The Telluride Film Festival takes place in Colorado every Labor Day weekend. That much is certain. What is not certain, however, are the films which will be playing there -- at least not until the screenings are about to begin. This is an oddity in the festival world which has no equal. Attendees truly have no idea what movies they'll be seeing until they've already arrived.

Clearly, anyone who makes a decision whether or not to go to an event based on the lineup is left out in the cold. This is one festival where the tickets must be purchased and travel plans made sight unseen. This always ensures a sold-out event as the films are typically World, North American, or US Premieres of films that are high-profile prospects for Oscar season. Attendees know this and rely on faith every year that their investment will pay off as travel plans are made well ahead of time.


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The downside, for those of us attending the Toronto International Film Festival, is that Telluride always take place just prior to TIFF and often books films that are "scheduled" as World, International, or North American Premieres in Toronto. This essentially pulls the rug out from under TIFF and spoils their premiere status. On the other hand, Telluride is in reality a VIP-only event which means, as I'll explain below, that it "doesn't count" against TIFF's designations.

The rules are restrictive. Unlike other festivals, individual tickets cannot be purchased in advance -- only just prior to the start of a screening. Only passes are sold ahead of time, and the cost can be prohibitive. The area is also hard to reach so transportation and lodging is at a premium. So the nature of the festival and expense involved tends to restrict its attendance to industry insiders. This often does not allow Telluride to steal premiere status for these films and Toronto still gets to make that claim. It's a complicated formula but those are the de facto rules.

The festival begins tomorrow and runs for four days, September 3-6. Here is the complete list of narrative features, documentaries, and shorts:


THE SHOW

“A Letter to Elia,” directed by Martin Scorcese and Kent Jones
“Another Year,” directed by Mike Leigh
“Biutiful,” directed by Alejandro Gonzales Inarritu
“Brandy in the Wilderness,” directed by Stanton Kaye (1968)
“Carlos,” directed by Olivier Assayas
“Chicago,” directed by Cecil B. DeMille (1927)
“Chico and Rita,” directed by Fernando Trueba
“The First Grader,” directed by Justin Chadwick
“The First Movie,” directed by Mark Cousins
“The Girl With The Suitcase,” directed by Valerio Zurlini (1961)
“The Illusionist,” directed by Sylvain Chomet
“Happy People: A Year in the Taiga,” directed by Werner Herzog and Dmitry Vasyukov
“If I Want To Whistle, I Whistle,” directed by Florin Serban
“Incendies,” directed by Denis Villeneuve
“Inside Job,” directed by Charles Ferguson
“The King’s Speech,” directed by Tom Hooper
“Moana: A Story of the South Seas,” directed by Robert Flaherty (1927)
“Never Let Me Go,” directed by Mark Romanek
“Of Gods and Men,” directed by Xavier Beauvois
“Oka! Amerikee,” directed by Lavinia Currier
“The Plummer,” directed by Peter Weir (1976)
“Poetry,” directed by Lee Chang-dong
“Precious Life,” directed by Shlomi Eldar
“The Princess of Montpensier,” directed by Bertrand Tavernier
“Le Quattro Volte,” directed by Michelangelo Frammartino
“Rotaie” directed by Mario Camerini (1930)
“Tabloid,” directed by Errol Morris
“Tamara Drewe,” directed by Stephen Frears
“The Tenth Inning,” directed by Ken Burns
“The Way Back,” directed by Peter Weir


Six Films: Curated by Michael Ondaatje

“The Ascent,” directed by Larisa Shepitko (1977)
“Confidence,” directed by Istvan Szabo (1980)
“Fat City,” directed by John Huston (1972)
“Here’s Your Life,” directed by Jan Troell (1966)
“The Hustler,” directed by Robert Rossen (1961)
“Mother Dao, the Turtlelike,” directed by (1995)


Spotlight on Harutyun Khachatryan

“Border,” by Harutyun Khachatryan
“Return of the Poet,” by Harutyun Khachatryan


Backlot

“...But Film is My Mistress,” directed by Stig Bjorkman
“Cameraman: The Life and Work of Jack Cardiff,” directed by Craig McCall
“Chekhov for Children,” directed by Sasha Waters Freyer
“Daniel Schmid: Le Chat Qui Pense,” directed by Pascal Hoffman and Benny Jaberg
“Documentarist,” directed by Harutyun Khachatryan
“Hurricane Kalatozov,” directed by Patrick Cazals
“Images from a Playground,” directed by Stig Bjorkman
“Moguls and Movie Stars,” directed by Jon Wilkman
“The Magnificent Tati,” directed by Michael House
“Music Makers of the Blue Ridge,” by David Hoffman
“On ‘Being There’ with Richard Leacock,” directed by Jane Weiner
“Pygmies in Paris,” directed by Mark Kidel with “African Pygmy Thrills”
“The World According to Ion B.,” directed by Alexander Nanau


Showcase for Shorts

“The Cow Who Wanted To Be A Hamburger,” directed by Bill Plympton
“Dennis Jakob Unplugged,” directed by Errol Morris
“For the Birds,” directed by Ralph Eggleston
“Frozen,” directed by Naghi Nemati
“Mickey Bader,” directed by Frida Kempff
“The Shadow’s Dream” directed by Jeff Scher
“Stretching,” directed by Francois Vogel


Filmmakers of Tomorrow

“Dreams Awake,” directed by Kevin Gordon and Rebekah Meredith
“God of Love,” directed by Lukas Matheny
“The Love Song of Iskra Prufrock,” directed by Lucy Gaffy
“Off Season,” directed by Jonathan Van Tulleken
“On Leave,” directed by Asaf Saban
“The Queen,” directed by Christina Choe
“Woman in Purple,” directed by Igor Drljaca
“Wolves,” directed by Rafael Sommerhalder


Great Expectations

“Come To Me,” directed by Ewa Banaszkiewicz
“Fatenah,” directed by Admad Habash
“Poster Girl,” directed by Sara Nesson


Calling Cards

“Deeper Than Yesterday,” directed by Ariel Kleiman
“Ezra Rishona,” directed by Yarden Karmin
“Flawed,” directed by Andrea Dorfman
“Hideg Berek,” directed by Mihaly Schwechtje
“Let’s Harvest the Organs of Death Row Inmates,” directed by Max Joseph
“On the Run with Abdul,” directed by David Lale
“Tussilago,” directed by Jonas Odell

Thanks to indieWIRE for the list.

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The internet is filled with entertainment websites and movie blogs whose writers are in the midst of picking their "must-see movies" at the 2010 Toronto International Film Festival, which gets underway one week from tomorrow. I've seen many other journalists' selections and, as much as I respect and admire their opinions, I'm proud to say that my own list is quite different from most. Contrarian am I? No.

