CHICAS PRODUCTIONS: Film Festival

Venezuela has the largest proven oil reserves in the world. It was once so rich that Concorde used to fly from Caracas to Paris. But in the last three years its economy has collapsed. Hunger has gripped the nation for years. Now, it’s killing people and animals that are dying of starvation. The Venezuelan government knows, but won’t admit it!!! Four in five Venezuelans live in poverty. People queue for hours to buy food. Much of the time they go without. People are also dying from a lack of medicines. Inflation is at 82,766% and there are warnings it could exceed one million per cent by the end of this year. Venezuelans are trying to get out. The UN says 2.3 million people have fled the country - 7% of the population.

Showing posts with label Film Festival. Show all posts

Monday, January 14, 2013

Berlinale Co-Production Market expands...

BERLIN -- The Berlinale Co-Production Market is growing this year.
Celebrating its 10th anniversary, the event has added five more projects from its inaugural Berlinale Residency, and expanded its Company Matching program that allows internationally active production firms from around the world to introduce themselves to international filmmakers.

The Co-Production Market, which runs Feb. 10-12, will present 38 new feature film projects and seven production companies to 450 potential co-production and financing partners.

Among the projects are four U.S. titles, including James Bolton's "A Secret Life," from Charleville Films and Myriad Pictures, and John Michael Morgan's "The Cavanaughs," from DViant Films.

In addition to the official selection, the Co-Production Market also includes three projects from its Rotterdam-Berlinale Express initiative, among them Matt Porterfield's U.S. title "Sollers Point"; 10 from the Talent Project Market -- a partnership with the fest's Talent Campus educational platform; and five from the Berlinale Residency program, which invites five international filmmakers to Berlin to work on their films.

The Residency's participants include Chile's Matias Bize with "The Memory of Water"; Rebecca Daly of Ireland ("Mammal"); Filipino helmer Raya Martin ("The Empire"); "Soy Negro," from Iranian filmmaker Rafi Pitts; and, from the Netherlands, Sacha Polak with "Zurich."

Among the companies making their introduction are Canada's Foundry Films; French shingle Agat Films; Bossa Nova from Brazil; Egypt's Film Clinic; Friland Produksjon from Norway; Dutch group Lemming Film; and Germany's Rohfilm.

"We would like to create a platform for companies to become acquainted and broaden their horizons -- to go beyond thinking from just one project to the next," said Co-Production Market project director Sonja Heinen.

The Berlinale runs Feb. 7-17.

Thank you Variety

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Abu Dhabi: Sales Agents To Become Global Distributors...

International sales banners will reinvent themselves as video-on-demand global distributors, Abu Dhabi festival goers are told.

Abu Dhabi – Movie industry attendees at this year's Abu Dhabi Film Festival heard that producers and sales agents will work much more closely together as the internet revolutionises the movie business.

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And representatives from the two business strands of the international film business will also share revenues as a result.

Production Finance Market chief Angus Finney told Abu Dhabi Film Festival goers that the internet will play a part in the evolution of the two businesses.

Right now, sales agents charge a fee for each territory sold then often walk away. In the future sales agents and filmmakers will work together throughout a film's lifespan, "especially with video-on-demand," Finney said.

Speaking at a masterclass, Finney said: "Sales agents will be aligned with producers ... the market is changing so fast that sales agents could take control of all rights. The right sales agent will become increasingly able to control internet release."

The internet has destroyed Hollywood's "push economy" -- studios dictating when and where customers can see films – in favour of a "pull economy."

Catch-up TV and on-demand streaming have put the customer in the driving seat, something which Hollywood has been slow to accept, Finney noted.

Studios have not helped themselves by erecting "walled-gardens around their content, making movies harder to access."

Such a move, Finney said, goes against the grain of the internet.
"They are also terrified about plummeting DVD revenue, which has accounted for 60% of a movie's earnings. The user is the new king," Finney said.

The British born film consultant, author and one time film financier, quoted Amazon founder Jeff Bezos, who said the question is not what is going to change in the next 10 years, but what's going to be left standing by the end of the decade?

Disney, he noted, has reacted to the new horizontal world we all live by getting rid of its silo mentality, tearing down walls between theatrical and home entertainment.

But Finney remains upbeat about prospects for theatrical. Exhibition will become even more important, he claimed.

"Watching films in a cinema is a unique experience that will not be completely replaced by watching films on cellphones or tablets," Finney said.

This is despite the growing importance of handheld devices, which, Finney said previously, will take over as the dominant screen "within months, not years". He said: "Exhibition rights will continue to be sold territory-by-territory, while internet rights could be sold as a single block."

Finney was sceptical about independent producers handling the release of their own films pouring cold water on evangelists for self-distribution, pointing out how hard the sales business is.

Finney was managing director of sales agent Renaissance Films, which went bust in 2005. Movies that Finney handled sales on included The Mother and The Luzhin Defence.

