TIFF: Charmed by Ewan McGregor and "Frances Ha"

Toronto International Film Festival reports. Amir is already on the scene...

Amir here. The first couple of days at the festival have been so fantastic, surreal even, that I fear there’s no way to go from here but down. There’s been quite a lot of star gazing: Ryan Gosling, Snoop Dogg Lion, Selena Gomez, Abbie Cornish and the impossibly gorgeous Greta Gerwig. I also happened to run into the super lovely Ben Whishaw and most significant of all, had a one on one interview with William H. Macy for The Sessions. It was an amazing experience as Macy’s long been one of my favourite actors and to get to meet him in person was more than I could ask for. (The interview is forthcoming.)

The most unexpected of my encounters with the celebrities, however, happened at the screening of Noah Baumbach’s exquisite Frances Ha. Those of you following me on twitter have already seen my picture with the man in question but the story went as such: prior to the film, my friends and I were discussing which celebrities we most wanted to see and my pick was Ewan McGregor, who’s in town for the premiere of The Impossible; he's probably my favourite actor working today. Then, as we settle in our seats in the theatre, I look to a few rows ahead and lo and behold, McGregor – who is in no way involved with the film and is only there to see it – is sitting there, just chatting with a friend.

And then this happened...

me and McGregor!

Having worked behind the scenes at TIFF for so many years, I’ve seen a good share of celebrities but this was something truly special.

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Don't Make A Sad Face, Ewan

JA from MNPP here. Have y'all heard the lousy news that HBO has passed on The Corrections? An adaptation of Jonathan Franzen's well-loved 2001 bestseller, the HBO series was going to be produced by the terrifically talented Noah Baumbach and had lined up a truly amazing cast with Chris Cooper and Dianne Wiest as the parents and Ewan McGregor and Maggie Gyllenhaal and Greta Gerwig as their adult children. Ahh! That cast leaves me a little breathless.

They filmed a pilot, which all of us should immediately call our state representatives about enacting legislation which would force the immediate dissemination thereof. There's like a Freedom of Information Act or something right? Bring that up. We can do it!

Anyway HBO passed on it. The plan had been fairly massive - they wanted to make four ten-episode long seasons - so it always seemed a little too good to be true. With a cast like this, ya know? We daren't dream such things. It only leads to madness. I don't know if they can shop the series to other networks at this point - maybe Showtime?

HBO did pick up Cary Fukunaga's series True Detective with Woody Harrelson and Matthew McConaughey though, so it's tempting to say there's an HBO executive out there making choices with his bong...

Beauty Break: Ewan in Blue

GQ is selling blue as the color of the moment. I tend to wear purples and greens -- not "The Joker" saturation levels, mind -- and browns but whatever Ewan McGregor sells I'm eager to buy so perhaps if I ever go shopping again, it'll be blue blue blue. 

Just looking at Ewan McGregor raises my melatonin levels. In 2005 I placed him on a ten favorites of the decade list as my least analytical choice. I just respond to him is all. I wrote...

He rises up jubilantly. I don't care if this sounds cheesy or sentimental but Ewan makes me feel and smile. 

Some actors we relate to as identity surrogates. We want to be them or see the story through their eyes. In the case of McGregor I find I'm always the other characters. I'm always with him. In the 90s when he first came to fame I was rooming with him in a conspiratorial way, painting words on his body, rocking out like a lustful fanboy at his concerts, or killing time and brain cells with him in illegal ways (just like his co-stars in Shallow Grave, Pillowbook, Velvet Goldmine, and Trainspotting) On this last: he's the only actor for whom I would dive into a toilet bowl.

I'm only sharing this to set up the quintessential film in my personal history with Ewan McGregor: Moulin Rouge! The apotheosis for me is probably the "Elephant Love Medley" scene. Like Nicole Kidman's 'Satine' I usually start out trying to resist him (my critical/cynical self usually in control). As he keeps battering away at my defenses with his unique spark, humor, and openheartedness (both as character and actor), I eventually start to cave. I resist, I complain, I explain all the reasons why not. But before long I am totally his.

It still applies. More New Blue Ewan after the jump.