There are many reasons why but some should be obvious, especially to those who follow this blog. For one, I don't attend film festivals to see blockbuster movies that will be coming out in theaters within weeks (or even days) anyway. What's the point? The AMC Neshaminy 24 is only 15 minutes from me and I don't have to go through customs.


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The only real reason to do so, for me, would be to have the unique opportunity to question the actors and filmmakers in the insightful Q&As which typically follow festival screenings. However, the venues which are increasingly being chosen to showcase these high-profile works (Roy Thomson Hall, Visa Screening Room at the Elgin) rarely allow for a Q&A, let alone the chance to meet & greet afterward.

My TIFF selections, as with all festivals I attend, lean toward titles that do not yet have distribution. It allows me, as an advocacy journalist and admitted cheerleader of great films, to get in on the ground floor and help bring them attention. That's exciting. More than catching a glimpse of some A-lister sitting 20 rows behind me. After all, why recommend a movie everyone is already talking about? Clint Eastwood and Robert Redford certainly don't need any more PR from me (nothing against the men, but they have very high-profile films at TIFF and I'm sure they won't have any problem filling the seats). I also fill my calendar with foreign films, many of which will probably never be distributed here. They're often the best films I see all year and this may be the only opportunity to do so.

So what movies do I recommend? In reality I can't say since I haven't seen any yet. But I can try, at least, because many have directors and actors whose past work I admire. Even if my best friend was in a film I honestly couldn't say good things about it until I'd seen it. But I might recommend doing so based on history. I've made many of my choices due to the fact that they have cast members or filmmakers with a good track record, movies that have turned out to be Top Picks from previous festivals I've attended. Over the next week I'll be writing some previews of those films.

Wrapping up, what my work revolves around more than anything, what I've devoted myself to, can be summed up this way: see a film, love it, write about it, spread the word, see it get picked up, get released theatrically, and finally make its way into your living room on DVD. New distribution platforms (video on demand, internet) have changed that dynamic a bit but the basic idea is the same.

Then the cycle continues, and here's where the film festival selection process comes in. The next step, for me, is to remain loyal to the filmmakers and actors who made those movies and continue to support them, hope they go on doing quality work, and make more movies that I can recommend. And, of course, I hope to find new actors and directors in the process whose films excite me. That's what I'm about.

My film festival philosophy: You don't discover an undiscovered gem by walking into a jewelry store. You go to the mine and dig.

TIFF attendees who purchased packages in advance have already completed the selection process and will be able to pick up their tickets starting tomorrow. But individual tickets go on sale to the general public on Friday, and many are in the midst of choosing what films to see. So here's my advice.

Dare to open the festival program and select a film with actors you've never heard of, with an odd title, from a country you can't locate on a map. Take a chance on a movie nobody's talking about. You just might discover a gem. But only if you dare to dig.

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Last of a four-part series

In Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19. In Part 2 we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave. And yesterday, in Part 3, I helped guide you through the logistics of getting from place to place in order to calculate travel time between venues.

The final consideration in deciding how big a gap to allow between the end of one screening and start of another can be summed up in three words: waiting in line, and I'll cover that in this set of tips. When I talk to people who haven't been to TIFF (or any festival, for that matter) the term "waiting in line" usually elicits looks of horror. But to those of us who've been there, the reaction is more of a big grin.


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You see, waiting in line is a time-honored tradition which ranks right up there with Thanksgiving dinners, family reunions, and holiday barbecues. It's a time when festival veterans meet up with folks they may only see once a year, and make new friends whom they hope to see in future Septembers. Waiting in line also offers one of the best opportunities to fill out your schedule with one question posed to a line mate: "So what have you liked so far?"


1) First, some non-venue-specific generalities. Each location handles it differently but there are usually two lines: one for ticket holders and the "rush line," for those who will fill any empty seats just prior to the screening. Ticket holders get in first. Once they're seated rush line patrons may purchase individual tickets and take any empty seats remaining at that point. The official festival policy for ticket holders states, "Your tickets guarantee admission to your film until 15 minutes prior to the posted screening time. If you arrive fewer than 15 minutes before the start, your seat may be released. Latecomers will only be seated at the discretion of the theatre staff. There will be no admittance 10 minutes after the scheduled start time of a screening." For the purposes of this article I'll assume you're a ticket holder, as the procedure for getting tickets is itself worthy of an entire article.


2) Upon arrival at the venue you should immediately be able to see where the lines are located and which is which. If not, there are usually clearly marked signs and there is always a multitude of volunteers who really are extremely helpful. If you're lost or confused, do not hesitate to ask for help. They usually have the answer and, if not, can get on the horn and flag down someone who does. Chances are the people in line also know what line they're in.


3) Take your place at the end of the appropriate line and try to spark up a conversation with someone ahead of you (or behind you, as you surely won't be last for long). Even if you're with one or more people it's a smart thing to get to know the folks around you, especially since you may be standing together (or sitting) for a long, long time.


4) Normal social rules don't necessarily apply here. It is generally not considered rude to "overhear" someone else's conversation about a particular film and ask a question or give your opinion about it. Of course there are exceptions, but of the hundreds of times I've done it I rarely recall anyone treating me with disdain for poking my head in to discuss a film. Likewise, you should expect others to hear what you are saying and be prepared for them to chime in. It goes without saying that the reaction you get will vary if the person hasn't seen anything yet or hated everything they have seen. It's okay to slink away and slyly turn to someone else. Just be sure to avoid spoilers. Saying anything that might give away important plot points for those who might be within earshot and haven't yet seen the film being discussed is a big "no-no." Everyone waiting in line is part of one big community (I've actually waited in line and joined in a rousing chorus of "Kum Ba Yah," but that was at a Midnight Madness screening at the Ryerson and those patrons, myself included, have their own unique subculture).


5) Naturally, some prefer to simply carry a good book or read the morning paper. But you'd be surprised how fast the time flies when you're engaged in conversation about the films you've seen and liked, didn't like, or hope to see. Some of my favorite films from festivals past were called to my attention from discussions while waiting in line. I've also learned what to avoid. I can't stress it any more: I have never turned to someone standing next to me and asked, "so what have you seen/liked/not liked so far?" and not gotten into an engaging conversation. Even folks who look like they've had the worst day can be the most pleasant when approached. I've made some great friends this way and lifelong relationships can be forged while waiting in line.


6) Now for some venue-specific tips. Like my earlier posts, this is not meant to be all-encompassing, but just some points based on my own experiences. Some rules apply to all locations. For example, the larger the party the less likely you'll find seats together, and the earlier you'll want to arrive (and the longer you'll wait in line) if you do want to. If you're solo or don't mind sitting apart you can afford to arrive later (and not wait as long).