"As a producer you may think you're in control of your film's release, but you have to deal with the same battle for eyeballs which everybody else is dealing with. Distribution is a full-time job," Finney said.

This year's Production Finance Market runs October 17 and18 during the BFI London Film Festival in the British capital.

Thank you Hollywood Reporter.

Busan 2012: Chinese Indies Struggle to Go Global...

Despite no shortage of quality content, independent filmmakers still rely on overseas sales companies for international exposure.

Boasting a wide array of entries at BIFF this year – including films by Zhang Yuan, Wang Ping, Lou Ye and Emily Tang, among others – independent Chinese filmmakers have again shown themselves to be a force in global cinema.

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But there's a missing link there: most, if not all, of these directors are heavily reliant on international sales companies to bring their work onto the global stage.
"It's true there aren't that many important strong Asian sales companies – and there is almost none in China, where you mostly have companies selling their own films," said Isabelle Glachant, the long-time Beijing-based French producer of Wang Xiaoshuai's films through her Chinese Shadows shingle. "You don't have a [Chinese equivalent of] Film Distribution or Celluloid Dream or Finecut; you have Huayi Brothers selling their own films."

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In mainland China, Glachant said, the norm – in the mainstream, at least – is for vertically integrated companies to handle production, distribution and sales, as well as agents of actors.

"It totally makes sense for Bona or Huayi, but outside of those top five companies, when you're outside their slots, what can you do? The ones who do best in selling arthouse films are Europeans, the exception being [Hong Kong's] Fortissimo and [South Korea's] Finecut."

Indeed, Fortissimo is attending to Zhang's Beijing Flickers, Wang's An End to Killing (which counts among its co-producers Japan's Satoru Iseki and Korea's Jooick Lee) and Zhang Yang's Full Circle, despite its financing by China Film Group. Another Hong Kong-based outfit, PAD International, is marketing Tang's All Apologies, Peng Tao's The Cremator and Li Ruijun's Fly with the Crane. France's Wild Bunch, meanwhile, is pushing Lou's Mystery.

While it's true that the same situation is present for indie productions in the region – the films of Thailand's Palme d'Or winner, Apichatpong Weerasethakul, are also sold by European companies, Glachant pointed out – the mainland Chinese scenario is peculiar, given the widely-documented abundance of "soft money" accorded to directors in the country today.

While Glachant admitted the dependence on foreign sales companies might be perceived as a visible weakness for mainland Chinese indie filmmakers, she said what they need the most is advice on how to tailor scripts and editing for audiences beyond their home country.
"It's fine to make a Chinese film, but you have to be careful that it's the way cinema [language] is used outside China. It's a problem if foreign audiences don't get into the emotion of the film."

Thank you Hollywood Reporter

Weinstein praises Gallic anti-piracy laws...

He urges other countries to follow suit
By ROBERT MITCHELL

Weinstein

LONDON
Harvey Weinstein called on the U.K., U.S. and other governments to follow France in enacting stricter anti-piracy laws to protect filmmakers as he delivered the keynote address to an industry audience at the start of the 56th BFI London Film Festival's Industry Program Thursday night.

He encouraged the global film industry to unite to change piracy laws, to oppose broadcaster consolidation and to preserve film heritage.

Following a reel of Weinstein's pics, including this year's "Silver Linings Playbook," "The Master" and "Django Unchained," BFI chief executive Amanda Nevill introduced Weinstein as "the godfather of the sort of film the BFI stands for. Harvey all but created the world of modern independent cinema."

Weinstein talked to the audience about three problems he felt were facing the film industry.

He attacked Internet piracy. "Our business is much more robust than we are feeling right now, but the benefits are going to other people," said Weinstein, saying unauthorized online use of film and film clips denied actors, directors, composers and other filmmakers of their rightful returns.

"It's like going into a clothing store, taking a few shirts and saying 'I believe in free shirts."

He praised the tough stance in France, signed into law in May 2009 by former president Nicolas Sarkozy, where government agency Hadopi (Haute Autorite pour la Diffusion des Oeuvres et la Protection des Droits sur Internet) has the authority to cut users' Internet connections before taking them to court.

"It works in France, they shut you down. People are disincentivized to steal. We need to emulate the French laws in the U.K., the U.S. and around the world," said Weinstein.

Next he addressed the growing consolidation of TV companies leading to reduced competition for movies.

"We will end up with six companies owning 500 channels. There will be no diversity. The world will get smaller and smaller and smaller," said Weinstein. "They say 'we have six networks so we'll put one president and one buyer in charge of all and fire five presidents and five buyers as it's more economical, but then filmmakers, writers, actors and composers get less.

"I am worried about the regulators not being smart enough to handle the problem."

He called for the global film industry to highlight the problem reduced competition has on filmmakers.

Finally he addressed what he called the "threat against the heritage of cinema," raising a concern that too many film executives do not watch and understand "the rich history" of cinema.

