Festival Daily






A Round With… Jayne Eastwood
By Eleni Deacon Who: Jayne Eastwood, appearing in Real Time and Coopers’ CameraWhere: Starbucks inside Indigo at the Manulife CentreWhen: September 2, 1pmWhat: Iced tea for two  She may play grandmothers in her films, but Jayne Eastwood has the zany energy to trump any young starlet. Not to mention the full schedule. Appearing at the Festival in Warren P. Sonoda’s madcap comedy Coopers’ Camera and Randall Cole’s hard-boiled drama Real Time, this self-professed “goofy dame” is an established fixture in Canadian cinema. I grabbed a table at Starbucks with the Second City alum to discuss scripts, partying and the business of...

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By Christopher McKinnon The 2008 slate of gallery installations in Future Projections builds on last year’s successful romp through contemporary art and film. With a new roster of filmmakers and artists, the Festival presents a collection of seven works that skirt the boundaries of cinema culture and history. New York-based art star Glenn Ligon comes to Toronto with The Death of Tom, curated by Wayne Baerwaldt. This new work recontextualizes the Edison Manufacturing Company’s 1903 film Uncle Tom’s Cabin, directed by Edwin S. Porter and based on the book by Harriet Beecher Stowe. Better known for his controversial work in photo-text and...

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By Ghita Loebenstein   This time last year, Jason Reitman was feeling just a little nervous. His first film, Thank You for Smoking, had debuted well at the 2005 Toronto International Film Festival, sold in a bidding war and done nicely at the box office. In Juno, he knew he had a solid comedy with a distributor attached, but he wasn’t too sure howit would be received.   “I thought it would be this sweet independent film about teen pregnancy and have a similar success to Thank You for Smoking,” says the Montreal-born filmmaker on the line from his Los Angeles office. But the...

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By Neil Karassik   Over the past several years, there have been rapid developments in camera technology. Yet with all this progress, digital cameras have not been able to fully match the richness of analog film. This year, two incredibly ambitious, equally impressive Festival films – one a four-hour-plus biopic by a prolific indie auteur and the other a 14-minute short film by a budding Canadian filmmaker – have used the newly released, highly anticipated RED ONE camera to achieve a look that can finally give celluloid a run for its money. And speaking of price, these new cameras are astonishingly...

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