A retrospective look at one of the world's premier film festivals. The Toronto International Film Festival was created 25 years ago by a bunch of high-rolling Canadian impresarios. Since then it has grown from a rude upstart to one of the world's largest and most influential film festivals -- second in importance only to Cannes.
The Toronto International Film Festival has a deliriously split personality, playing host both to Hollywood stars -- from Warren Beatty to Tom Cruise -- and to the renegades of independent cinema. And its own flamboyant history mirrors that of the art it has showcased.
This is a story of a volatile marriage between the counter-culture and the mainstream. From the fabled battles with Canadian censors to near riots outside cinemas, excitement and controversy have always been integral to the Festival. The Festival was famous for its parties. And in the early years it underwent a turbulent rite of passage, with tales of sex, drugs, and rock 'n 'roll involving such guests as Robbie Robertson, Martin Scorsese, and Robert De Niro.
But as the Festival matured, it became famous for its films. Among the landmark features launched at the Festival are The Big Chill, Diva, Chariots of Fire, Reservoir Dogs, Dead Ringers, Boogie Nights, Leaving Las Vegas, To Die For and Life is Beautiful. The Festival has also discovered hit documentaries, such as Michael Moore's Roger and Me, and found a North American audience for international directors such as Krzysztof Kieslowski and Wong Kar-Wai.
Brave Films, Wild Nights will chronicle the 25 years of the Toronto International Film Festival, and will feature numerous photographs and fresh interviews with stars and directors who have made it the extraordinary cirque of cinema that it is today.
Lavery, David. 'The Movie Artist.' http://davidlavery.net/Courses/3870/Extras/Auteur_ Theory.htm (accessed 5 Jan. 2006). Lavoie, André. 'I've Heard the Mermaids Singing,' In White, Cinema of Canada, 136–43. Leach, Jim.
Of the dozens of movies that feature Mounted Police in the frontier era , only a handful has issued from , Canada itself . Perhaps within Canada the ubiquity of the Mountie as a national symbol has stripped it of a novelty required of a ...
... 1997); Kieron Corless and Chris Darke, Cannes: Inside the World's Premier Film Festival (London: Faber and Faber, 2007); Brian D. Johnson, Brave Films, Wild Nights: 25 Years of Festival Fever (Toronto: Random House Canada, ...
Film Festival Yearbook 5: Archival Film Festivals, St Andrews: St Andrews Film Studies, pp. 189–199. Gutiérrez, C. A. and M. Wagenberg (2013) “Meeting Points: A Survey of Film Festivals in Latin America,” Transnational Cinemas, 4(2), ...
The chapters in The Oxford Handbook of Canadian Cinema present a rich, diverse overview of Canadian cinema.
In Scott Anthony and James G. Mansell, eds., The Projection of Britain: A History of the GPO Film Unit, 89–97. London: Palgrave Macmillan, 2011. Jacobs, Jane. ... Johnson, Brian D. Brave Films Wild Nights: 25 Years of Festival Fever.
The Toronto Film Festival Group has secured a large piece of real es- tate formerly owned by the Reitman family in the ... In Lester Friedman, ed., British Cinema and Thatcherism: Fires Were Started, 54–68. ... Brave Films, Wild Nights.
Jacoba Atlas and Ann Guerin, “Robert Altman, Julie Christie and Warren Beatty Make the Western Real.” Show, August 1972. 53. Michael Wilmington and Gerald Peary, “Warren Beatty," Daily Cardinal, 8 November 1971. 54.
Beatty asked Cooper to write a draft of the Teamsters speech. Cooper did. He continues, “The Teamsters had the space reserved, Warren was ready, it was all systems go. Warren had them on the hook.” At the Los Angeles Convention Center, ...
I've written some books, including Volcano Days (a novel), and Brave Films, Wild Nights: 25 Years of Festival Fever. I've contributed toa bunch ofmagazines thatno longerexist,andsome that stilldo, from Rolling Stone toSaturday Night.