He used clips from a series of classic movies by F.W. Murnau, John Ford, Howard Hawks, Charles Chaplin, King Hu and John Huston to illustrate the debt modern filmmakers owe to their predecessors and to suggest that filmmakers should learn from them.

"We have to put some of our own time in to remind us what we love about the movies, to understand how we profit from the past."

Asked by London fest director Clare Stewart whether he perceived a threat to originality in Hollywood with the proliferation of sequels and remakes, he praised Joss Whedon's summer blockbuster "The Avengers" as an example of smart filmmaking, but criticized the studios for being too happy to put out inferior product where they know an audience will turn out regardless.

"These giant companies produce movies for profit. We want to be profitable too, but we want to do something worthwhile and innovative. I haven't gone there yet but there's always a strong possibility I'll be selling out shortly," he joked.

Reflecting on the recent shootings at a cinema in Aurora, Colorado during a screening of "The Dark Knight Rises," Weinstein revealed he is planning to assemble a panel for next year's Sundance Film Festival to discuss the issue of violence in cinema.

"I don't know how violence effects audiences. I want to do a panel about that at Sundance with people that have studied it. I have no answers and I've made a lot of very violent movies."

Thank you Variety

Toronto 2012: IATSE Launches Protest Outside Festival Headquarters Over Out-Sour

dispute that follows contracting out of digital file revisions has led to a peaceful information picket by the projectionists union in front of Bell Lightbox in Toronto.

TORONTO – The Toronto International Film Festival faces an information picket by IATSE Local 58 outside Bell Lightbox, the fest's year-round headquarters, on the eve of its 37th edition.

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The festival is looking to resolve the dispute over out-sourcing of digital revision work to Deluxe Toronto through arbitration to avoid any major disruption when Hollywood and the rest of the international film world descends on Toronto from September 6.

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"The collective agreement provides for a process for handling disagreements like this through an arbitration hearing, which we are in the process of scheduling," TIFF spokeswoman Jennifer Bell said Friday in a statement.
"This is the process that IATSE and TIFF have agreed to, and this is the way that the issue will be resolved," she added.

The IATSE local is at odds with TIFF after it contracted work to check and prepare digital film files ahead of the festival screenings running from September 6 to 16.
In the past, the revising of celluloid film ahead of the annual September film festival was done in-house.
But with TIFF like most festivals increasingly employing digital projection technology, Toronto organizers insist revising digital files cannot be done in-house.
IATSE Local 58, meanwhile, is looking to protect its turf with the information picket outside Bell Lightbox.

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"They somehow seem to think that the fact that it can't be performed in-house somehow takes away our jurisdiction. It does not," IATSE president Jim Brett told the Globe and Mail newspaper.
IATSE Local 58, which represents TIFF projectionists and revisors, filed a grievance on the contracting out of work to Deluxe Toronto.
The festival maintains the action has so far been "peaceful" in the run-up to TIFF, and within the right of IATSE Local 58.

Thank you Hollywood Reporter

Italian Cinema Industry Questions Need for Competitions After Venice ...

Italian insiders also wondered why Italian productions do well in Cannes and Berlin, but not in Venice.

ROME – Nearly a week after scandal erupted at the Venice Film Festival after it was revealed that the international jury was prohibited from awarding the festival's top prize to the film they thought was best, Italian industry figures are still discussing the bewildering developments.
O
Italy's President Calls Marco Bellocchio to Praise 'Dormant Beauty' After Venice Snub
The entertainment pages of Italian newspapers have been filled all week with discussions of the 69-year-old festival's conclusion, which also included criticisms for the relative lack of hardware for home-grown Italian productions, including the critically acclaimed Bella Adormentata (Dormant Beauty), a powerful euthanasia drama from Marco Bellocchio. The film was considered a contender for a major prize, but it went home almost empty handed.

The Master, Paul Thomas Anderson's fictional account of the forming of a new Scientology-like religion, wowed the jury so much that they wanted to give it the prize for Best Film, Best Director, and for Best Actor to co-protagonists Joaquin Phoenix and Philip Seymour Hoffman. Prohibited from giving all those prizes to The Master, the jury elected instead to give the Golden Lion to Kim Ki-duc's provocative mother-son drama Pieta.

Much of the discussion about Venice's end game centered around the value of having a competition at film festivals, noting that the Toronto Film Festival, which runs through Sunday, has no official competition.

"A competition makes sense for a sporting event, where everyone runs 100 meters and you see who is fastest," said Pascal Vicedomini, the founder of film festivals on the islands of Ischia and Capri, off the coast of Naples -- neither of which has a competitive section. "For festivals it makes a lot less sense. How many times have we seen a disconnect between what plays best with the audience and the film the jury selects?"

Film director Gianni Amelio, now artistic director at the Turin Film Festival, which does include competitive sections, was the last Italian to win Venice's top prize, with his film Cosi redevano (The Way We Laughed) in 1998. But even he is not convinced competitive sections are a good idea.
"The only way it makes sense for a film is if the film is released a short time later," he said. "Otherwise, the prize doesn't help the film and by the time the film is released it's forgotten that it won the prize."
Sebastian Oliveras, a commentator, said: "There are more festival prizes than there are great films each year. You do the math."

