lynch, you crazy-entertaining-mother f’er). Anti-Christ (such a beautiful movie that ended up being not such a beautiful movie).
But I digress, thank you for doing what you do and doing it well…and RIP Gene Siskel.
I kinda' like the Scotiabank escalator. One of these days I will try the stairs. A workout before the popcorn onslaught!
Roger: I know you have long felt Herzog is underrated in mainstream American film criticism.
But where would you rank him in the pantheon of all time greats?
Is he Fellini/Kubrick/Kurosawa/Bergman level?
Is he an oddball, like Morris? Or is he uncategorizable, therefore nonpareil and uncritiquable?
I'd love to hear your ranking of him in the art form.
I loved Never Let me Go. But I think you fall into the trap that the novel recognizes as the central problem. The question is not "whether the clones have souls". If that is the question than the clones or their advocates must prove something. Rather for moral purposes the only proper question is "Why should [they] not have souls?" Late in the novel one of the main characters articualtes this question. IT is the important one. If it were up to society to prove what they were doing was right, those clones would have been in a lot better shape and the utter wrongness of what was being done would have been clear.
I have always been petrified of that escalator. Anytime I'm going to a movie up there, I have to stand still on the escalator looking down at my feet, breathing in an out slowly 'til I sense I'm getting close to the top. Just about as bad on the way down. If it gets too much, there's a little elevator off to the right at the base. Happy Festival.
The film version of Ishiguro's "Remains of the Day" is among my favorites and I have high hopes for this one. I feel that"Remains" and the book "Never Let Me Go" have much in common. Most notably is the theme of how someones upbringing and prescribed role can affect their lives dramatically. In the two books he seems to say we are products of nurture and social constraints, with nature in the form of love trying to break through. I want to say so much more but I'm worried I'll ruin the book or movie for people. It will be playing at the Avon in Stamford, CT soon and will be free to members. (I have no professional ties to the theater, just a love for it.)
That god, someone finally shares my feelings about the bloody Scotiabank escalator.
A question about the Toronto Film Festival that inevitably has to be asked: did any of the events around "I'm Still Here" help solve the question of whether it is real or not? Did you see or hear any evidence that would shed some light, one way or the other?
What does the audience there generally seem to think about it? What about your fellow critics?
Casey Affleck allegedly is still maintaining that it is real. Joaquin Phoenix is still not giving any interviews about it.
Your thoughts are still that it is real, right?
I'm terrified about the escalator!
Great to hear about Werner Herzog
There's a great photo of Herzog in today's LA Times. He's promoting the new picture by having his picture taken wearing the 3D glasses. The absurdity of it is...Herzogian...
The composer for Errol Morris' "Tabloid" is John Kusiak, not Philip Glass.
Ebert: Dear John, So Errol informed me his morning. I feel like an idiot. I will correct.
I was at the TIFF Bell Lightbox on Monday and had the honour of seeing you in person. I must say that seeing you brought back so many memories of when I was growing up. I would stay up late on Saturday nights just to see you and Gene Siskel vote on the movies of the week. (How excited was I to hear that you are bringing back your show to PBS!) By watching "Siskel and Ebert at the Movies", I became educated at a very young age about how to look at film. I was exposed to films that I didn't even know existed and always had something to look forward to when you gave us the upcoming movies to be reviewed. Although I haven't taken film studies and do not have the vocabulary of great film critics, I feel that I have an appreciation for films because of your show. I started to become aware of and interested in characters, plot, dialogue, cinematography, and even the musical score. To start looking critically at film, when one is only 8 or 9 years old is a wonderful thing. Mr. Ebert, you and Mr. Siskel had a profound effect on how I experience film today and I just wanted to thank you for that.
I hope you enjoy the rest of the festival!
Dear Roger,
Thank you for the correction regarding the composer in "Tabloid." One more request: you have the wrong spelling of my last name; it should be spelled--Kusiak.
Thanks,
John
Ebert: Let this be said for all to hear: John Kusiak shows the patience and charity of a saint.
I was at the public opening of the Bell Lightbox cinema last Sunday the back gallery presented a sturdy answer to afi's 100 list, and sight and sound's 100 list, easily as carefully considered and as well exhibited as those two lists.
Hey you know where to find a really mammoth elevator: Dupont Circle subway station, Washington D.C.
I walked those stairs once. And even though I regularly take more steps up to my apartment, somehow, it felt like an accomplishment.
The escalator of terror indeed!
I know that theatre well....
Have fun in Toronto, Mr. Ebert. Just ignore the pack of jackals running for city election.
The Scotiabank Theatre escalators are disorienting: the alignment of various right-angles along the walls throws off your sense of 'which way is up'. If you want to avoid the feeling of vertigo, my recommendation: DO look down. Watch your feet and you won't feel it as much.
Personally, I like the strange sensation, but find myself sub-consciously gripping the escalator's hand rail extra firmly.
Utah Woman Accuses Mormon Prophet Of Attempted Rape!
That escalator has greeted me with terror since I first rode it after the Paramount (now Scotiabank) opened a decade ago. Although I try to avoid that complex (I choose the Varsity whenever possible) it's taken me years to conquer that ride up. I still get a little queezy, a type of vertigo feeling (and I have no fear of heights) - I think it's all the odd angled shapes on the walls & ceiling above, various levels of stairs on the way up, the even windows panes on the north wall of the building that creates this feeling, along with the length. I didn't know about the elevator until about a year ago so when I first went to use it when I was there to see something on the IMAX screen a security guard posted nearby stopped me and told me to use the stairs or escalator. Jerk! I take some comfort in knowing that so many others have a problem with this device, I had no idea.
Thank you for your continued support of Toronto and TIFF. Hope you enjoyed yourself this year.
A Woman From Utah Accuses Mormon Prophet Of Attempted Rape!
I ecstatic for the premiere of Facing Kate on jan 20. Who knows what is gonna happen...