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Yes, No, Maybe So: "Jack the Giant Killer"

I was going to cover Dario Argento's Dracula but I just didn't have it in me. And besides, it wasn't really meant for public consumption... just interested distributors. If you'd like to bare your neck for the generally über sexy pair of new fangers Thomas Kretschmann and Asia Argento, you can read takes on that unfinished 3D effort over at Stale Popcorn and My New Plaid Pants. So let's look at another genre offering. 

Nicolas Hoult climbs beanstalks, kills giants.

Fairy tale reworkings are all the rage these days so let's look at Bryan Singer's Jack and the Beanstalk  um... Jack the Giant Killer instead. Did Jack and the Beanstalk sound too Veggie Tales or fairy tale quaint? One of the odd effects of not obsessing over movies while they're still in production like 95% of the movie blogs on the 'net is that I'm often totally taken by surprise when a trailer arrives because I've often forgotten that the upcoming movie even existed. Such was the case here so I had zero preconceived notions affecting reactions to the trailer.

YES NO MAYBE SO breakdown and trailer after the jump.

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Mike Mills on "Beginners" and Making Stories About Ourselves.

Christopher Plummer and Mike Mills promoting "Beginners"Sometimes the beginning of awards season offers pleasant surprises. Such is the case with Beginners, one of the year's best films, which recently debuted on DVD and is now suddenly on the shortlist of potential Oscar contenders with early and surprisingly robust attention from both the Gotham Awards where it won the top prize and the Independent Spirit Awards (3 nominations including Best Feature). 

I had the opportunity to speak with writer/director Mike Mills recently about Beginners, his second feature. The film famously draws heavily from Mills' own life to depict the relationship between a lonely artist named Oliver (Ewan McGregor) and his gay father Hal (Christopher Plummer) who comes out late in life shortly before succumbing to cancer. Oliver does his own romantic soul searching with an actress named Anna (Melanie Laurent) after his father's death.

The film moved me deeply this past summer and I told Mills as much as we began to talk. I had just rewatched the film on the morning we spoke.

NATHANIEL: It's so fresh in my memory, but how about you? Have you watched the movie recently?

MIKE MILLS: No. You know, most of my friends are filmmakers. A lot of filmmakers I know, we never watch our films after they're done. They're like old lovers or old worlds we were in. Since I premiered it at Toronto in 2010 I haven't watched the whole thing straight through. I watch parts of it and when I do Q&As I end up watching the end a lot or I peek in. Parts of it are tolerable but watching the whole thing is slightly torturous. More than slightly torturous.

Because you've lived with it for so long?

MILLS: Yeah. I've seen it probably a hundred times in making it. It's not the same experience for me, obviously, as it is for the audience. I'm thinking of all the strings behind the puppets. Maybe in a few years. It's strange. It's kind of sad. My wife [Miranda July] doesn't -- I have a lot of director friends and none of us look at our movies. 

Well, Beginners is also so autobiographical. So is it at all harder to watch for that reason, than say your first feature Thumbsucker? 

MILLS: It's not -- well, I don't think so. While it is very autobiographical by the time I've written it, turned it into a story, cast Christopher and all these people, it is a story for me; it's not 1 to 1. For me, I'm the most aware of how much it is not my life. But having said that, I do watch the end a lot. So often, I watch Hal die. I've watched Hal die so many times. The section right after that where it talks about what you do when someone passes away, there are some very real things in there. The daisies at the end -- there's a black and white photo of daisies. That's my mom's photo. That part can really hit me. One, it reminds me of my mom. Two, 'whoa! I put something incredibly intimate and vulnerable in this very public thing.' It almost surprises me every time that it's in there.

"They're just personal photos, they're not art."

I was going to ask. It feels so personal. The very specific can become universal of course. But on the other hand, we are aware that it's based on your life. So...

I'm very happy to remember my dad. It's not like a painful thing. Even his death and even his illness and all of that, we had a lot of great times around that. We had more closeness than we had ever had. So most of the stuff I'm showing you in the film are positive memories, things I enjoy being around. To be honest, most of the stuff with the dad... I pretty much wrote down things my father said to me to the best of my memory. But by the time you've put it in a different place, you've put it into a larger fictional context, and you have Christopher saying it, I really don't go "oh, that's my pop". Do you know what I mean?

But those flowers slap me in the face. They kind of sneak up on my every time.  I worked on the father stuff so much and I got really used to thinking of it as the weird hybrid of personal and story.

[more on his fine screenplay, his art, and working with Oscar-buzzing Christopher Plummer]

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