Despite those discussions, most of the ink on Venice was about the lack of prizes for Bellocchio's Bella Adormentata and other Italian films that screened on the Lido.

Stefano Rulli, an Italian screenwriter and director said, "When Italian films go to Cannes or Berlin, they are treated with the upmost respect, but in Venice this does not happen."
Francesco Giro, a former Italian Minister of Culture, agreed.

"The flop of Italian cinema in Venice cannot be without consequences," Giro said. "We need to open a serious debate on this failure. :It is not credible that we win at Cannes and Berlin and at Venice we are ridiculed and censored.

Riccardo Tozzi, a producer and the president of the Italian audiovisual organization ANICA, said the trend was bad for both Venice and for Italian cinema.

"At this rate, the Lido is going to become a very difficult place for Italian cinema," he said. "Today it is very difficult to make a serious film, and if they aren't supported by festivals the situation becomes deadly."

For his part, Bellocchio said he had a solution. After this year's experiences, the director said he would never again bring one of his films to the festival in Venice.

Thank you Hollywood Reporter

Toronto 2012: FilmDistrict's Peter Schlessel on the Fest -- 'It's My Favorite Ac

The movie vet talks to THR about nabbing "Looper," leaving Sony and the future for upstart film labels.

This story first appeared in the Sept. 14 issue of The Hollywood Reporter magazine.

Known in the film world as a sharp and savvy consigliere, Peter Schlessel spent 21 years at Sony -- including a stint as president of Columbia Pictures -- before leaving in 2010 to launch FilmDistrict, the domestic distribution company backed by financier-producer Graham King and oil billionaire Tim Headington. Schlessel, who discovered and acquired rights to a string of hits including District 9 while at Sony, continued his winning streak with the low-budget horror pic Insidious, the inspirational Soul Surfer and the Ryan Gosling vehicle Drive. But FilmDistrict hit a speed bump in fall 2011, when experienced execs Bob and Jeanne Berney exited. In an Aug. 27 interview in his Santa Monica office -- bursting with sports, movie and music memorabilia, along with pictures of daughters Stevie, 18, and Sammy, 16 -- the energetic executive discussed how the company has bounced back, growing from a staff of seven to more than 40, including newly installed marketing president Christine Birch. A key milestone for FilmDistrict comes Sept. 6 when Looper, a sci-fi thriller starring Joseph Gordon-Levitt and Bruce Willis, opens the Toronto International Film Festival.

The Hollywood Reporter: How did you acquire distribution rights to Looper, which you are releasing with TriStar/Sony?

Peter Schlessel: I'd started chasing the script during the early days of FilmDistrict. I love sci-fi movies, and this one had so many layers and the story had such great characters, but what really sold it was meeting with [director] Rian Johnson (Brick) and hearing his vision. I told Jim Stern, a friend who produced and financed the movie through his Endgame Entertainment, that he had to sell me this movie, and I slipped the script to Marc Weinstock [Sony's president of worldwide marketing].

THR: How important has Toronto become in terms of launching a fall film?

Schlessel: It's more important than both Telluride and Venice in terms of the North American market. That's not to take away from either, but more people pay attention to what happens in Toronto, both for awards movies and for films opening in September and October. Look at what happened last year with The Descendants. The drumbeat started at Toronto.

THR: Will you bid on any movies during the festival?

Schlessel: We have no space the rest of this year, but we have room next year. Toronto is my favorite acquisitions market for different reasons. It has bigger available movies -- our focus. We found Insidious there in 2010, when it played in the Midnight Madness section. We made our offer at 2 a.m. after the screening and closed the deal at 4:30 a.m.

THR: What does the near future look like for companies like yours as the major studios cut back on the number of films they make?

Schlessel: I don't know if studios have ceded any ground, but clearly they are concentrating on bigger tentpoles. It was clear to me watching what was happening in the marketplace that theater owners wanted more movies. And with all the new equity money coming into Hollywood, I realized you could run a smart business and figure out how to get these movies to the marketplace in a cost-effective way.

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THR: Why did you decide to pick up MGM's Red Dawn remake after many of your competitors passed?

Schlessel: I wrote a memo to myself two years ago after I saw an early version saying the movie was good but the cast wasn't known. Then I saw the movie six or seven months later, and all of a sudden the cast was great, between Chris Hemsworth of Thor and Josh Hutcherson of The Hunger Games. It was like buying a good bottle of cabernet and letting it sit on the shelf.
THR: Will there be some heat because MGM changed the villains from the Chinese to the North Koreans?

Schlessel: No, but I think people will talk about it. It's a villain who people won't disagree is a villain.
THR: Why did you decide to leave the protection of a Hollywood studio for a more risky upstart?
Schlessel: I didn't look at it that way. It was time to take the next step. There wasn't room to create my own label, and my personal satisfaction had plateaued. I thought long and hard and had a lot of dinners with Amy [Pascal]. If ever I was going to leave, this was the time. To stay would have felt like a capitulation.

