As Toronto director Clement Virgo and the cast of “Brother” took the stage at the Princess of Wales Theatre on the night of Sept. 9 to soak in the hometown standing ovation after film’s world premiere, a delegation of Black producers from across Canada was settling in for a week of networking ops curated by the Black Screen Office (Bso).
This year has seen Black-led CBC and BET+ historical drama series “The Porter” (recently renewed for Season two) connect with audiences and critical kudos beyond Canada; Black talent empowerment and training organizations extend their reach; and the Bso forge platforms and alliances to strengthen and amplify its advocacy, research and funding development work.
This is not simply a moment, say the Toronto filmmakers, it’s accelerated momentum.
“When I first started out, making a film about the Black experience in Canada was fairly new, but over the last 25 years that has changed,...
This year has seen Black-led CBC and BET+ historical drama series “The Porter” (recently renewed for Season two) connect with audiences and critical kudos beyond Canada; Black talent empowerment and training organizations extend their reach; and the Bso forge platforms and alliances to strengthen and amplify its advocacy, research and funding development work.
This is not simply a moment, say the Toronto filmmakers, it’s accelerated momentum.
“When I first started out, making a film about the Black experience in Canada was fairly new, but over the last 25 years that has changed,...
- 9/12/2022
- by Jennie Punter
- Variety Film + TV
Click here to read the full article.
As the Toronto Film Festival marks a big post-pandemic return to the physical realm with something almost normal for its 47th edition, the biggest sighs of relief may well come from local Canadian filmmakers and premiere party organizers.
“You cannot launch a festival film digitally. You need to build up hype in person. You need to meet people in person to be able to forge relationships to launch your film,” Markhor Pictures producer Shehrezade Mian, who is launching Antoine Bourges’ Concrete Valley immigrant drama in Toronto as part of the Wavelengths sidebar, told The Hollywood Reporter.
Mian insists fellow filmmakers who screened their films at scaled-down Toronto festivals in 2020 and 2021 had their launch plans undermined by play on digital platforms. “The buzz this year is so much more hyped and so much more intense,” she added.
Director Kelly Fyffe-Marshall, who is bringing her...
As the Toronto Film Festival marks a big post-pandemic return to the physical realm with something almost normal for its 47th edition, the biggest sighs of relief may well come from local Canadian filmmakers and premiere party organizers.
“You cannot launch a festival film digitally. You need to build up hype in person. You need to meet people in person to be able to forge relationships to launch your film,” Markhor Pictures producer Shehrezade Mian, who is launching Antoine Bourges’ Concrete Valley immigrant drama in Toronto as part of the Wavelengths sidebar, told The Hollywood Reporter.
Mian insists fellow filmmakers who screened their films at scaled-down Toronto festivals in 2020 and 2021 had their launch plans undermined by play on digital platforms. “The buzz this year is so much more hyped and so much more intense,” she added.
Director Kelly Fyffe-Marshall, who is bringing her...
- 9/11/2022
- by Etan Vlessing
- The Hollywood Reporter - Movie News
TIFF: ‘Riceboy Sleeps’ Director Talks Minimal, Single Camera Coverage: “That Was The Scariest Thing”
Click here to read the full article.
Hollywood directors routinely capture on a movie set extra camera footage and angles, or “coverage,” to later give them options in the edit suite.
Not Anthony Shim, director of Riceboy Sleeps. He avoided shooting coverage when his single camera rolled on the set for his Korean and English language immigrant drama having its world premiere at the Toronto Film Festival.
“We didn’t shoot any coverage. That was the scariest thing,” Shim told The Hollywood Reporter about he and director of photography Christopher Lew’s single camera going instead for one-take, choreographed and continuous wide camera shots that cover all the dialogue and visuals in a scene.
In the hands of a master director, such as Martin Scorsese and his opening Copa shot in Goodfellas, minimal camera coverage could be the making of cinematic legend. But for a second feature director like Shim,...
Hollywood directors routinely capture on a movie set extra camera footage and angles, or “coverage,” to later give them options in the edit suite.
Not Anthony Shim, director of Riceboy Sleeps. He avoided shooting coverage when his single camera rolled on the set for his Korean and English language immigrant drama having its world premiere at the Toronto Film Festival.
“We didn’t shoot any coverage. That was the scariest thing,” Shim told The Hollywood Reporter about he and director of photography Christopher Lew’s single camera going instead for one-take, choreographed and continuous wide camera shots that cover all the dialogue and visuals in a scene.
In the hands of a master director, such as Martin Scorsese and his opening Copa shot in Goodfellas, minimal camera coverage could be the making of cinematic legend. But for a second feature director like Shim,...
- 9/11/2022
- by Etan Vlessing
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.