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a la Mod:
Two film series are presnted at the museum in association with the del Toro exhibit: The Films of Guillermo del Toro, and Nightmare on Dundas Street Movie Nights, the latter of which includes a Friday the 13th of October screening of De Palma's Carrie.
Here is the website description of the del Toro exhibit:
From the fantastic to the frightful, don’t miss this rare glimpse into the world of renowned filmmaker Guillermo del Toro and his cabinet of curiosities. Taking inspiration from del Toro’s extraordinary imagination, At Home with Monsters reveals his creative process through his personal collection of art, artefacts, books, props, and ephemera, all culled from Bleak House, del Toro’s creative haven located in Los Angeles.
This unique exhibition explores the creative mind behind one of the most inventive filmmakers of our generation revealing his influences, from the Medieval era to contemporary culture, and his particular obsession with horror, fantasy and the rich heritage of the Victorian era.
“To find beauty in the profane. To elevate the banal. To be moved by genre. These things are vital for my storytelling,” says Guillermo del Toro. “This exhibition presents a small fraction of the things that have moved me, inspired me, and consoled me as I transit through life. It’s a devotional sampling of the enormous love that is required to create, maintain, and love monsters in our lives.”
Rather than a traditional chronology or filmography, At Home with Monsters is organized thematically, beginning with visions of childhood and innocence and the Victorian era that so deeply inspires del Toro; continuing through explorations of death and the afterlife, magic, occultism, alchemy, Frankenstein and horror, monsters; and concluding with a celebration of comics, movies and popular culture.
“Guillermo del Toro believes that we need monsters,” says Jim Shedden, co-curator and the AGO’s Manager of Publishing. “To him, the imperfections of monsters are found in all of us, whether we see them or not. At the same time, despite his empathy for the tragic monster, del Toro is fascinated with truly terrifying and invulnerable monsters. By witnessing his incredible creative process, we can make unexpected connections among different genres and narratives, high art and pop culture, and blur boundaries between fantasy and reality.”
Guillermo del Toro: At Home with Monsters is accompanied by a fully illustrated catalogue published by Insight Editions. The 144-page volume is edited by Britt Salvesen, Jim Shedden, and Matthew Welch, with contributions by Guillermo del Toro, Keith McDonald, Roger Clark, and Paul Koudounaris.
Organized by the Art Gallery of Ontario, Los Angeles County Museum of Art, and Minneapolis Institute of Art.
Deadline's Brian Brooks filed a report from SXSW on March 11. Here's an excerpt:
Edgar Wright’s Baby Driver hit the ground with tires squealing this evening at its world premiere at SXSW, with the writer-director and key cast along for the ride for the packed screening at the Paramount Theater. “That is going to make a lot of money,” was among the comments overheard as the revved-up audience left the screening and a boisterous post-movie Q&A that climaxed Day 2 at the festival.
Wright took the stage for the Q&A joined by stars Jon Hamm, Eiza González and Ansel Elgort, who plays the young innocent Baby, an unlikely maestro behind the wheel of a getaway car. The music-fueled actioner is the first film Wright wrote by himself (he previously co-wrote features he also directed including Scott Pilgrim Vs. The World and The World’s End), and said tonight that Baby Driver had “existed” in his head for 22 years...
...“I was just listening through my record collection and I’d envision scenes,” Wright said tonight of how his movie came together. “I wouldn’t write scenes until I found the right track.” Music is central to the film. Gunshots, dialogue and action sequences are choreographed to the mostly high-energy soundtrack. Elgort’s Baby is the getaway driver for a crime boss (Spacey) who taps various criminals to pull off high-stakes heists. Each job becomes more intense than the last, and the chases more outlandish. Baby Driver is an homage to the ’70s car chase movies of Walter Hill, whose voice can be heard in the movie.
In 2012, Wright did the first read-through of a draft screenplay with Hamm, the only actor from that year who remained on the project. “This is a departure from the films I’ve done in the past,” said Wright. “It definitely took the longest [of my projects] to write.”
"What is a 'commercial film,' anyway? How do you know if a director makes a film because it is commercial, or because it corresponds to a personal desire? People often think that a personal film is not necessarily commercial, but it's not that simple. I would like to make a film that people really want to see. Fellini too, and it does not make him a 'commercial' director. - Brian De Palma
Dr. Brian and Mr. De Palma explores the duality inherent in Brian De Palma's work in Phantom of the Paradise. Through an in-depth interview with him, analyses and press reviews, the iconoclastic approach of the director unfolds, between celebration and criticism of popular culture. An unpublished work embellished with the lyrics of all the songs of the film and 40 photos from the archives.
-PRESENTATION BY GERRIT GRAHAM
-PARADISE REGAINED (52 min)
-BRIAN DE PALMA IN THE COULISSES OF THE PARADISE (33 min) (a look back with De Palma)
-PAUL WILLIAMS INTERVIEWED BY GUILLERMO DEL TORO (72 mn)
-THE SWAN SONG FIASCO (11 min)
-CARTE BLANCHE WITH ROSANNA NORTON (10 min)
-PARADISE LOST AND FOUND (six cut or alternate scenes)
-KARAOKÉ 6 SONGS
-COMMERCIAL BY WILLIAM FINLEY
As reported earlier, the cover art for the box was done by Matt Taylor.
Meanwhile, on March 21st, Phantom Of The Paradise will screen in 35mm at the Stockholm Cinematek. The screening will be introduced by Ari Gunnar Thorsteinsson, a film critic who has written for IndieWire, among others.
Recently, one of the New Beverly’s favorite working directors, Edgar Wright, hosted a screening of Brian De Palma’s Phantom of the Paradise at the Picturehouse Central cinema in Picadilly, London. Most of the audience consisted of first-time viewers, unfamiliar with the film or its star and librettist Paul Williams, drawn to the event by their appreciation of Wright and their trust in his cinematic taste. The post-show reactions yielded the kind of rapture that modern film promoters can only dream of:
It is merely serendipitous timing that Wright’s UK screening took place mere weeks before the New Beverly’s upcoming shows on October 26th and 27th, but it provides excellent preamble. Moreover, it continues the film’s reputation as possibly the single greatest cult horror rock musical that is still criminally underseen by a wide audience. Or, to apply Wright’s welcoming and positive spin, it is the single greatest cult horror rock musical that millions still have the wonderful opportunity to experience for the first time.
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