7) Of the several multiplexes utilized by the festival, my personal favorite is the Scotiabank at Richmond and John Streets. Outside the building you'll find festival volunteers clearly separating those entering and exiting. After passing through the doors you'll be directed up what must be one of the longest single escalators in North America. You're even entertained with a sound and light show as you ascend. You'll then walk through an intimate circular lobby with a food court and even a small café with hot drinks and tables.

The Scotiabank dedicates four screens to the festival and, depending on the theater, the line will either snake bank-style around ropes outside the house doors or along a wall towards the rear. At first glance it looks like mayhem but is actually very well-organized. It's quite easy to leave the line and come back for any reason as neighbors generally are happy to hold your place. The popcorn and poutine may be irresistible. The houses vary in size from one to several hundred.

In my experience the lines here are not as long as at other venues, perhaps because it's not as centrally located and uses less screens than the larger AMC. In most cases if I showed up an hour beforehand I'd be first in line. A wait of a half hour is usually sufficient. I've staggered in ten minutes prior to the start of the film and still gotten a good seat, although I don't recommend it and the festival does not guarantee admission less than 15 minutes before the start of a film. Of course, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. In my opinion these are the coziest lines because they're indoors and comfortable.


8) As I mentioned in a previous post, the AMC in Toronto Life Square, at the bustling intersection of Yonge and Dundas, is situated within a large multi-level mall. Due to the cramped, narrow nature of the space upstairs where the theatres are, and fire regulations, lines last year were held outside the building and stretched around the corner. Procedures changed during the week but for most of my screenings there was one single line for all ticketholders. Even though the folks waiting in line may have been there for a half dozen different films beginning at staggered times on the many screens dedicated to TIFF (eight this year), there was simply no room to keep separate lines for each screening. Staffers would yell out the name of the film and those ticketholders would step out of the line and move forward.

Patrons would then be escorted up several flights of escalators prior to the start of each film. Those attending successive screenings there faced a dilemma. It's a bit frustrating to walk out of a theater knowing your next film starts in just a few minutes in the exact same house and have to leave the building and get in the back of a line winding around the block. So some filmgoers found a place to chill in the food court and carefully observed the lines as they headed up the several flights of escalators. The festival instituted various methods of combating this as time went on.

Theatre capacities here vary as well but since one line was used for all screenings it was very deceptive. One might arrive to see a line of several hundred people winding its way down the block and yet they may all have been there for another film. It was nearly impossible to tell how good a spot you had and very hard to predict how early to get there. I usually allowed up to an hour but, again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had.

In general I found this venue to be much more popular than Scotiabank and Varsity with longer lines. It was not a very pleasant experience and a bit confusing although the volunteers did their best and it didn't take away from the experience. Patrons on the sidewalk also had to contend with college students and workers coming and going throughout the day.


9) The Varsity is dedicating two screens to TIFF this year. It's part of the Manulife Centre, a large shopping mall on Bloor Street with plenty to see and do between screenings. Most people will arrive indoors via the mall's many entrances. Signage is terrific and it shouldn't be hard to find the escalators and elevators that lead up to the theatres. However, the theatre lobby itself is almost nonexistent so lines typically wind along the walls, down emergency staircases, and outside the building. As time goes on you'll be able to discern how long it will take based on where the line ends but it's very hard to tell.

In general, though, I found the lines and waiting times to be similar to Scotiabank with a half hour usually being sufficient. Again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. Comfort level depends on whether or not you're early enough in line to actually be inside the building, in the part of the line winding down the staircase, or outside on the street. The one advantage of being on the stairs is ease of sitting down if one desires.


10) If only by virtue of the mathematics involved, most people will see the bulk of their films at the above multiplexes. But there are a handful of other venues, proscenium arch theatres with stages and converted auditorums, which host many festival screenings. These include some of the most high-profile ones in the Galas and Special Presentations sections. The biggest red carpet events take place at Roy Thomson Hall. Many big buzz films are also at the Visa Screening Room (Elgin Theatre). In the past, the above venues were the only ones which hosted "premium" screenings. This year, for the first time, some first showings will be designated as "premium" at other theatres as well. These include Winter Garden, Isabel Bader, and Ryerson. The new TIFF Bell Lightbox will also host premium screenings but neither I (nor anyone else, really) can post any tips since this venue hasn't even opened yet. That will happen on Sunday, September 12.


12) Roy Thomson Hall is used exclusively for films in the Galas section. It's the largest venue at the festival with 2630 seats. Located to the south at King and Simcoe Streets, security is extremely tight here with the presence of VIPs. There are separate entrances for certain festival donors and honored guests. You'll likely pass through several security checkpoints before being directed to whatever line you need to wait in. Lines snake around ropes on the sidewalk and can be quite long. An hour wait is certainly a good bet given the popularity of these films.


13) The Visa Screening Room (Elgin) and Winter Garden Theatre sit double-decker in a building above Queen on Yonge Street. Organizers try to keep patrons standing in single file heading north on Yonge, around the corner to the east and back down south behind the theatre. The 1500-seat Elgin is large enough to accommodate many more people than would appear to be waiting in line. It can be quite deceptive because a line which appears to be interminably long may not even fill half the theatre once you get inside. Still, I'd allow at least a half hour to an hour depending on the popularity of the film, time of day, and whether or not this is a premium or regular screening. Speaking of which -- at times in the past there have been separate lines for those with and without Visa cards. At one point the Visa line was supposed to ensure earlier admission for Gold and/or Platinum card holders but the one I had was "regular" and it didn't matter. Be sure to check and see if there's an advance line for cardholders at your screening. For some reason it seemed to rain the heaviest when waiting in line at this venue but I doubt that was intended.


14) Isabel Bader is an auditorium on the University of Toronto's Victoria Campus at 93 Charles Street West, which is just south of Bloor and east of University Ave. Capacity is 500. Lines wind outside down the sidewalk, which tends to get muddy after a rain. Both the sidewalk and street are quite narrow and it's easy to slip one way into the street or the other way into the grass/dirt/mud. Lines here aren't too long, in most cases, and a half hour should suffice.


15) Which brings us to...Ryerson. Located at 43 Gerrard Street East on the Ryerson University Campus, this auditorium holds 1250 and hosts many high-profile films. This year the festival has programmed a handful of premium screenings there and second screenings of Galas and other red carpet premieres that have debuted at Roy Thomson Hall and the Elgin. It is also the home of Midnight Madness.

Lines at Ryerson form outside the entrance and wind east down Gerrard, south around the corner down Church, and then west on Gould behind the building. Like the Elgin, this can be quite deceptive as it usually appears there are many more people waiting in line than the theatre can hold when, in reality, I've been almost completely around the block and still entered the auditorium to see it half full. The good news about waiting in line at Ryerson is that it's the one venue where patrons can actually sit. A low brick wall surrounds the building and is just perfect for reading, eating, or conversing with fellow line mates.

