“I have one Forever packed day bags that can serve me for three, four days,” says Guillermo del Toro. “If a suit is needed, I have another bag.”
The fall festival circuit turns filmmakers into storm chasers. It’s hard to know where they’ll be from one day to the next, much less how it’ll feel – adrenaline, sleeplessness, champagne hangover. Del Toro, whose musical stop-motion adaptation pinocchio Opens in December, says Journey reminds them of ominous title card Glazed: “You wake up in the morning, and it says Tuesday, and you feel like you’re living a year in a day. Then another sign comes in, and it says Wednesday. The days are endlessly long.” And yet every awards strategist in Hollywood is busy planning the trip at the moment. “You choose a festival because you want to stir up conversation,” says a seasoned studio source. “I don’t think there’s an alternative to that.”
The fact that the circuit begins around Labor Day and the frequent festivals in Venice and Telluride can lead to an unforgettable scramble. In August 2017, del Toro brought water size Venice for a grand premiere at the glamorous Lido. It was the first time the director saw his film with an audience, and the screening culminated in a long, thunderous standing ovation. “It felt like the end of a journey,” says del Toro, although it was only the beginning. They had to catch an overnight flight to Telluride WaterAmerican debut. Upon his arrival in the Rockies, he was greeted by a hailstorm, which pelted stones on the roof of the Werner Herzog Theater during the screening of the film. “I found it a little fitting,” he says, “because the movie is fine, WaterAs the credits rolled, he received a message: “You better come back to Venice.” He was winning something; he didn’t know what. He once again flew across the Atlantic and found the Golden Lion-Venice This was followed by an intense six-month campaign that included festivals in Toronto, Chicago and London. It ended with Oscar wins for Best Picture and Director. So that’s the potential upside to continued flight. : glory.
On September 3 of last year, Maggie Gyllenhaal gracefully walked the Venice red carpet in a Prada navy-and-white gown, steeling herself for the world premiere of her edgy directorial, Lost daughter. A day later, she was in the mountains of Telluride, wearing jeans and a sleeveless black top, and still glowing from the reception in Italy. “We were cloud nine,” he told me of the red-eye from Italy to Colorado. “I’m still over the moon.” Within days, she returned to Italy to accept the Venice Screenplay Award. Months later, she earned an Oscar nomination for her screenplay adapted from the novel by Elena Ferrante.
Like many stalwarts, del Toro is well aware of the ebb and flow of the festival circuit by now, his first festival coming 29 years ago when Cannes premiered his first feature, Allegory of Horror. chronos, during International Critics Week, where it took home the top prize in that category. The only hitch in his packing, he says with a laugh, is what to do with that suit he remains on standby: “Unfortunately, sometimes it just doesn’t fit me. From awards season to awards season, I expand. am. “