We get an update on what Kailey has been up to overseas – the Telluride Film Festival and arriving in Chicago – and we both get to review Richard Linklater’s Oscar-tipped Boyhood and the authorised documentary about Nick Cave, 20,000 Days on Earth.
It’s now Saturday morning in NYC and Telluride already seems like old news. Venice has just announced its prizewinners (The Master obv. – or not so obv.) and Toronto is in full flow. Still, I have one more day of my Telluride Film Festival experience to record and I’d better get it down before I forget.
The Monday of Telluride is a catch-up day. Most of the celebrities and honourees have departed and a lot of the programme is announced the night before, extra screenings of popular titles (or at least the films that most people were turned away from. This is an excellent plan and I was able to fill in quite a few of my gaps (though not all).
Telluride Volunteer Fire Station.
The first screening was the Q&A session for Sarah Polley’s new documentary Stories We Tell, a film that had generated quite a bit of buzz over the weekend. Polley – with gorgeous six-month-old daughter in harness – briefly introduced a film that at first intrigues, then surprises and finally delights. She has done a marvellous job of making what might have been an indulgent piece about her own personal dramas into something universal. I sincerely hope this gets a decent New Zealand release so I can review it at more length but I’m also going to hold back the details of the story so readers without access to Google might come to it as unsullied by spoilers as possible.
Firstly, I should add a vital – totally Telluride – detail to yesterday’s post. By choosing to watch Rust & Bone and the Marion Cotillard Tribute I missed the first indoor screening of Hyde Park on Hudson and therefore a rare live appearance by Bill Murray at the Q&A. Regret is an emotion reserved for those who only look backwards but – damn!
Legend Leonard Maltin waiting to gain entry to At Any Cost.
Back to the show. Sunday was always likely to be a very full day and – with my new found confidence in the “system” I was determined to take full advantage. I once begged the New Zealand Film Festival to let me watch a screener of Ramin Bahrani’s Man Push Cart, even though they had chosen not to programme it because I loved the idea so much and because Roger Ebert has been championing the talented young director for years. In fact, they have only screened one of his three films to date: Goodbye Solo in 2009.
Saturday dawned early and I was grateful that the first screening of the morning was at the Chuck Jones’ in Mountain Village, barely a fifteen minute shuttle from my accommodation. Time to grab a coffee and then wait in line for an 8.30am repeat of the Roger Corman Tribute from the night before. This time the host and interrogator would be Leonard Maltin (familiar to all New Zealanders of a certain age, I think) instead of Todd McCarthy.
A fairly representative picture of Mountain Village architecture.
Before Mr Corman was invited on stage, we got to see an excellent documentary on his life and work, Corman’s World: Exploits of a Hollywood Rebel. After that, Corman entered the stage to a standing ovation and we were treated to insights and stories from an exceedingly well-educated and thoughtful entrepreneur and artist for almost an hour. The surprise for me was hearing about Corman’s liberal politics and how he might have steered his filmmaking in that direction if it hadn’t been for the commercial failure of The Intruder (1962, starring William Shatner as a white supremacist).
After two days of “phony war” with evening teaser screenings in the Ralph Lauren-funded Elks Park Abel Gance Cinema, Telluride got under way formally yesterday with a full slate of screenings at all nine venues.
The “unofficial” programme – a 90 page newsprint guide featuring a mostly-there draft of the schedule – was made available on Thursday and a press release had announced the names of the three honourees and the main features, but there were still a large number of slots marked “TBA” including almost all of Monday. Even then, we were told not to put too much faith in the unofficial guide and to wait for the glossy DLE programme which would be available at Noon on Friday – the first day of the festival!