My first year at TIFF I actually spent more time at the Ryerson than any other venue, so I grew quite fond of it and it's certainly my favorite non-multiplex theatre. Being a Midnight Madness fan also gives this venue a feel that no other has. MM is the only section which the festival sells dedicated passes for outside the premium screenings, so patrons return every night (and every year) and forge relationships which last long after the festival is over. Even those who only attend a few MM screenings during the week will find a camaraderie among attendees which cannot be matched at any other venue for any other screenings. MM programmer Colin Geddes runs a festival-within-a-festival that hosts some of the best films I've ever seen at TIFF. Experience it and you'll understand.

As a rule of thumb I have always allowed the longest amount of waiting time for Ryerson screenings. An hour is usually a good bet although, as I mentioned earlier, the length of the line is so deceptive compared to the size of the hall that no matter how long the line or the wait it's usually not that hard to get a good seat once inside the cavernous auditorium. But again, this depends on the popularity of the film, time of day, and number of screenings the film may already have had.


16) Add it all up and I'd say that you should expect to wait in line up to an hour for many screenings if you want to be assured of a good seat. Otherwise a half hour should suffice. Anything less is chancy.


17) So taking all three basic considerations into account when deciding how much time is needed from the moment one film ends until your next screening begins:

Allow ten minutes to a half hour for any Q&A. Average is 15-20 minutes.

Allow ten minutes to a half hour for travel time. Average is 15-20 minutes.

Allow a half hour to an hour for waiting in line.

Bottom line: the amount of time to allow between the end of one film and start of another is a minimum of 50 minutes to an hour, maximum two hours. Average for me is closer to 75 minutes.

Keep in mind all the variables I've noted: distance between venues, time of day, number of screenings the film may already have had, popularity of the film, and size of the house, as well as your desire to get the seat(s) you want.

On the other hand, if you're like me and want to see as many films as possible regardless of health concerns, then join me in what I like to call "festival mode." Plan your films carefully. Allow 20 minutes after a film ends and a half hour waiting time before the next one. Then just add travel time to that. You'll get better at it as the week goes on, and share your own tips next year.

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NOTE: Box office totals for The Twilight Saga: Eclipse from 6/30 - 7/15 are posted HERE. Numbers from 7/16 - 7/29 are posted HERE. Numbers from 7/30 - 8/19 are posted HERE.

UPDATE THURSDAY, SEPTEMBER 2:

Here is a mid-week box office update. The Twilight Saga: Eclipse sits at #22 on the charts. At 476 locations, it took in another $59,749 on Monday for a per theater average of $125 and a decrease of 60% from Sunday, $60,019 on Tuesday for a per theater average of $126 and a 0.9% increase from Monday, and $53,347 on Wednesday for a per theater average of $112 and an 11.1% decrease from Tuesday. This adds up to a cumulative domestic total of $298,200,597 after 64 days in release. Adding in the latest verifiable overseas returns of $380.6M gives Eclipse a current worldwide total of $678,800,597.

Theater counts for the week of Friday, September 3 - Thursday, September 8 reflect a 16.8% decrease of 80 for The Twilight Saga: Eclipse to 396 locations, dropping it from #22 to #23.


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For those comparing the films in The Twilight Saga, after 64 days New Moon had taken in $292,793,194. Eclipse is now at $298,200,597. Both films hit the $250M mark on the 16th day. The total domestic gross for New Moon was $296,623,634. Eclipse has now broken that total by $1,576,963. The film is now within striking distance of the elusive $300M mark. It needs about $1.8M to get to that number. It took New Moon 22 more days to earn an additional $1.9M after its 64th day, and Eclipse is clearly doing better. On the other hand, New Moon dropped to 444 theaters on its 64th day while Eclipse drops to 396 locations tomorrow. Still, even after New Moon's theater count had dropped to 352 (after 70 days) it still went on to take in another $3.24M. Therefore, it should take no more than about two weeks for Eclipse to earn another $1.8M and pass $300M.

Keeping track of records, the film with the least number of days to reach $250M was The Dark Knight, which hit $261,847,503 after eight days. New Moon is in 13th place, having taken 16 days to reach $251,530,186. Eclipse lands just behind it in 14th place, taking 16 days to reach $251,371,417. This puts the film ahead of Shrek the Third, Pirates of the Caribbean: At World's End, and Iron Man 2, which all took 17 days to hit $250M.

So far, The Twilight Saga: Eclipse has set all-time box office records for Opening Wednesdays, Single Day Wednesday Gross (non-adjusted), and Single Day Wednesday Gross (adjusted for inflation). It is in second place for Opening Day Gross, Single Day Gross, and Non-Opening Thursday Gross. Release records include Widest Releases, Widest Independent Releases, Widest Opening Independent Releases, Widest PG-13 Rated Openings, and Widest PG-13 Rated Releases.

There's been quite a bit of discussion online regarding the film's box office success. In particular, I wonder about the fairness of comparing the Twilight films against each other. Despite the fact that Eclipse is about to pass New Moon in domestic totals, the validity of judging one against the other is questionable given their strikingly different release schedules. As I've been saying since it opened, the idea was not to compete against or beat New Moon's early numbers. That may be a goal of some people but the idea is to make money, and maybe set some records in the process.

First, remember that the film's opening weekend started on a Wednesday. There is no way that a "weekend" that begins on a Wednesday can be compared to a "normal" 3-day weekend (when New Moon opened). So any comparison between the two based on how many "weekends" it's been out simply isn't valid. Next, look at the time of year the two films were released. New Moon came out during the Thanksgiving-Christmas holiday season. It's a big time of year for Hollywood but still doesn't compare to summer, when they put out their "tentpole" films -- the potential blockbusters that will keep the studios in the black for another year. The competition is much more fierce beginning Memorial Day weekend through the 4th of July. It's simply a different marketplace.

Is Summit happy with the film's box office returns? I don't know but I'm fairly sure they must be. Again, the goal was not to "beat New Moon." That may be something the press or some others will latch on to but it may not be a fair comparison. It was very easy to compare Twilight to New Moon since they opened at the same time one year apart. Not so much New Moon to Eclipse. I think it's wise to just see how the film does over time in its own right.

Now wouldn't be a bad time to start planning for your DVD release parties. The street dates for Twilight and New Moon were both on day 121 of their theatrical runs (Saturdays). Following that line of thinking, Eclipse's 121st day will be October 28th, a Thursday. The following Saturday would be October 30th -- Halloween weekend. On the other hand, sources have told me that Summit is planning for a holiday season release -- some say November while others say Christmas time.


