Showing posts with label premiere. Show all posts
Showing posts with label premiere. Show all posts

Saturday, September 14, 2024

tiff 24 DEAD TALENTS SOCIETY 鬼才之道 World Premiere John Hsu & Gingle Wang interviews with Robert Aaron Mitchell

 

For a movie to be premiere during the first Friday at the Midnight Madness programme at the Toronto International Film Festival you know it has to be special. John Hsu's Dead Talents Society is a film made with a lot of love and heart. The story itself is infused with a lot of love, heart and found family. 

In the world of Dead Talents Society when one has passed away and entered the realm of the newly dead the person has to start scary the living or in 30 days they will cease to exist all together. Gingle Wang plays The Rookie, a teen who has suddenly passed away. She must start to scare people to acquire a hunter's license to stave off complete non-existence. There is only one giant, glaring problem, The Rookie does not posses any talent to scare anyone. 

Having failed spectacularly in front of a jury of specters. The Rookie meets Makato (Bo-lin Chen) who is sympathetic to her dilemma. He introduces her to his crew. Most notably, Catherine (Sandrine Pinna) and a hilarious side kick played by Soso Tseng. 

Here is my conversation with director/writer John Hsu and actor Gingle Wang:

Wednesday, September 11, 2024

tiff24 THE SUBSTANCE: A Reflection by Robert Aaron Mitchell

 

                   Demi Moore as Elisabeth Sparkle in Coralie Fargeat's The Substance. 

    Coralie Fargeat emerged on the midnight madness scene when her feature film debut Revenge received its world premiere in the midnight madness programme in 2017 at the Toronto International Film Festival.
    Revenge was a film of extremely violent violation towards the body. In this case, a mistress Jen (Matilda Anna Ingrid Lutz) was brought along to a remote house on a “guys” hunting weekend. The wealthy predators view Jen as an object to be assaulted and then discarded. Jen survives and then sets out to pursue exactly what the film’s title states. Revenge. Jen changes the balance from victim to virulent vindicator. Fargeat’s debut is a portrait of vivid violence. Fargeat stated in interviews that the film had so much blood that the prop team would often run out of fake blood. Fargeat’s style as a filmmaker was already very much apparent in Revenge. The use of color to contrast. Jen’s fluorescent pink star earrings frame the dirty face of a person who has been to hell. Pink becomes a color of determination and strength. Revenge was also comprised of beautifully photographed shots.
    Almost seven years to the day Coarlie Fargeat has returned to midnight madness at tiff with her second feature, The Substance. The film won the Best Screenplay award at the Cannes Film Festival. Expectations for Miss. Fargeat’s sophomore film were high. This could be seen in the demand for tickets for the North American premiere. This was the first screening of the movie at tiff, preceding even a Press & Industry screening. A seat in the Royal Alexandria Theatre was running upwards of three hundred dollars. The demand could also and rightfully so be ascribed to Miss Fargeat’s leading actors, Demi Moore, and Margaret Qualley.
    The first hint of what lied ahead for the midnight madness audience was the oversized pink headbands inscribed, “Pump It Up” that were given to people arriving at the cinema. Throughout the 1200 people in the audience - that all too familiar buzz of 600 hundred conversations happening at the same time - little pink dots could be made out in the sea of people.
    The Substance continues Miss Fargeat’s themes of violence upon the body. Where Revenge was a paroxysm perpetrated by predators, The Substance is self-inflicted bodily harm in a society that craves self harm visited upon others.
The film begins with - what is already one of my favorite opening sequences in a movie. We see the creation of a star on Hollywood Boulevard. From workers installing the star, pouring concrete, and smoothing it out, to the star being placed and polished. People pass by the star and stop to take pictures, pause to look at it, and touch it lovingly. The years go by. Not kindly. Heavy foot traffic has taken its toll. People spill food onto the star. Some try to clean it half-assed. The years continue. Cracks begin to emerge. A perfect visual metaphor for the film.
    Demi Moore plays Elisabeth Sparkle a television fitness personality. High energy. Once high ratings. Elisabeth overhears the show’s producer Harvey, played with obnoxious fury by Dennis Quaid stating that the show needs a younger lead and Elisabeth needs to be fired. The name of the producer is also not lost on anyone paying attention to monsters in Hollywood.
    Clearly and rightfully distraught, Elisabeth drives away from the television studio. Out of nowhere tragedy strikes. It strikes sidelong into Elisabeth’s car when another car crashes into her car. Elisabeth is now sitting in a doctor’s office in one of those barely enough material temporary gowns. The doctor informs her she is fine and can leave. The doctor then leaves. A leering assistant approaches Elisabeth and says there is one last test. She incredulously sits as the assistant trails his hand up her very visible spinal column through the opening of the gown. He states that she is a perfect candidate and hands her a small envelope.
    Elisabeth is now in the luxury house that years in the spotlight have afforded her. A giant portrait of a younger Elisabeth is hung on the wall opposite the giant windows overlooking Los Angeles. The painting is ever present reminding an older Elisabeth that she is aging. Alone, depressed, and replaying the conversation. Elisabeth opens the envelope to find a large black USB key with white letters stating The Substance. She inserts the key into the side of her television. The video begins with two eggs being fried in a pan. “Have you ever dreamt of a better version of yourself? Younger, more beautiful, more perfect. One, single, injection unlocks your DNA. Starting a new cellular division. That will release another version of yourself. This is The Substance. You are the matrix. Everything comes from you. Everything is you. This is simply a better version of yourself. You just have to share. One week for one. One week for the other. A perfect balance. Seven days each. The one and only thing not to forget. You. Are. One. You cannot escape from yourself.” This is punctuated by a great sound from the movie’s sound design. A creepy near indescribable guttural sound. 
 


