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The Hollywood Reporter has released its second Toronto International Film Festival daily issue, and it includes a peek at the Daniel Craig-starrer Knives Out, which Media Rights Capital just boarded as studio financier; a deep dive into why buzzy fest films with big stars are still seeking that all-important U.S. theatrical release; and an interview with The Sisters Brothers producer and star John C. Reilly, who discusses how his film is bridging cultural divides.
MRC Nabs Knives Out
MRC has boarded Knives Out — which features James Bond star Daniel Craig toplining a contemporary murder mystery to be directed by Rian Johnson — as the studio financier. The high-profile indie was being shopped at the festival by CAA Media Finance and FilmNation, and CAA Media Finance brokered the deal on behalf of the filmmakers. Learn more about the film here.
When Money and A-Listers Aren’t Enough
Some of the biggest films screening in Toronto this year — Natalie Portman-starrer Vox Lux, Sam Taylor-Johnson’s Fifty Shades of Grey follow-up A Million Little Pieces with Charlie Hunnam and Aaron Taylor-Johnson, Xavier Dolan’s English-language debut The Death and Life of John F. Donovan starring Portman and Kit Harington — have something in common. In addition to featuring A-list casts and major buzz, they, at the time of this writing, are still hunting for a U.S. distributor. And they’re not alone. High-profile indie titles — such as the Jesse Eisenberg-Alexander Skarsgard drama The Hummingbird Project, Justin Kelly’s Jeremiah Terminator LeRoy with Kristen Stewart and Laura Dern and High Life with Robert Pattinson and Juliette Binoche — are everywhere at TIFF, which boasts one of its strongest-ever lineups. So what’s the problem? THR takes a look.
A Labor of (Brotherly) Love
Even in the happiest of families, brotherhood can be fraught, and the titular duo in The Sisters Brothers, played by John C. Reilly and Joaquin Phoenix, are the embodiment of filial push and pull. In this rollicking yet introspective Western from French auteur Jacques Audiard, Reilly and Phoenix play hired assassins searching for Hermann Kermit Warm (Riz Ahmed), who has been accused of stealing from their employer. Their journey through Gold Rush-era San Francisco and the Wild West is an episodic series of adventures — not unlike the making of the film itself, which took the multinational cast and crew to remote locations in Romania, Spain and France. In the run-up to the film’s North American premiere Friday in Toronto, Reilly spoke to THR about how he and wife Alison Dickey worked for the better part of a decade to bring the project to the screen.
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