Interview with Ola Simonsson – Sound of Noise Director
Julyssa Diaz sits down with director Ola Simonsson for a chat about Sound of Noise, which he directed with Johannes Stjärne Nilsson.
Julyssa Diaz sits down with director Ola Simonsson for a chat about Sound of Noise, which he directed with Johannes Stjärne Nilsson.
Ten days of films from all around the world, getting to fall in love with more directors and actors, indulging in interesting and heartbreaking stories. Ten days of film-loving, running around trying to watch as many as possible.
Early September ranks right up there with Christmas thanks to the cinematic nirvana I experience at the Toronto Film Festival. 2010 marked the festival’s 35th anniversary, and my own ninth go-round of the TIFF experience.
Lima became the capital city of Latin American cinema with the 14th edition of the festival.
It’s always that time of the year. Nominations are in, and we never seem to be happy… now more than ever, since the Academy decided for ten Best Picture nominees, instead of the usual five.
After the Saturday screening of Sin Nombre the audience was given the opportunity to “meet and greet.” The floor was open for the audience to ask freely. Cary Fukunaga came in and he was very much in good spirits, mellow and “cool”.
This year was the festival’s 20th anniversary, so it was supposed to be a good one. Looking at the movie list, I must say that they didn’t disappoint. There was a great mix of movies from all over the world, although Africa was underrepresented and Asia got a bigger representation.
Whenever I read of someone discovering Yu Aoi in films, they often mention how they can never get enough of her afterward. I’ve learned to call this phenomenon the “hit-you-in-the-face-like-a-meteor” factor. It happened to me, and it keeps happening to others.
A recent article by Macleans.ca titled “Say goodbye to big screen classics” talks about the decreasing number of DVD sales and how it is affecting future releases of classical films.
IndieScreenings.net is a website that allows you to “hire” a film, show it, and keep the cash. But if you are on the other side of the business, it allows you to get the film you’ve made and let people around the world screen it.