               The Substance
promotion in Toronto. Photo by me and enhanced by me. 

    Elisabeth goes to a train wreck of a dinner with Harvey watching him consume shrimp with a wildly gross abandon. He informs her she is done. She goes to the studio where he delightfully greets Elisabeth and shoves a banker’s box into her arms.
    Now back at home. The painting is still young, Elisabeth is older by another day and calls the number. The voice from the video answers. She informs the voice that she is interested in The Substance. Elisabeth is given an address. She goes to it and retrieves a key card. 503. She then proceeds to an alleyway and enters, quite comically into a stark white room with numerous numbers. She approaches box 503. The box opens to reveal a large box. Once back at home, Elisabeth opens the box to reveal three other boxes. She opens them to reveal needles, bottles, tubes, and instructions for use. She then goes to a large stark white-titled bathroom and inserts the needle filled with a green substance. What follows is a pure midnight movie.
    Miss Fargeat is a student of the horror genre. There are numerous references throughout the movie, Both intentional and perceived by me. Much like another French extreme film that opened the 2023 Midnight Madness programme, Titane. Both films are direct descendants of the early work of David Cronenberg. I also saw Odes to Re-Animator, Invasion of the Body Snatchers, Society, and Tarantino. Even with all of these nods to other films and filmmakers, Although the DNA of The Substance is influenced by other horror cinema, the majority of The Substance’s adenine and thymine are wholly a unique stylized look at the themes of aging, identity, and self-harm.
    Moore and Qualley are incredible playing off one another. If lesser known actors had been cast in these roles what would follow in all likelihood under the vision and direction of Miss Fargeat would be still an insane midnight move. With Moore and Qualley, The Substance is poised for major mainstream audience appeal. The Toronto International Film Festival has been a proverbial launching ground for Academy Award buzz. Perchance Oscar (tm) will recognize the work of two actors very much steeped in a horror film? I think so. Demi Moore has said in interviews that the first time she read the script, “...this could either be amazing or it can be a fucking disaster.” I can attest that The Substance is fucking amazing. 

Saturday, September 16, 2023

TIFF 23: SLY - From Underdog to Hollywood Legend

 

In 1985 Sylvester Stallone had two of the top three highest worldwide grossing movies. Both sequels. Rocky IV and Rambo First Blood Part II. That is absolutely remarkable. As an actor Stallone has been ubiquitous for decades. What do we really know about Stallone the person behind the action movie icons. This is what Thom Zimny sets out to do in his documentary aptly titled, Sly

In the opening title sequence we see glimpses of Stallone's house. As ubiquitous as he is in movies and the popular culture, so to is his own image in his house. From action figures, to posters to statutes. We see the Academy Awards, snippets of the art collection, the scripts, the view from the Hollywood Hills. 

"It is really easy to become complacent." Starts of Sylvester says in the opening sequence of the documentary. He is in the midst of packing up his mansion to move back East to break up the feelings of dissatisfaction with the state of his current life. 