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IN THE OFFICE

While still heading Sony Pictures Worldwide Acquisitions, the exec snapped up U.S. rights to District 9, a tiny South African film that went on to gross north of $115 million in North America, one of the most profitable movies of 2009.

The piece hanging behind Schlessel's desk in his Santa Monica office is from pop illustrator Burton Morris, who designed the poster for the 76th annual Academy Awards.

Thank you Hollywood Reporter

More info: www.hollywoodreporter.com
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Venice premiers first-ever Saudi film

By COLLEEN BARRY | Associated Press

VENICE, Italy (AP) — Haifaa Al Mansour has the distinction of being the first person to ever film a movie in Saudi Arabia, never mind that she's a woman.

Al Mansour's "Wadjda," which premiered this week out of competition at the Venice Film Festival, is about a 10-year-old girl who dreams of having a bicycle so she can race a neighborhood boy. But the dream is just a little too subversive for a deeply conservative Muslim society where women live segregated existences and girls around Wadjda's age are expected to begin fully covering their faces when in public.

"I feel so proud honestly to have shot the first film ever to be shot inside Saudi Arabia," Al Mansour told The Associated Press. "It was an extremely difficult experience, but still it's very rewarding and it says something about the country — that the country of Saudi Arabia is opening up, and there is a place for arts to grow, and there is a place for women."

Despite having support within the Saudi royal family, Al Mansour said she had to cope with limits present within society. For example, severe restrictions on the mingling of men and women created challenges in directing male actors in outdoor scenes, she said.

"I had to stay in a van and talk through a telephone sometimes or through the producer," she told a news conference.

The movie offers a rare and perhaps even unprecedented look into Saudi daily life.

Wadjda lives alone with her mother, played by Reem Abdullah, and they are visited only sometimes by her father. Devoted as he appears in person, he is seeking a second wife to have a son, a source of stress for Wadjda's mother.

Wadjda is as unfazed by the family drama as her mother is distracted by it. The girl instead focuses on how she can get enough money — 800 Saudi riyals, or $213 — to buy a green bicycle from a nearby store, despite being repeatedly told that girls do not ride bikes.

She charms the shopkeeper into putting it on hold for her, while selling homemade bracelets and extorting small sums for favors to raise the cash. Then, a school announcement that a Quran-reading contest will have a prize of 1000 riyals suddenly awakens a modicum of devotion in an otherwise uninterested girl.

Many of the scenes at school emphasize the universals of growing up. Children gossip about their teachers, tease each other and hide minor transgressions. The girls listen to music and wear high-top sneakers, which peek out from under their robes.

But Al Mansour also elegantly underlines the unique plight of girls when a classmate of Wadjda's pulls out photographs of her own wedding from her Quran during religion class. The teacher smiles, simply asks the groom's age — 20 — and kindly tells the girl that photos are not allowed in school.

Al Mansour sought producers from outside the region, and chose a German production company, Razor Studios, that had worked on Palestinian director Hany Abu Assad's "Paradise Now" and Israeli director Ari Folman's "Waltz with Bashir," both of which won Golden Globes for best foreign film.

But while she walked along with the 12-year-old star Waad Mohammed on the red carpet in Venice on Friday, there won't be any gala openings in Riyadh because there are no movie theaters there or anywhere in the Arab country. The film will, instead, be distributed by DVD and shown on Saudi TV, said co-producer Fahad Al Sukait of Saudi Prince Waleed Bin Talal's production company, Rotana Studios.

Al Mansour, who has made three short films and a documentary previously, said her work in the media had made her a "polarizing" figure in Saudi Arabia, and that she had received death threats.

"But I never take that personally," she told AP. "I know that they think that I threaten their values, but I always try to be respectful because I want to engage them in a dialogue rather than fight with them."

Al Mansour said the fact that she ultimately was able to direct a film in her own country was due to changes that are happening in the society there.

"There is an opportunity now for women to believe in themselves, to push and believe in their dreams," she said. "Society will put pressure on women to stay at home. But women must stick together and fight for what they want to achieve. "

____

Matthew Kemp contributed to this report.

Thank You Associated Press!

More info: Associated Press
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Toronto 2012: European Film Promotion Backs Sales of Toronto Titles...

"Great Expectations," "Hannah Arendt," "Paradise: Love" and "A Hijacking" are some of the European films benefiting from the EFP's film sales support program.

BERLIN – 54 European films from 19 different countries screening at the 2012 Toronto International Film Festival will receive support from the European Film Promotion's Film Sales Support program, which provides cash to European companies and films to support their international distribution.