UPDATE MONDAY, AUGUST 30:

ACTUALS ARE IN: The final domestic box office numbers for its ninth weekend show that The Twilight Saga: Eclipse finished in 22nd place with $514,653 from 476 locations for a per theater average of $1,081. This represents a decrease of 9.2% from the previous weekend of August 20-22. The cumulative domestic total is now $298,027,752 after 61 days in release. Adding in overseas returns of $380.6M (the last reported number) gives Eclipse a current worldwide total of $678,627,752.



The daily breakdown, with percent change from the previous day, includes Friday's $148,672 for a per theater average of $312 (+101.5%), Saturday's $217,338 for a per theater average of $457 (+46.2%), and Sunday's $148,643 for a per theater average of $312 (-31.6%). Overall, the 3-day weekend of August 27-29 was down 45.5% from the 3-day weekend of August 20-22.


UPDATE THURSDAY, AUGUST 26:

Box office numbers are in for Wednesday, August 25. The Twilight Saga: Eclipse took in another $71,270 from 557 locations for a per theater average of $128, representing a decrease of 5.5% from Tuesday. This adds up to a cumulative domestic total of $297,439,330 after 57 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $678,039,330.

Theater counts for the week of Friday, August 27 - Thursday, September 2 reflect a decrease of 81 for The Twilight Saga: Eclipse to 476 locations, dropping it from #18 to #22.


UPDATE WEDNESDAY, AUGUST 25:

Here is a mid-week box office update. The Twilight Saga: Eclipse officially surpassed the domestic total of New Moon several days ago. The film took in another $75,817 on Monday from 557 locations for a per theater average of $136, representing a decrease of 53.5% from Sunday, and $75,445 on Tuesday from 557 locations, representing a 0.5% decrease from Monday. This adds up to a cumulative domestic total of $297,368,060 after 56 days in release. Adding in overseas returns of $380.6M gives Eclipse a current worldwide total of $677,968,060.




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Third of a four-part series

In Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19. In Part 2 we went over some of the rules, etiquette, and secrets of what happens from the moment you enter the theater until you leave.

Now you're ready to move on to the next screening. Hopefully you've allowed enough time, and that's trickier than you may realize. There are three basic considerations when deciding how much time is needed from the moment one film ends until your next screening begins. The first I discussed last week -- the Q&A. Allow for anywhere from ten minutes to a half hour for that. Average is 15-20 minutes. The second consideration is travel time. I'll cover that in this entry.


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Note that this isn't intended as a comprehensive guide to transportation for every logistical possibility -- TIFF utilizes sites scattered throughout the downtown area. Truthfully, a good map showing all the festival venues and knowledge of the city transit system (and garage locations for drivers) will suffice. But there are some generalizations which can be made regarding travel among the various venues, and this is solely based on my own experiences.

1) The post-screening excitement is over (assuming you stayed for the Q&A), you've hopefully met and chatted with the filmmakers and actors, and you've taken care of whatever urgent business you need to take care of before exiting the theater. Now it's time to get to your next screening. In the best case scenario, of course, you don't actually have to "go" anywhere. It is quite possible to stay in one location for an entire day of screenings. Heck, there are folks who do that for the whole festival. I've met many veterans who plan their week not around what films to see but around which venue to call home for the duration. For example, many choose the Varsity. This venue is part of the Manulife Centre, an elegant shopping mall on Bloor Street with plenty to see and do between screenings. However, the theatre lobby itself is almost nonexistent so lines typically wind down emergency staircases and outside the building, and the rush lines of folks hoping for last-minute tickets are outside as well (there's usually a single long rush line which is used for all screenings). But there is no need to leave the building from, if one desires, 9:00 in the morning to 11:00 at night on most days. The festival lineup is so dang good that it's almost guaranteed you're going to have a grand old time regardless of what you select. Other venues lend themselves to this too, particularly the AMC. Scotiabank used to be perfect for an all-day experience but press and industry screenings will now take up most of the morning and afternoon there (more on those below).


2) Besides the proscenium arch theatres and auditoriums we discussed in the previous post, the festival primarily utilizes three multiplex cinemas, each dedicating multiple screens to TIFF for the week: the aforementioned Cineplex Odeon Varsity Cinemas (2 screens), Scotiabank Theatre (dedicating 4 screens), and the AMC Yonge-Dundas 24 (8 screens), which opened two years ago. Most festivalgoers will spend the bulk of their time at these venues.


3) The AMC in Toronto Life Square, at the bustling intersection of Yonge and Dundas, is situated within an extremely large multi-level mall although lines are held outside the building and escorted up a multitude of escalators prior to the start of each film. Those attending successive screenings there face a dilemma. It's a bit frustrating to walk out of a theater knowing your next film starts in just a few minutes in the exact same house and have to leave the building and get in the back of a line winding around the block. Previously, some filmgoers found a place to chill in the food court (which has every imaginable gastronomic delight) and carefully observed the lines as they headed up the several flights of escalators. The festival has instituted various methods of combating this but I'll leave it at that. I certainly don't condone cutting in front of people who've been waiting outside on the street for an hour but I feel their pain. Each year has had a different arrangement so it's possible this procedure may change.


4) The Scotiabank Theatre at Richmond and John Streets has a lovely lobby with a food court and even a small café with hot drinks and tables. Due to its spacious interior, filmgoers with tickets never have to exit the building. This year, for the first week of the festival, public screenings here won't start until after 6:30-7:00 PM. Press and industry screenings will occupy this venue the rest of the day. On Friday, September 17, public screenings will start at 2:00 PM. For the final weekend of the festival, Saturday, September 18 and Sunday, September 19, public screenings will run from 9:00 AM to 11:00 PM as in previous years.


5) The layout of the festival's primary venues is fairly simple and convenient. The Scotiabank, the about-to-open TIFF Bell Lightbox (a five-story complex which now houses the main box office), and Roy Thomson Hall are all located near each other to the southwest. Several blocks east, the Visa Screening Room (which is actually the magnificent, historic Elgin Theatre) and the equally majestic Winter Garden -- double-decker theatres, the last in the world -- are in the same building on Yonge Street. Two blocks north is the AMC multiplex at Yonge and Dundas, with the Ryerson situated a couple of blocks up from there. So the Scotiabank, Bell Lightbox, Roy Thomson Hall, Visa Screening Room, Winter Garden, AMC, and Ryerson roughly form an L-shape which is walkable although one can reach the subway within a few blocks of each. So some plan their schedule around those venues. The only theatres which are situated further uptown and are best reached by subway are the Varsity and Isabel Bader Theatres, both located on or near Bloor Street to the north. Jackman Hall stands alone to the west but is also a short walk to the subway.


