ToldYaSo
Feb. 1999 ist beigetreten
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"The Big Kahuna" proved to be one of the finest offerings that I was privy to at the Toronto International Film Festival this year. The expression "saving the best for last" applies strongly to this film. We were fortunate to have a Q&A after the film with Roger Rueff, the screenwriter of this eloquently written piece, John Swanbeck, the director enjoying all that a first timer could hope for from his debut, and the gifted actor Kevin Spacey, who starred in and produced the film.
This marvellous examination of three men of different age groups at a convention in Wichita also features the talents of Danny DeVito who apparently came to the production in the proverbial last minute. This film was shot in a very short sixteen days which comes as a surprise, despite it's one central location, as the dialogue is so strong. The best way to describe it is as almost poetic.
The script was adapted from the play "Hospitality Suite", also written by Rueff, who revealed in the Q&A that the story was based upon his own experiences at a sales convention long ago. But he assured us that his character of the young, impressionable, bible thumping "Bob" was not based on himself. Rueff also noted that with this being his first screenplay, he had worried about the horror stories he heard where scripts are butchered and transformed into things the writer never intended in many Hollywood productions. But in this case, he trusted the director and cast implicitly and was not disappointed in any way.
Kevin Spacey shines in this sneak peak behind the scenes of a sales convention where the future of a company lies squarely on the shoulders of three men in the pursuit of a big client. The president of another company represents the biggest potential account they will ever have. They exchange stories, accounts and personal philosophies and find how different they are from one another based on what they've been through.
The interaction between the three actors is mesmerizing. They take the audience into what feels like a true life account documented verbatim. To say more would spoil the outcome for those who've not yet had a chance to enjoy this film. It is my strong recommendation that all of those who have not, do so at their first available opportunity.
This marvellous examination of three men of different age groups at a convention in Wichita also features the talents of Danny DeVito who apparently came to the production in the proverbial last minute. This film was shot in a very short sixteen days which comes as a surprise, despite it's one central location, as the dialogue is so strong. The best way to describe it is as almost poetic.
The script was adapted from the play "Hospitality Suite", also written by Rueff, who revealed in the Q&A that the story was based upon his own experiences at a sales convention long ago. But he assured us that his character of the young, impressionable, bible thumping "Bob" was not based on himself. Rueff also noted that with this being his first screenplay, he had worried about the horror stories he heard where scripts are butchered and transformed into things the writer never intended in many Hollywood productions. But in this case, he trusted the director and cast implicitly and was not disappointed in any way.
Kevin Spacey shines in this sneak peak behind the scenes of a sales convention where the future of a company lies squarely on the shoulders of three men in the pursuit of a big client. The president of another company represents the biggest potential account they will ever have. They exchange stories, accounts and personal philosophies and find how different they are from one another based on what they've been through.
The interaction between the three actors is mesmerizing. They take the audience into what feels like a true life account documented verbatim. To say more would spoil the outcome for those who've not yet had a chance to enjoy this film. It is my strong recommendation that all of those who have not, do so at their first available opportunity.
Chris Smith presented his fantastic documentary "American Movie" at the 1999 Toronto International Film Festival with a group of supporters from behind and in front of the camera. As revealed in an entertaining Q&A after the film, Chris Smith met Mark Borchardt, an independent filmmaker, while both were working on their films in Wisconsin. Mark is best described as a horror film and heavy metal enthusiast who's tenacity is rivalled by none. His hobby has been filmmaking since he was a kid and has made numerous home movies. "Man" is the most commonly heard word at the end of his sentences, and he is rarely at a loss for words.
After speaking with Mark, Chris decided to begin a new project following Mark's progress in trying to get his film finished, and the results are vastly entertaining, often hilarious and of the knee slapping variety. If you miss this film, you're missing something special.
When Mark's plans for his feature length film "Northwestern" fall apart, he sets out to finish "Coven" (pronounced "Coh-vin"), a short, black and white horror film that he'd been working on for some time. He plans to complete it and sell his modest film at the price of $14.95 with a projected goal of 3,000 units to be sold to cover costs and finance his upcoming feature. As we get a glimpse of the film work already completed, we can see this is going to be no small feat. As Chris revealed at the screening, this was expected to take six months time. Two years later, their saga had ended.
In a most entertaining way, we see that Mark's efforts are rarely short on enthusiasm. He is however, usually short on resources, skills, and finances. He struggles at every turn to get his film made, enlisting the assistance of his family and friends in all aspects, from acting to rolling the camera to splicing the film in editing. We watch as Mark separates his thrifty Uncle Bill from $3,000 of his money to finance the film. We laugh as Mark makes thirty attempts at getting the same Uncle to get one line down for ADR. We cringe as he rams an actor's head through a less then pliable kitchen cupboard door. All along the way, we share in the turmoil that Mark's family has gone through and the sacrifices he makes to make his film and the continued efforts in pursuit of the American dream. He just wants to make movies and despite the mountain of debt he has accumulated, he perseveres.