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A total of 30 different sales and 11 production companies will benefit from the $275,000 (€200,000) in funds earmarked for promotional campaigns of European films. Some of the titles that will receive support include Margarette von Trotta's Hannah Arendt, which The Match Factory is selling in Toronto; Hanway Films' Great Expectations from director Mike Newell; Cannes Competition title Paradise: Love from Ulrich Seidl, which the Coproduction Office is selling internationally; Michael Winterbottom's Everyday, sold by Bankside Films; and A Hijacking from Danish director Tobias Lindholm, which TrustNordisk is selling worldwide.

In total nearly 140 European titles will screen at various sections at the Toronto festival this year. TIFF is the flagship partner of the Film Sales Support program, which is backed by the European Union's Media Programme.

Thank you Hollywood Reporter

How to Survive Film Festival Season...

Heading off to Venice, Toronto, Telluride or Deauville? Celebrity health experts share their tips for staying in one piece during the festival frenzy.

Those summer nights are over, and film festival season is kicking off. Whether you're saying "Ciao, Venice," "Bonjour, Deauville," "Hello, Telluride" or "Oh, Canada" for TIFF, you'll be spending the next few weeks out of the office and likely in the air, in screenings and meetings and rushing from one red carpet to the next. Not sleeping enough, indulging in local delicacies and schmoozing your way through endless glasses of champagne are part of the game, but that doesn't mean you need to sacrifice your health entirely. Award-winning vegan chef and author Ani Phyo and celebrity yoga and pilates powerhouse Kristin McGee share their insider tips for surviving the fall festival season.

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1) EATING HEALTHY
Bring a blender: That's the advice from Phyo, whose clients include Maroon 5, Moby and Carrie Ann Moss. She recommends packing a small travel blender like the Tribest Personal Blender that is, she points out, "smaller than a pair of shoes." Pack it into the PB deluxe or regular carrying case specifically designed for travel and remember to pack a power transformer and adapter if heading overseas.

Phyo's advice: "Before you leave, find out if there are any local markets and ask your hotel if they have a fridge you can store a few things in. Then just grab some greens, superfood powders and any fruits, and you can just blend in your room. When you're really busy, blending is great. Blending means it's chewing up the food for us, so that places way less digestive stress on our system, and the nutrients can be taken to the parts of body that need nutrition, giving us more energy."
For snacks, Phyo recommends on-the-go-friendly produce including carrots, jicama, peppers, radishes, cucumbers, apples, oranges, lemons and limes and easy-to-pack snacks like Nori -- "It's a great seaweed for mineralizing, helps with heavy metal radiation and is filled with electrolytes. You can take a whole packet of 20 sheets and stick it in the outside compartment of your carry-on luggage." Also wheatgrass and rice protein powders, dried fruits like goji berries or superfoods such as maca or chlorella that are "really full of antioxidants and slow down the signs of aging. Nuts are great too. They're high in Vitamin E antioxidant and building collagen in the skin."
Pack a small jar of Rawmio almond or hazelnut gourmet chocolate spreads for a healthy alternative to those Nutella breakfasts in Venice, or make your own protein bars ahead of time from Phyo's new book Ani's 15-Day Fat Blast. Just mix almonds, protein powder, maca powder, dates, a pinch of salt and even some cacao powder or vanilla and goji berries together, pack into a baking tray, slice into bar shapes and carry with you throughout the week.

2) TAKING CARE OF YOUR BODY
Stretching is key. "When you first arrive at your hotel, do legs up the wall pose to let the blood recirculate and alleviate tight lower back and compressed legs from a long flight," recommends McGee, whose clients include Tina Fey, Steve Martin and LeAnn Rimes. Before heading out at night, she says, "Do a few sun salutations in the hotel room to perk yourself up and stretch out your entire body, especially your feet in upward dog and downward dog knowing you'll be cramming them in high-heel shoes or standing on them all night."
Even while sitting on a plane or in a long screening, there are still ways to stretch out. McGee recommends "eagle arms while seated, simple twists in your chair or tolasana, which is picking your butt up and hovering in the air." Even at events, McGee says: "Find a quiet corner to do a few rounds of alternate nostril breathing. It will oxygenate the brain and keep you alert for the premieres, showings and parties."

3) STAYING HYDRATED
Hydration is essential when on the go, especially during the trip to and from the festivals. "The plane is dehydrating. For every hour, drink one liter of water. Flying is aging and stressful on the body, so hydration is key," Phyo says.
Her recommendation? "Put a tablespoon of chia seeds into a liter bottle of water -- It's full of energy and very hydrating. Buy water before you get onto the plane, and mix a bag of chia seeds into them. It's the best trick ever."

And, if you can find some, drink as much juice as possible. "Green juices infuse the body with so many nutrients and enzymes. They make your skin glow -- they're better than a facial. Your inner body starts to radiate to your outer shell. It's just amazing," Phyo says of the liquid trend.