6) All venues are located within a few blocks of a subway stop on the downtown U-shaped route. Tokens cost $3.00 a ride for adults (the fares went up on January 1) or $2.50 each if bought in packs of 5 or 10. A weekly pass can also be purchased for $36.00 but, unfortunately, the "week" runs from Monday-Sunday so the festival straddles two "pass weeks." Not very convenient for most people, so I recommend purchasing the packs. Stations sell them at booths and and various other locations. Machines dispense single tokens and sets of 4 or 8. There are also Day Passes and other good deals. Seniors, students, and children pay discounted fares (see the TTC site).


7) There are also buses, streetcars (trolleys), and taxicabs, and for those with their own vehicles there are convenient garages and metered spots on streets, but I won't go into detail regarding those modes of transportation. I've tried all the above and recommend foot and rail, especially if you're on a budget and in a hurry. If you do have a car, in the past the festival has sold a ticket with in-and-out privileges for the garage at the Manulife Centre for $100. Because the subway is a block away I recommend parking there in the morning and leaving it for the day.


8) There are a lot great maps out there. TIFF's official map and the TTC transit map are pretty straightforward. This one clearly shows the subway stops on the system and where most of the theaters are located. The AMC is right at the Yonge and Dundas subway stop. What is labeled the Paramount is now the Scotiabank at Richmond and John, with TIFF Bell Lightbox just two blocks south at King and John. And Jackman Hall is at the Art Gallery of Ontario (AGO) on Dundas three blocks west of the St. Patrick station. The author has posted an updated map but I personally think the older one is easier to read. If you're a subway person like me you'll want to know some tricks. For example (it may be useful to look at one of the maps as you read this), the way I go from Scotiabank to AMC and Ryerson (or vice-versa) is to walk three blocks east on Richmond and one block up to Queen to the Osgoode station, then take the train south until it loops around and comes up to the Dundas station. AMC is literally on top of the Dundas station exit and Ryerson is a couple of blocks up from there. Alternatively, take the Queen Street streetcar from John to Yonge. The route is walkable if you have time but transit is especially welcome in heat or rain. You can use that same subway loop trick to get from Bell Lightbox and Roy Thomson Hall by walking east on King to the St. Andrews station and then heading south around the loop up Yonge. For Bader and Varsity, just head north from the St. Andrews or Osgoode station and get out at the Museum stop. Bader is a half block to the east and Varsity is two blocks in that direction.


9) A note about walking, especially for Americans. Toronto is north of the border but it's not the Arctic Circle. The weather in early September can be downright steamy. My first year I didn't bring a pair of shorts and lived to regret it. It can also be quite wet, as the city sits on the shore of Lake Ontario which provides a source of moisture to the occasional storms above. There's always a brisk business in umbrella sales.


10) Summing up, travel time can take anywhere from ten minutes (walking from Ryerson to AMC, for example) to a half hour (Scotiabank to Varsity at rush hour). Average is 15-20 minutes. The trains are rarely crowded but allow for extra travel time at rush hours. Again, this isn't meant to cover every possibility. These are just some of my personal recommendations based on several years of TIFF experience.


The third and final aspect to consider in booking your screenings is what happens when you arrive at your next venue. It's a time-honored tradition, and one which may prove quite valuable as the festival goes on -- waiting in line. I'll cover that in my next post.

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The countdown to Fantastic Fest is on, with Opening Night just three weeks from Thursday. I'll be there and you can count on my usual blanket coverage, of course. I've described Fantastic Fest as more of a convention -- a Comic-Con, if you will -- as opposed to a conventional "film festival." There's always a wide range of interactive activities and discussions in addition to the screenings. But those movies will surely be the main attraction, especially for this journalist, who's made no secret of his love for genre films.

This year's event runs from September 23-30 in rockin' Austin, Texas. This is also the location of the prestigious SXSW Film Festival, and readers of this blog know that my annual coverage of SXSW gushes with accolades for the venues there -- arguably the best in America -- the very same ones used for screenings at this festival.


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The first wave of 13 films was unveiled last month, followed by the announcements of the Gala Opening Night Films, Let Me In and Buried.

The second wave of titles has now been revealed, adding 16 more films to the previously announced lineup (descriptions provided by the festival):

GALA

Stone (2010)
US Premiere, USA, director: John Curran
Director John Curran and Edward Norton live in attendance.
A seasoned corrections official and a volatile inmate find their lives dangerously intertwined in Stone, a thought-provoking drama directed by John Curran and written by Angus MacLachlan. Stone features powerful performances by Academy Award® winner Robert De Niro and Oscar® nominee Edward Norton, and a startlingly raw, breakout performance from Milla Jovovich as the sexy, casually amoral woman they both desire.

As parole officer Jack Mabry (De Niro) counts the days toward a quiet retirement, he is asked to review the case of Gerald “Stone” Creeson (Norton), in prison for covering up the murder of his grandparents with a fire. Now eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man’s decision have profound and unexpected consequences for them both. Stone skillfully weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. Golden Globe® winner Frances Conroy completes the superb ensemble as Madylyn, Jack’s devout, long-suffering spouse. Set against the quiet desperation of economically ravaged suburban Detroit and the stifling brutality of a maximum security prison, this tale of passion, betrayal and corruption examines the fractured lives of two volatile men breaking from their troubled pasts to face uncertain futures.


FEATURED SCREENINGS

30 Days of Night: Dark Days (2010)
World Premiere, USA, director: Ben Ketai
Director Ben Ketai, Kiele Sanchez & Steve Niles (co-writer, author) in attendance (schedules permitting).
It’s been almost a year since the Alaskan town of Barrow’s population was decimated by vampires during its annual month-long sunset.  Riddled with grief over the death of her husband, bound by nightmares and void of all emotions beyond hate and sorrow, Stella (Sanchez) has spent the past months traveling the world, trying to convince others that vampires exist.  Met with skepticism and laughter, Stella is ready to throw in the towel when a group of lost souls (Coiro, Baird and Perrineau) offers an incredible opportunity: the chance to exact revenge upon Lilith (Kirshner), the vampire queen responsible for the assault on Stella’s sleepy Alaskan town.  With nothing remaining to live for, and nothing left to fear, Stella joins their mission and ventures into the uncharted underbelly of Los Angeles where she pushes herself to the most extreme limits to stop the evil from striking again. 

Carancho (2010)
Regional Premiere, Argentina, director: Pablo Trapero
Ambulance drivers and ambulance chasers, dirty police and corrupt doctors, fraudulent insurance brokers and some truly desperate people are the players in a wildly original and occasionally brutal thriller set on the streets of Buenos Aires.

Drones (2010)
Regional Premiere, USA, directors: Amber Bensen and Adam Busch
Directors Amber Bensen and Adam Busch as well as stars Angela Bettis and Kevin Ford will be in attendance.
When Brian discovers an improbable secret about his best friend and OmniLink coworker, everything in his world changes and his safe life of workplace detachment is no longer an option. Close encounters of the office kind, like sales or intergalactic war, is an uncertain business.