After the film we were treated to a 35mm print of the nightmarish and very raw "Coven" which to date has sold 100 copies. But in his own words, Mark declares, "I'm gonna sell those 3,000, man, that's not arrogance, that's just something I've got to do." Videos and T-shirts were available for sale in the lobby. The scary thing is, I think he's going to do it.
After speaking with Mark, Chris decided to begin a new project following Mark's progress in trying to get his film finished, and the results are vastly entertaining, often hilarious and of the knee slapping variety. If you miss this film, you're missing something special.
When Mark's plans for his feature length film "Northwestern" fall apart, he sets out to finish "Coven" (pronounced "Coh-vin"), a short, black and white horror film that he'd been working on for some time. He plans to complete it and sell his modest film at the price of $14.95 with a projected goal of 3,000 units to be sold to cover costs and finance his upcoming feature. As we get a glimpse of the film work already completed, we can see this is going to be no small feat. As Chris revealed at the screening, this was expected to take six months time. Two years later, their saga had ended.
In a most entertaining way, we see that Mark's efforts are rarely short on enthusiasm. He is however, usually short on resources, skills, and finances. He struggles at every turn to get his film made, enlisting the assistance of his family and friends in all aspects, from acting to rolling the camera to splicing the film in editing. We watch as Mark separates his thrifty Uncle Bill from $3,000 of his money to finance the film. We laugh as Mark makes thirty attempts at getting the same Uncle to get one line down for ADR. We cringe as he rams an actor's head through a less then pliable kitchen cupboard door. All along the way, we share in the turmoil that Mark's family has gone through and the sacrifices he makes to make his film and the continued efforts in pursuit of the American dream. He just wants to make movies and despite the mountain of debt he has accumulated, he perseveres.
After the film we were treated to a 35mm print of the nightmarish and very raw "Coven" which to date has sold 100 copies. But in his own words, Mark declares, "I'm gonna sell those 3,000, man, that's not arrogance, that's just something I've got to do." Videos and T-shirts were available for sale in the lobby. The scary thing is, I think he's going to do it.
This entertaining poke at the cold war remnants is an interesting little romp that is at times very funny and others very clever and original.
Presented at the Toronto International Film Festival by director Ilkka Jarvilaturi, the film goes from one interesting locale to another as we jump from Hellsinki to New York to St. Petersburg. Bill Pullman and Irene Jacob are secret agents from opposite sides who have romantic entanglements as they try to determine just what they mean to each other while they still have a job to do.
A mysterious and coded porno tape is intercepted in transit and the CIA attempts to decode it while stalling for time. Complications arise in the plot which gives way to some innovative yet ultimately classical comic situations. I don't know whether it's the fault of the film or the theater's sound system but at times it was difficult to follow what was happening due to the heavy accents of the (presumably) Finnish actors. Bill Pullman's comic performance in the underrated "Zero Effect" is a good warm up for this similar but distinctly different character, and he is always a pleasure to watch. Bruno Kirby also provides a solid comic contribution as a disgruntled FBI operative and the stunningly beautiful Irene Jacob graces the screen in a demure yet intriguing role as the KGB agent looking to get ahead in the ranks.
Jarvilaturi was gracious enough to stick around for a Q&A after the film and spoke of mostly the music selections and their role in the film. One audience member pointed out a subtle yet relevant continuity error that they said they were already aware of and intended to fix. This is an indication of how fresh the film was and how the pressures of festival deadlines can affect the film.
Presented at the Toronto International Film Festival by director Ilkka Jarvilaturi, the film goes from one interesting locale to another as we jump from Hellsinki to New York to St. Petersburg. Bill Pullman and Irene Jacob are secret agents from opposite sides who have romantic entanglements as they try to determine just what they mean to each other while they still have a job to do.
A mysterious and coded porno tape is intercepted in transit and the CIA attempts to decode it while stalling for time. Complications arise in the plot which gives way to some innovative yet ultimately classical comic situations. I don't know whether it's the fault of the film or the theater's sound system but at times it was difficult to follow what was happening due to the heavy accents of the (presumably) Finnish actors. Bill Pullman's comic performance in the underrated "Zero Effect" is a good warm up for this similar but distinctly different character, and he is always a pleasure to watch. Bruno Kirby also provides a solid comic contribution as a disgruntled FBI operative and the stunningly beautiful Irene Jacob graces the screen in a demure yet intriguing role as the KGB agent looking to get ahead in the ranks.
Jarvilaturi was gracious enough to stick around for a Q&A after the film and spoke of mostly the music selections and their role in the film. One audience member pointed out a subtle yet relevant continuity error that they said they were already aware of and intended to fix. This is an indication of how fresh the film was and how the pressures of festival deadlines can affect the film.