4) SLEEPING WELL
Sleep is a luxury at film festivals, so when there is a chance for some slumber, make it count. "Do a supine twist before going to bed to detox from all the cocktails and to work out the kinks in your lower back and shoulders from standing, mingling and holding drinks or posing for paparazzi all night long," McGee recommends. And if you're still having trouble sleeping, she says, "Lie in goddess pose with your hands on your belly and watch the breath rise and fall."

5) STAYING CALM
It's easy to forget to eat or sleep during festival season, but don't forget to breathe. Slip a travel yoga mat like Manduka's eKO Superlite into their brand-new Journey On collection bags designed for practicing on the run and do yoga in your room -- even five, 10 or 15-minute sessions -- thanks to Yogaglo.com. The site, which features top teachers from across the globe like New York's Elena Brower or the Paris-based Marc Holzman, even has special sections for travel yoga, the immune system or stress reduction that likely will come in handy over the next few weeks. Or give the computer a break and grab Art of Attention, Brower's brand-new book with co-author Erica Jago, for more on and off the mat inspiration wherever in the world you are.

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Toronto 2012: Festival Director Piers Handling Expects Strong Film Market...

Hot TIFF titles for U.S. buyers include the latest works by Robert Redford, Brian De Palma, Terrence Malick, Harmony Korine, Derek Cianfrance and Liz Garbus.

TORONTO - After lengthening its red carpets to help star-driven titles debut to foreign buyers, Toronto International Film Festival organizers are pumping up the volume on their unofficial market.

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"I don't think it's just going to be OK. I think it's going to be a very strong year," TIFF director Piers Handling told The Hollywood Reporter about the slew of sales companies headed to Toronto to close deals with key distributors from around the globe.

Robert Redford's The Company You Keep and Brian De Palma's Passion will both arrive in Toronto for a North American debut without U.S. distribution, and, as things stand today, so too will Derek Cianfrance's The Place Beyond The Pines and Harmony Korine's Spring Breakers.

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Despite a flat economy, Handling expects an exceptional year for film sales in Toronto, which is well on its way to recovering from the deep market trough experienced in 2008-09.
"There's no question the industry has become more healthy. It certainly went into a deep drought and I don't think it has come back out entirely," Handling said.

As in past years, TIFF programmers are front-end loading the festival with sales titles, many of which are star-driven to boost buyer appeal.

These include: What Maisie Knew, by directors Scott McGhee and David Siegel; Shola Lynch's Free Angela and All Political Prisoners; Liz Garbus' Love, Marilyn, To the Wonder, by Terrence Malick; and Joss Whedon's Much Ado About Nothing.

Handling insisted mid-range indie titles with budgets of between $20 million to $40 million, the range in which most international filmmakers screening in Toronto work, remain the most challenged in finding buyers.

"They're not working with the big budgets, the tentpole summer films. And they're not making the low-budget $10-million-dollar pictures. They've done that, been there, seen it. So they're in the mid-range," Handling said of mid-budget indie filmmakers.

Other hot films for U.S. buyers include Mira Nair's The Reluctant Fundamentalist, Deepa Mehta's Midnight's Children, Sally Potter's Ginger and Rosa, Mike Newell's Great Expectations and Thanks for Sharing, by Stuart Blumberg.

U.S. distributors will also have their pick of Ramaa Mosley's Brass Teapot, the tennis doc Venus and Serena by Maiken Baird, Kon-Tiki, by directors Joachim Roenning and Espen Sandberg, Chinese director Hur Jin-Ho's Dangerous Liaisons and Ariel Vromen's The Iceman.

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More info: www.hollywoodreporter.com

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Deals up at Beijing fest: +87%

Deals up at Beijing fest
Fest organizers say deals signed this year up 87%
By CLIFFORD COONAN

The organizers of the Beijing Film Festival have said that the value of deals signed at this year's event, which wraps Saturday, is up 89% to 5.27 billion yuan ($476 million).
There were pacts involving 21 film projects signed at the fest, with six of them co-productions.

More than 600 shingles attended the fest, with more than 2,000 biz figures involved.

Local giant China Film Group announced a pact with the New Deal Studios to co-produce pics in China, including a war movie helmed by Fang Gangliang, which would serve as a test project. "This project is to see if the two parties can collaborate well. We are looking toward a j.v. at our production base in Huairou," said Lan Shujin, chief representative at China Film Group's L.A. office.

Local shingle Galloping Horse formally announced its link up with the vfx and CG animation company Digital Domain to form Digital Domain Galloping Horse Studio. The agreement includes a license for the new j.v. to use Digital Domain's technology for converting images into 3D.

The two also formally bowed their collaboration on "The Legend of Tembo."

Le Vision Pictures said it has picked up mainland Chinese distribution rights to Lionsgate's "The Expendables 2" and plans a day-and-date with its U.S. release on Aug. 17. The first pic in the franchise took $32 million in 2010.

The org said it intended to make the fest the region's main fest, reflecting the growing significance of the Chinese film market, which is reckoned to have overtaken Japan this year to become the second biggest B.O. market in the world.

