It was a TIFF day like any other. A barrage of junket interviews. Four minute collisions with celebrities, desperately reaching for a glimpse of humanity in stuffy hotel rooms, dodging the publicist's dreaded "wrap it up" hand signal.
I laugh as Cliff "Method Man" Smith teaches me the Wu-Tang hand sign. (Eli Glasner)
Ellen Barkin was chic and talkative; Adam Sandler was tired; Benicio del Toro was a gentle giant; Cliff "Method Man" Smith talked about life experience and gangsters growing up.
But in the midst of the bedlam, two encounters with titans of filmmaking stood out. The first wants to change the movies, the other preserve them.
The future is brighter and bigger
Douglas Trumbull came to TIFF to show off his new 120 frames per second short film UFOTOG.
The Academy Award winning special effects designer, who learned at the knee of Stanley Kubrick, stopped making movies because he was frustrated with the theatre-going experience.
Trumbull says, in a time when we all carry multiplexes on our phones, movies must be brighter, bigger and more immersive. His answer is a new film format called Magi projected in 3D at 4K in 120 frames per second. (Normal film is projected at 24 frames per second.)
Douglas Trumbull is the FX pioneer behind films such as 2001: A Space Odyssey, Close Encounters of the Third Kind, and Blade Runner. (TIFF)
Using digital cameras with left and right alternating shutters, Magi captures five times the visual information. That means less blur and a more vivid image. After a short film explaining how Trumbull arrived at this new method we donned our deluxe 3D glasses and watched a 10 minute short film about a UFOlogist—and it was incredible.
I am not a fan of 3D in general, or pointless camera gimmicks. I thought Peter Jackson's 48 frames per second version of The Hobbit was a distracting disaster.
But what we saw in Theatre 2 at the TIFF Bell Lightbox was akin to looking through a clean pane of glass, ultra crisp video with an unimaginable resolution. When the scruffy UFOlogist in the film peers into the camera, you could see his pores and even count the hairs on his chin.
Gone is the blur, the shimmering sheen that's associated with cinema. Trumbull is convinced this type of almost overwhelming wide-screen spectacle is the way to lure the iPad generation back to the movie theatre.
He could be right, but a few hours later, no less than Martin Scorsese made his case for preserving the past.
'This is cinema, I hope'
The Goodfellas director was at TIFF to present his new documentary The 50 Year Argument and show the restored version of the Armenian film The Color of Pomegranates. As the founder of The Film Foundation, Scorsese has made it his mission to protect cinema's crumbling legacy. Preserving and protecting cinematic classics to keep the sprocket and celluloid tradition alive.
Director Martin Scorsese speaks at TIFF on The 50 Year Argument during the 2014 Toronto International Film Festival, on Sept. 11, 2014. (Sonia Recchia/Getty Images)
After the film, Scorsese was asked about switching between the documentary and fictional form. But Scorsese doesn't like the documentary label. For him, fiction or non-fiction, it's all film. "This is cinema, I hope," said the 71-year-old master. For him, freeing himself from the narrative form is fuel for creativity. He finds it extraordinarily challenging, exciting and scary.
The film which brought him to TIFF, The 50 Year Argument, is a documentary on the intellectual tradition of a literary institution, the New York Review of Books.
There was a bittersweet moment when Scorsese, who began, literally, with the Mean Streets of New York, was asked about the changing face of the city, with its hipsters, hedge fund babies and 90 million dollar penthouses.
He talked about going back to Mulberry St. where he grew up to shoot a new TV series, explaining how it felt different, how people looked at the production trailers with disdain. "It was devastating," he said. "I don't belong here anymore." Seems like Scorsese's vision of the Big Apple only remains on film, in flickering slivers of seconds.
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