One of my favorite early sequences is of Stallone going back to Hell's Kitchen to reminisce about his New York City upbringing. Also when he is home watching movies and talking about the role models he found in film, James Cagney, especially Steve Reeves of Hercules fame.

Sly's childhood was transient and nomadic. He went throw thirteen schools in twelve years. It was the stage where he found home. He landed a role in Arthur Miller's Death of Salesman. A teacher told him he should pursue acting as career. Sly cites this as a moment that changed his life. Back in New York he was homeless and struggling to get any kind of role. The only thing he could get was off off Broadway. He started getting roles as thugs. 

Stallone started writing his own screenplays with John Herzfeld. Another life changing decision. Write out his frustrations and perhaps get somewhere. Every weekend he and Herzfeld started writing, writing, writing. He would break into to movie theaters all over the city to see films. 

I have never heard of the film Horses prior to this documentary. The premise of the movie now has me seeking this out immediately. A Cowboy and an Indian return from their graves a hundred years after they were hung. The cowboy's father was also reincarnated as a the sheriff he was to track them down. 

As far as documentaries go there is nothing about the technique or the choices on how to film the subject and the use of photographs and other visual media that is groundbreaking or innovative. As a viewer you are either a fan of Sylvester Stallone or you are not. That determines how much or how little you will gain from Sly and how much you will be entertained.

As I watched this documentary one of the most compelling aspects was sitting in a car, or walking down a sidewalk or sitting down and listening to Sylvester Stallone talk, reminisce and ponder his life. That is one of the paramount things we learn about Stallone in this documentary is how compelling, fascinating and - still to this day - we as an audience are drawn to him.

Friday, September 15, 2023

TIFF 23: FAIR PLAY - The corporate ladder is a treacherous, serpentine climb.

 

We meet Emily (Phobe Dynevor) and Luke (Alden Ehrenreich) at a party. They head to a public restroom to satisfy some immediate desires. Things start to get hot and heavy. Then Emily has a Carrie moment. Luke is covered in her menstrual blood. A moment later Emily asks Luke, "What is that?" He looks unsure, Emily is apprehensive. Director Chloe Domont holds the suspense. We then see a ring on the titled bathroom floor. Not just any ring, an engagement ring. This begins the movie Fair Play

"You're serious?" Emily asks. "Yes." "You're drunk" Emily says. "yeah but I was sober when I bought it. He then puts the ring on the wrong finger. "Looks like we are fleeing the scene of a murder." Luke jokes carrying Emily across the street. 

They both work in the same office building for the same company, Crest Capital and they feign that they know each other outside of work. A bunch of people are meeting to watch a video about workplace practices about sexual harassment, inclusion, diversity, conflict resolution. As the video starts a coworker int heir office has a melt down and takes out a golf club and starts wailing on the computer his desk over and over again. Someone poses the question, "Should we pause?" The person holding the remote cranks up the volume. This is clearly not a good workplace and no amount of work place training videos will right that. 

One man's downfall is another man's promotion. "How did I get so lucky?" Luke asks. "Are you talking about me, or your job" Emily queries. "Both" Luke smirks.  He goes on to elaborate that if he had to choose between Emily and the promotion he would choose...the promotion...just kidding. 

A late night call. A late night meeting. Emily gets in a car and heads to a bar. Someone is getting promoted. It just isn't Luke.

Phobe Dynevor and Alden Ehrenreich do a phenomenal job navigating the corporate finance world in which their characters navigate it's rewards and pitfalls. Together and alone.

The corporate ladder is a treacherous, serpentine climb. Perhaps made less perilous with a partner. Maybe. Or made just that more precarious. Ambition is it's own all consuming partner.



Thursday, May 11, 2023

THE BOBBY DIAMONDS STORY: North American Premiere 2023 Toronto Smartphone Film Festival (TSFF)

 

 

I am excited to announce that my movie THE BOBBY DIAMONDS STORY will be having it's North American Premiere at the 2023 Toronto Smartphone Film Festival on Friday June 16th at 7pm at Innis Town Hall Theatre at 2 Sussex Drive in downtown Toronto, Ontario. Team Bobby Diamonds will be in attendance. Peter Kuplowsky has said, "The film has an enigmatic, meta quality." 