Fire of Conscience (2010)
US Premiere, Hong Kong, director: Dante Lam
A slick cops-and-robbers film that coats melodrama with a thick layer of blood and gunpowder. Dante Lam has emerged as one of the most exciting Hong Kong action directors with films like The Beast Stalker (2008) and Sniper (2009). His latest work delivers the goods with chases, fisticuffs, massive fire fights; exploding bodies and more.

Hatchet 2 (2010)
North American Premiere, USA, director: Adam Green
Director Adam Green, Kane Hodder and Danielle Harris live in person!
Witness the resurrection of bayou-dwelling psycho-killer Victor Crowley (Kane Hodder), who terrorized a party of witless New Orleans tourists in Adam Green’s 2006 cult hit Hatchet. After emerging as the sole survivor of Crowley’s comically over-the-top murder spree, Marybeth (Danielle Harris) learns the secrets of the madman’s origins and returns to the Louisiana swamps to avenge her family’s death. Also featuring genre fan fave Tony Todd as Reverend Zombie and Fright Night director Tom Holland as Bob.

The Housemaid (1960)
South Korea, director: Kim Ki-young
Celebrated as one of the greatest Korean films of all time, The Housemaid tells the story of a composer who invites chaos into his home when he begins an affair with the family’s mysterious new maid, a disturbed woman with a penchant for catching rats with her bare hands. The print featured at this year’s Fantastic Fest has been restored by the Korean Film Archive with the support of Martin Scorsese’s World Cinema Foundation, a nonprofit organization dedicated to the preservation of films from non-Western countries.

The Housemaid (2010)
Regional Premiere, Korea, director: Im Sang-soo
A reimagining of the Korean classic of the same name, the 2010 version of The Housemaid turns the tables on the story. This time around a perfectly normal servant enters the home of a truly dysfunctional wealthy family who beat her down with an array of psychological, sexual and sometimes physical trauma. With strong performances, lush design and an exceptional story, this update serves as a worthy companion to the original classic and makes for a truly unique double bill.

I Spit on Your Grave (2010)
Austin Premiere, USA, director: Steven R. Monroe
A remake of the controversial 1978 cult classic of the same title, Steven Monroe’s I Spit on Your Grave is a shock-fest that revisits the story of a young writer’s horrifying sexual assault at the hands of a backwoods gas-station attendant and his knuckle-dragging cronies while on sabbatical in the countryside. After being brutally attacked and left for dead, she returns for vengeance. Trapping her male attackers one-by-one, she inflicts acts of physical torment upon them with a ferocity that surpasses her own ordeal. When the carnage clears, victim has become victor.

Kidnapped (2010)
North American Premiere, Spain, director: Miguel Ángel Vivas
Jaime (Fernando Cayo) and Marta (Ana Wagener) are a middle-aged couple with a teenage daughter named Isa (Manuela Vellés). The family is in the process of moving into a big new house. Marta wants to gather the family for dinner at home to celebrate. Isa has her own plans; she wants to go out with her boyfriend. Jaime is stuck in the middle of it all. Everyone's evening is ruined when a gang of masked hoodlums pay a visit to the home.

Legend of the Fist (2010)
US Premiere, Hong Kong, director: Andrew Lau
Life in Japanese-occupied Shanghai in the 1920s was no picnic. Military warlords and criminal henchmen ruled the streets. The city’s one ray of hope was the young martial artist Chen Zhen (Donnie Yen), whose legendary showdown against a dojo full of Japanese warriors ended with his apparent death, though his body is never found. Seven years later, a wealthy entrepreneur called Koo returns from abroad and makes a grand entrance on the Shanghai social scene by befriending the city’s most notorious mafia boss. Could this be the return of Chen Zhen?

Ong Bak 3 (2010)
North American Premiere, Thailand, director: Tony Jaa
The legend of Ong Bak 3 begins after Tien (Tony Jaa) has lost his fighting skills and his beloved step-father from the raid led by Jom Rachan (Saranyu Wonggrajang). Tien is brought back to life with the help from the Kana Khone villagers. Deep into the meditation taught by Phra Bua (Nirutti Sirijanya), Tien finally is able to achieve 'Nathayut'. His talents are put to the test again when his rivals including the Golden-Armored King's Guard (Supakorn 'Tok' Kijusuwan), the mysterious killers in black, and Bhuti Sangkha (Dan Chupong) return for the final massive showdown.

Redline (2010)
North American Premiere, Japan, director: Takeshi Koike
Rev your engines, adrenaline junkies! Redline is a new feature from famed Madhouse Studios that reunites animator Takeshi Koike (Ninja Scroll, Animatrix) with his long-time collaborator Katushito Ishii, the genius behind Funky Forest: The First Contact. This meeting of warped minds results in a mind-melting psychedelic assault that is easily the wildest animated Japanese film to surface in years.

Stake Land (2010)
US Premiere, USA, director: Jim Mickle
Director Jim Mickle, Connor Paolo, Nick Damici and Danielle Harris live in person!
Following a political-economic meltdown of unexplained origins, the world has been overrun by humanoid creatures who feed off human blood. A disparate group of survivors band together to weave their way through the communities of both vampires and equally dangerous religious cultists in search of an alleged sanctuary in the north. The cast includes Nick Damici, Connor Paolo, Kelly McGillis, Danielle Harris and Michael Cerveris.

Undocumented (2010)
World Premiere, USA, director: Chris Peckover
Director Chris Peckover and cast members live in person!
A small group of documentary filmmakers chronicle the trials and inequities faced by Mexican illegal immigrants. When they join a group of families illegally crossing the border to record the experience firsthand, their truck is pulled over and detained. What happens next plunges their group into unimaginable horror.

We Are What We Are (Somos Lo Que Hay) (2010)
US Premiere, Mexico, director: Jorge Michel Grau
When the patriarch of the family passes away, the teenage children must take responsibility for the family chores: the preparation of the rituals, the hunting and putting the all-important meat on the table. These newfound responsibilities are even more daunting, however, when you live in the city and happen to be a family of cannibals.


Everything you need to know about Fantastic Fest 2010 is available at the festival's official site, Facebook, and Twitter.



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Second of a four-part series

Yesterday, in Real Tips For Real People #1, I offered some general advice for travelers headed to the 35th Toronto International Film Festival (TIFF), which runs from September 9-19.

Now it's time to go to the movies. After all, that's why you're going (I hope). Let's walk through some tips in chronological order, beginning with the moment you enter the theater and sit down.


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1) Once you've located your favorite seat (after awhile you will have one in every venue), the first thing to do is look for the nearest exit. No, not that you'll want to get up and walk out during the film (something I'm proud to say I've never done, by the way, although I have fallen asleep). This is for any emergencies which may occur, including those involving bodily functions. I won't go into that. Speaking of which...