"We are aiming to develop the Beijing festival into the biggest film festival and film market in Asia in three to five years," said Pang Wei, deputy director of Beijing's Municipal Bureau of Radio, Film and Television.

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Mumbai Film Mart Offers Learning Lessons...

Organized under the aegis of the Mumbai Film Festival, the Mumbai Film Mart is evolving into a much needed B2B platform for the industry.

George Harrison: Living in the Material World: Telluride Film Review
MUMBAI - The ongoing week-long Mumbai Film Festival (which concludes Thursday) has been attracting its fair share of cineastes given the festival's top notch programming which includes the buzzworthy Martin Scorsese documentary George Harrison: Living In The Material World considering the late ex-Beatles' India connections. But there is also a growing buzz around the Mumbai Film Mart, launched as a concept at last year's festival. "
We ended up receiving 2,000 requests from independent film-makers and buying agents which yielded 400 meetings," said MFF manager Rashmi Lamba.
With this year's focus on exploring non-traditional markets for Indian films in Europe, Latin America, Korea and Japan, the three day MFF (which concluded Monday) saw foreign participants such as IM Global (USA), Rapid Eye (Germany), Novo Films (France), Metropolitan (France), Top Films (CIS), Showbox (Korea), Nikkatsu (Japan), Happinet (Japan), Pioniwa (Japan), 1 Production (Taiwan), Apex Entertainment (Korea), Zeus Film (Taiwan), CJ Entertainment (Korea) and Huayi Brothers (China).
One of India's most successful films, 2009 comedy caper 3 Idiots recently opened in Korea where it collected $7.5 million. "The acceptance of 3 Idiots at the Korean box office shows that audiences are open to Bollywood films and its worth pursuing this genre for the future," said the film's Korean distributor Apex Entertainment director B J Park. Apex will next release Guzaarish in November starring top star Hrithik Roshan.
Another well-documented example of a brewing non-traditional market is Germany where Cologne-based Rapid Eye Movies can be credited for expanding Bollywood's presence over the years releasing films by superstar Shah Rukh Khan, among others. "We are hoping that with Khan's December release (action sequel) Don 2, we can take things to the next level as the film was shot in Germany," said Rapid Eye Movies MD Stephan Holl. But beyond blockbusters, Rapid Eye has also experimented with Indian arthouse fare such as Mumbai Diaries and Peepli Live.
Japan has only seen one breakout hit with South Indian musical film Muthu - The Dancing Maharaja, starring superstar Rajnikant which became a rage when released in 1998 collecting an estimated $1.6 million. "Since then, there has actually been a long gap in marketing Indian films in Japan but we now hope to explore this segment and which is why its good to be at the mart to learn about the industry here," said Nikkatsu Corporation director/GM, Licensing and Acquistions, Aki Sugihara. A major player, the 100-year-old Nikkatsu has a history of distributing international fare in Japan ranging from Wim Wenders' Buena Vista Social Club to Darren Aronofsky's The Wrestler, among others.
While the jury is still out on whether an Indian film can truly travel globally, attempts to mix cultures in story-telling have been made in a bid to wow non-traditional audiences. Though the much anticipated 2010 romance drama Kites performed below expectations, the film's Mexican lead actress Barbara Mori was seen as a driver to introduce Kites in Latin America. Distributed by a major player like IM Global, Kites received a wide release in 70 markets worldwide, "more than double the typical 30 market figure for most Bollywood films," according to IM Global senior vp, International Sales, David Jourdan. Among foreign players, IM Global has a strong India connection in that leading Indian conglomerate Reliance Entertainment - a major sponsor of the Mumbai Film Fest - has a majority stake in the L.A.-based company.
While no immediate deals were announced after all the "speed dating" meetings at MFM, an example of a project resulting from last year's relatively modest mart could point to the future. London-based film promotions consultancy Special Treats director Colin Burrows met with Indian producer Ashwani Sharma who pitched the concept for Nobel Chor (Nobel Thief) partly inspired by a true incident where the Nobel Prize for renowned Indian poet Rabindranath Tagore went missing. "We kept in touch during shooting and now I am a Supervising Producer on the film (directed by Suman Ghosh) and shepherding it through the London Film Festival where it screened to great acclaim," Burrows told THR in an email interview from London.
Among the many independent film-makers this year seeking interest in their projects was Paris-based director of Indian origin Prashant Nairw hose debut Delhi In A Day screened in the festival's Film India Worldwide section. "Because I made connections at the mart, I now have something to follow up on which is a good beginning for any independent project," said Nair.
"While its early days to assess what benefits will come out of the mart and its also unfair to compare it with established overseas marts, the fact is that Mumbai as the film capital needed a B2B platform and this could fill that void," said leading Indian banner Balaji Films CEO Tanuj Garg.
"The best thing about the mart is that we get to meet most industry players in one location and this is a blessing given the crazy traffic in Mumbai," concluded Holl.

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Thursday, August 23, 2012

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Monday, April 30, 2012

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Saturday, October 22, 2011

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