THE BOBBY DIAMONDS STORY has won Best Documentary at the 2022 Tokyo International Short Film Festival. Here is an interview Robert Aaron Mitchell did with TISFF (link here) The film has also won Best Documentary at the 2022 Venice Fullshot Film Festival as well was an Official Selection for the Munich New Wave Short Film Festival. Here is a trailer cut exclusively for the Toronto Smartphone Film Festival North American Premiere. 


Wednesday, September 14, 2022

TIFF 2022 PEARL: A Reflection by Robert Aaron Mitchell

 

Pearl was the surprise movie that was announced after X premiered at the South by Southwest Festival. Not only was the film announced as an origin story to Pearl who appears in X, it was already completed. As the story goes X was filmed in New Zealand at the height of the pandemic and Covid restrictions. The Texas Chainsaw Massacre inspired set, house, barn and a guesthouse was already built. Having an already built full-on set was the origin for this origin story. In a two week hotel quarantine stay West came up with the story and script for Pearl. Once again A24 came onboard to make the film. 

The film begins as a camera passes through a barn. The barn doors open revealing an idyllic farm pastoral. The music composed by Tyler Bates and Tim Williams is full of wonder and splendor. We see Pearl in her room surrounded by dolls. She is made up, her lips a rich hue of red. She stands. She is Judy Garland. As we learned in X Pearl was/is a dancer. The lights dim in her mind's eye, a spotlight hits her and reflects off of the mirror she stand before. The door opens and the illusion is shattered. It is back to life on the farm. However dreams do not fade, a pitchfork makes a great dancing partner. The cows are a rapt audience. 

Pearl maybe look like an innocent farm girl. This is also the Pearl from X. A goose wanders into the barn. The goose is carried out of the barn impaled on Pearl's pitchfork.  She carries the goose out to the dock overlooking the lake where Pearl will first spy on Maxine many decades later. 

On a side note on the interesting dynamics of film festivals. I watched All Quiet on the Western Front and later Pearl. Both on the same day. Both films take place in 1918. Both films are horrific in their own right. It is an extremely interesting condition of seeing so many films in quick succession. There are emotions, notions and observations that carry over int different pieces you are writing about films on any given festival day. 

Along with World War One, another major event was occurring. A pandemic, the Spanish flu. In an exceptional parallel to our times. To escape the hum drum of farm life, an over bearing German mama and her ill Father, Pearl goes to the movie picture house wearing a mask. The other patrons are all masked as well.  A news reel shows graphic scenes from WWI. Palace Follies begins to play. Pearl is enraptured by the singing and dancing and the morphine she is sipping on. Pearl meets the projectionist who in turn hands her a little piece of cinema. Then it's back to the corn fields. 

Both Pearl and X are definitely part of which is now a trilogy with the announcement of MaXXXine rounding out the last film of the trilogy. Both films stand on their own but there is much more to be gleaned from Pearl having seen X prior. It is compelling from a film making stand point to see two vastly different cinematic styles applied to the same set. There is a great scene with Pearl and the projectionist who shows her a film "nobody has seen yet" that leads in the late 1970s in X.

As the horror in Pearl slowly builds - a Ti West trademark - it pays as much homage to Tobe Hooper as X did with The Texas Chainsaw Massacre so too does Pearl pay homage to Hopper's second film Eaten Alive. Does this mean the third Mia Goth/Ti West film will be an ode to Lifeforce? Only time will tell. Or perhaps being the third film it will be Salem's Lot.

The horror is also the dread of family dynamics. Pearl lost in isolation and reverie. A husband at war who has not been heard from in months. An overbearing Mother who is trying to shelter her. A sick Father. Dreams that will not subside of somewhere faraway on stage in front of an adoring audience. It is a potential suitor turning cold.

Ti West has become much more a stylist in these films, which I dig a lot. He has also grown on me as filmmaker with these last two movies. A lot has been said about Mia Goth and all the positive accolades are very warranted. Mia goes from oh shucks to full on Psycho in the flip of a switch. These films are Pearl and Maxine's world of which Mia brings to grainy 16mm and Technicolor life. West and Goth have become each other's muses. 

Mia Goth delivers one of the all time great soliloquies delivered on film. All the world's a stage and all the men and women in Pearl's way are merely victims.