2) The smartest thing to do is visit the washroom (that's what they call it -- you'll get funny looks if you use any other term) about ten minutes before the start of the film. Hopefully you won't need to use it again, unless you've taken in copious amounts of liquids which is, of course, a no-no for the festivalgoer. Coffee is particularly insidious although, if you time it right, a nice big cup in the morning from Tim Horton's and just enough time before your first film to..ahem...flush it out should suffice. You'll primarily find clean, well-stocked, and well-maintained facilities at all the venues. Experienced festivalgoers also use this time as an opportunity to share feedback on movies you've seen.


3) Most films start on time. TIFF is particularly good about this as screenings are usually booked one after another in the same venue, especially at the multiplexes. Staffers use a terrific wireless audio system which really helps things go like clockwork. All festivals have volunteers, but the ones at TIFF are a breed apart. Many are area film students. Most return year after year and work very hard for little (read: no) pay, so it's de rigeur to take some time and acknowledge their presence.


4) "On time" doesn't mean the lights go down. Almost all screenings are preceded by an introduction. This is usually done by a festival programmer, in most cases the person representing the particular section the film is in (Vanguard, Midnight Madness, etc.) and often the one who actually chose the film you're about to see. This increases their level of excitement in introducing it and enhances the overall experience for everyone. Occasionally the filmmaker(s) and/or cast members come up prior to the screening. But their remarks are usually brief. Most directors say something along the lines of, "let's just watch the film and let it speak for itself."


5) The festival rep will run through a series of announcements, including thanking the major sponsors. You'll probably have this memorized after a few screenings and be able to recite them along with the staffer. You'll hear all about the imminent opening of Bell Lightbox, which finally opens on September 12 after several years of construction (without Bell there might not be a festival, so hats off to them). At this point, if you haven't already done so, it's time to turn off your cellphones, pagers, beepers, anything that makes noise, buzzes, has a light...I think I'm reciting the announcement. It's always fresh in my mind.


6) Once the lights go down you'll see a series of trailers. The primary one lists the various festival sponsors. It's usually well done with snazzy graphics and cool music. It has to be because you might see it 30 times. Believe it or not, most years I've attended, even after a week it still looks and sounds good. Kudos to the festival for always making sure of this. You'll be tapping along before you know it. You'll be reminded to vote for the audience award and to thank the festival volunteers. It's customary to applaud at this point. That's always a lot of fun, especially if you're the one who starts it.


7) By the way, there is a possibility that either during the intro or during the trailers there will be a note about anti-piracy measures being taken. You may then hear a loud "ahhhhrrrrr" emerge from the crowd. It is customary to join the cacophony. Just like the applause for volunteers, if nobody else starts it then you be the one.


8) Once the film begins the standard rules apply as for any movie. Watch it. Don't talk. One thing you'll notice is that, in most cases, festival audiences are extremely respectful of these rules and you'll be spoiled in no time at all. The next time you go to your local multiplex you'll wish you were back at a festival screening. There is nothing to compare to a festival audience when it comes to respect for the filmmakers.


9) The film ends. Here is where things become dicey. To leave during the credits or not to leave? Well, keep in mind that there will, in many cases, be a Q&A. Still, many can't resist the urge to get up and head out as soon as the names start to roll. So this is more of a personal thing. I always sit through the credits. Always. If only out of respect for those who made the film I feel it's de rigueur. Keep in mind that someone mentioned on screen might actually be in the next seat. Literally. I've had it happen many times at festival screenings. Nowhere else can this occur, so why not take advantage of that and show your appreciation? Of course, if you've scheduled your next film too close in time to and/or far away in distance from the current one then you may have no choice. But I'll get to that.


10) Many screenings have a Q&A after the lights go up. This generally applies to what the festival calls "regular" screenings, not Galas at Roy Thomson Hall (although the cast and filmmakers will address the audience beforehand) or the first showings of films at the Visa Screening Room (premium tickets). The audience will usually be informed of this before the film begins. Also, the likelihood of a Q&A decreases with successive showings of films later in the week depending on whether or not the folks connected with the film are still in town. l could write a thousand words on Q&As. In fact, I have. It's one of the main reasons to attend film festivals, I believe. Nowhere else do you have the opportunity to question the filmmakers, cast, and crew about the film you just saw. How anyone can get up and leave is beyond me, but you'll notice about half the audience doing so in most cases. Do not be alarmed. They aren't necessarily making any kind of statement about the film but I won't make excuses for them.


11) Usually the same person who introduced the screening will call up whoever is present to represent the film. In most cases these are the director and cast members but I've attended Q&As where 30 people got up in front of the audience including the assistant assistant to the assistant editor. Sometimes these are the people who worked the hardest to get the film to the festival on time so I believe they deserve all the respect that can be afforded. Or the cast and crew might have left town and only a producer stayed. In any case, the Q&As are more than anything, to me, what distinguishes a festival screening from one at your local theater and help make the experience a memorable one.


12) A Q&A doesn't work without the Q. I'm constantly amazed at how quiet it can be when the floor is opened up to questions. Be ready and don't be intimidated. That's what they're there for. In most cases it is considered impolite to ask more than one, but I've attended many Q&As where audience members simply had nothing to ask. In these cases it is acceptable to raise your hand again. The session will go on as long as people have questions to ask, and/or until cut off by a festival staffer in order to clear the house for the next film.


13) Depending on how long the session goes and/or if another screening is coming in, there may be an opportunity to meet the filmmakers and actors. This happens more often than most people think and you don't have to be a VIP. There are two types of venues, though -- ones with raised stages (Ryerson, Visa Screening Room at the Elgin, Winter Garden, Roy Thomson Hall, Isabel Bader) and ones where the Q&A is held in a pit, like the "real" movie theaters used at the festival (AMC, Varsity, Scotiabank). You're less likely to be able to walk up to an actor at a venue with a stage and more likely to be able to walk up to an actor at a festival screening held in an actual movie theater, so plan your screenings accordingly.


14) At times the filmmakers and cast members are moved out to the lobby or on the street and greet the public there. They often will take pictures, sign autographs, etc. You don't have to be a member of the press to rub elbows with the stars. But be respectful of what the festival staffers and film's reps desire. Most theaters don't have much room to maneuver in the lobby or outside and what little space there is will often be taken up by lines waiting to get into the next screenings. If personnel are trying to move everyone quickly to another location it's best not to turn into a stalker. But in most cases it's the actors and filmmakers who decide whether or not they want to stick around regardless of what their "handlers" want them to do. This is a good thing.


In my next entry I'll pick up where we left off and discuss what to do from the time one screening ends until the next one begins. Assuming, of course, you went there to see more than one film.


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