Monday, September 12, 2022

TIFF 2022 MY POLICEMAN: A Reflection by Robert Aaron Mitchell

A lot can and will be written about the 2022 edition of the Toronto International Film Festival but there is no doubt that one of the biggest stars to arrive in Toronto was Harry Styles. King street was crowded more than it has been in years which was a great change of pace form the last couple of Septembers. The screams, oh yes the screams. Loud is not a word that does this collective sound justice.

Waves cross the oceans. They can be rough or calm but they are always moving. Rolling in and out. Rolling out and in. The tide can be high and the tide can be low. Waves can be metaphors or they can be literal. There is a house by the sea where waves are literally crashing into the beach. Those same waves are extremely rough today such as the regrets of a life nearing an end. 

J.M.W. Turner was a British painter. Arguably Britain's most famous painter. Turner primarily painted in water colors. His landscapes were vibrant, expressions of color. His maritime paintings were also beautiful practices of color interpretation. Fiery palettes. The seascapes were also violent. Turner's watercolors depicted life as both beautiful and turbulent. Ships on fire. Ships sinking. Snowstorms, swirling vortexes, slavers throwing the dead overboard. In Calais Pier (1803) Ships are in a momentary break from a storm and are desperately trying to navigate extremely turbulent seas trying to reach the safety of shore. Waves man.

My Policeman opens with the metaphorical and literal waves of the sea. A frail old man Mr. Hazelwood (Rupert Everett) arrives at a house. The house of Older Marion (Gina McKee) and Older Tom (Linus Roache). Older Tom is not happy to have Mr. Hazelwood staying with them. 

Marion begins to care for the old man. She takes a reflective smoke break. As she looks out the window she spots Older Tom walking up the road. The camera lingers and she and us are back in time with Young Marion (Emma Corrin) and Young Tom (Harry Styles). They are standing on a beach. Young Tom says, "I'm a policeman now" The titular character. Young Marion remarks to Young Tom that "Must be quite fulfilling" Young Tom looks over to Young Marion kinda smiles and looks back at the waves. We since that life as a policeman is not so fulfilling.  Since they are at a beach and you guessed it waves are rolling in. Could anyone have guessed that Marion is afraid of water. She is. As Young Tom says to her, "Well, you can't go through life afraid of the water." Instead of going into the ocean though they head to a pool or as Young Tom calls it a Lido. 

Young Marion and Young Tom begin spending more time together. They are in a library and Young Tom mentions he has never really looked at art before. He know believes he could get something out of it. Young Marion asks if there is any particular painter Young Tom is interested in. He asks if there is a painter named Turner. Oh Young Tom, indeed there was. He was also arguably Britain's most famous painter whose water colors were interruptions of beautiful and turbulent life. They acquire some books and Young Tom studiously pours over the pages. Swimming lessons in the lido continue. Oh glorious summer days of youth. 


Young Tom takes Young Marion to the Brighton Museum and Art Gallery will they will be going on a private tour conducted by the Director of the Western Art Galleries, Young Patrick (David Dawson). Young Tom met Young Patrick at the scene of an accident where Young Patrick was a witness. An accident, a random act that occurred in the never unfolding universe. The three of them stroll through the empty museum surrounded by so many beautiful pieces of art. They stop at a painting by arguably Britain's most famous painter, J.M.W. Turner. They then look at a painting done by Blake. As Young Tom says, "Blake's trying to startle the senses as well as the spirit. There's so much passion in his work. You just have to let it take hold of you." There is a lot at work in this sequence Young Tom and Marion are on a date. This is the first time all three people are in the same space. There are stolen glances from all three people directed to one another. Unspoken words, a tension is building. Perhaps the two boys fancy Young Marion. 

The three become inseparable. Attending classical recitals. Dinners. Talk of travel. Young Patrick wishes to go to Mother Russia because it is the setting of his favorite novel Anna Karenina. The story of Tolstoy's novel goes, "The story centers on an extramarital affair between Anna and dashing cavalry officer Count Alexei Kirillovich Vronsky that scandalizes the social circles of Saint Petersburg and forces the young lovers to flee to Italy in a search for happiness, but after they return to Russia, their lives further unravel." Young Marion hasn't read it. Young Patrick assures her she must because it is literature's most tragic love story. He goes on to insist that all love stories are tragic. 

Time is the frequency of longitudinal energy waves. If a wave frequency changed today we would not know the difference. Our perception of time would still be the same. So it goes with Young Marion, Young Tom has changed however Young Marion cannot register it. They get married, they consummate the union, Marion lies and says it was lovely. Time is a miraculous concept, it matches ever forward and yet while sitting still in a house by the ocean one can go back to the days of youth. A dairy written by one you caring for in elderly state of life helps. My Policeman takes on qualities of Rashomon. The glances and the subtle touches at the art museum take on different meanings. 

The crux of My Policeman, many other writers and reviewers seemed to have a personal grudge against Harry Styles and what acting chops he brought to the film, some more than likely were caught up in a the stories out of Venice days prior. Stories of in fighting on another film, a possible spitting incident at another world premiere. Harry Styles was fine. The crux is My Policeman is a film that leans into metaphor of the art the characters are gravitating towards and a simple look at the plot of Tolstoy's novel leaves none too much dramatic surprise. Of course this story is going to be tragic, because aren't all love stories.




Friday, September 21, 2018

ASSASSINATION NATION Premiere Interviews: Odessa Young, Suki Waterhouse, Abra, Hari Nef, Coleman Domingo


Abra speaks with Robert Aaron Mitchell at the Assassination Nation Midnight Madness Premiere

Assassination Nation had a Midnight Madness at the Toronto International Film Festival premiere. Robert was on the red carpet and spoke with the great cast of the film, Odessa Young, Suki Waterhouse, Abra, Hari Nef and Coleman Domingo.

In this Salem-set thriller from Sam Levinson (Another Happy Day), four young women are accused of hacking and publishing their community’s private information, launching a proverbial witch hunt with very real consequences. A film that is very much rooted in our divisive times and our driving obession of our constant scrolling on social media. Here are the interviews:




Seen the movie? Learn more about how it was made with this Midnight Madness post-screening Q&A!

Thursday, October 12, 2017

BRAWL IN CELL BLOCK 99 Vince Vaughn, Udo Kier, Dan Amboyer Premiere Interviews


Last month I attended the North American premiere of S. Craig Zahler's (Bone Tomahawk) new film BRAWL IN CELL BLOCK 99. Mr. Zahler has written and directed one hell of pulp, crime, prison movie. He even wrote several of the songs that play in the film. Vince Vaughn's transformation in playing Bradley Thomas is an amazing performance. I was able to speak with Mr. Vaughn, Udo Kier, of which I can confirm his stare will burn a hole into your very soul, as well as actor Dan Amboyer on the red carpet at Midnight Madness at the Toronto Intentional Film festival.

Friday, November 4, 2016

DOG EAT DOG Paul Schrader, Matthew Wilder Premiere Interviews

                                  
                                     Paul Schrader being interviewed by Robert Mitchell


                                              Screenwriter Matthew Wilder interview

Dog Eat Dog the new film by Paul Schrader (writer of Taxi Driver, Rolling Thunder, Raging Bull) had it's North American premiere at the 2016 Midnight Madness programme at the Toronto International Film Festival. Robert Mitchell was at the premiere and spoke with Mr. Schrader and screenwriter Matthew Wilder who adapted Edward Bunker's book for the screen. Here are those interviews.

Tuesday, September 27, 2016

THE FINAL GIRLS Premiere Interviews with Malin Akerman , Todd Strauss-Schulson & Taissa Farmiga


The closing film of Midnight Madness 2015 was the horror/comedy THE FINAL GIRLS. Robert spoke with Malin Ackerman, director Todd Strauss-Schulson and Taissa Farmiga about the film. Here is that video:


Monday, August 22, 2016

Friday, October 31, 2014

ELECTRIC BOOGALOO: The Wild, Untold Story Of Cannon Films Interviews Mark Hartley Robin Sherwood Richard Kraft


Robert A. Mitchell talks with director Mark Hartley at the midnight madness premiere of Electric Boogaloo: The Wild, Untold Story of Cannon Films. Also interviews with actress Robin Sherwood (Death Wish II) and Richard Kraft who was the head of music Cannon Films.

Friday, October 17, 2014

What We Do In The Shadows Jemaine Clement Speaks With Robert A. Mitchell


Acclaimed documentarian filmmaker Jemaine Clement spoke with Robert A. Mitchell at the Canadian premiere of What We Do In The Shadows the documentary on vampires he co-directed with Taika Waititi.