There's just such a lack of, well, originality in this well-trod genre. So much as the studio marketeers would have us think otherwise, 're-boot' is just another way of saying 're-make'.

I'm a huge fan of John Carpenter, and feel mildly insulted by Rob Zombie taking on Halloween (again). Zombie is a talented director in his own right - The Devil's Own is witness to that - so why take on the master?

The original Final Destination was a great romp but, in true genre style, we're being treated to sequel-after-sequel. And the third instalment is, you've guessed it, 3-D. Let's hope 4-D doesn't make it past the R&D stage.

For Pandorum read Event Horizon II. I'm still wondering if the production company came up with the title for its unique Search Engine Optimisation potential.

What a grumpy old man, eh? Without going all 'I remember when films were films...', I do think the genre itself needs a re-boot. Zombieland and Pontypool offer some (comic) relief, but when can we expect this generation's The Exorcist, The Shining or Dawn of the Dead?

Or perhaps we should just expect a re-boot? Now, that's terrifying.

Next up Diane (Deputy Artistic Director) was whisked away to Expression En Corto festival in Mexico to sit on their Documentary jury. Despite lost luggage and falling pray to a non-swine variety flu she had a great time, loved the festival which is interestingly held over two cities, met some amazing people and caught up with one of our filmmakers, Simon El Habre of One Man Village to whom the Expression En Corto doc jury provided an honorary mention.

And finally, last weekend Hannah headed to Sarajevo to sit on their Short Film jury. From her emails it sounds as though it is a really creative festival with the bonus of beautiful surroundings but we will get a full low-down next week when we all get back to the office.

After that we will be forcing Hannah to take a well-deserved break before the circus that is Venice and Toronto begins in September. Hannah will be attending both while Diane will be heading to Copenhagen to the CPH Film Festival and I will be representing the team at Gdynia Film Festival followed by the Holland Film Meeting in Utrecht.

After that, in October our Senior Programmer Rob Hope will pick up the EIFF baton and fly it all the way to South Korea to forage for some gems at the Pusan International Film Festival while Hannah will head to Vienna for the Viennale which is hosting a tribute to our very own patron Tilda Swinton.

But, of course, Film Festivals are not our only source for the programme. This year our Best International Feature winner Easier With Practise came through our submissions process proving how valuable it is to EIFF’s programme. Submissions are set to open on 2nd November so if you have a film you want us to consider please submit online at www.edfilmfest.org.uk/submissions.

So for now i'll leave you to digest our diary while I go and dip my feet in the behemoth that is the Edinburgh Fringe Festival - if the comedy doesn't make me laugh i'm coming straight home to watch Heathers...

KGx

As you'll know, many of the films shown at the Fest arrive without distribution deals and, indeed, sometimes never make it to a British cinema. It's why film fests are so important, of course. They not only launch careers, but sometimes give a flick its only public screening.

And 'industry buzz' (eurgh!) isn't always accurate when predicting which movies will be successful. A great example is Wristcutters: A Love Story which screened at EIFF 2006.

Goran Dukic's debut film was a Sundance smash, a huge hit with the EIFF audience and critics and, was labelled so hot right now by industry insiders. Result: disappeared for almost two years before making a brief theatrical appearance.

Great film, none the less.

So do I fear that any of 2009's line-up won't get the exposure they deserve? Well, I hope audiences everywhere get a chance to see Jonathan Auf Der Heide's Van Diemen's Land, although I suspect they won't. For me, this was an absolute Festival favourite but it's not easy to sell a dark, grisly convict tale with Gaelic dialogue to multiplexes.

Of the British flicks, the juice is good on local production Crying With Laughter. It wasn't perfect, but Stephen McCole's performance is worth the admission price alone.

Of course, I'll keep you up to date monthly with the progress of Festival films. In fact, you can read the first round-up here.

Well, there's no use being an anorak unless I can tell someone, is there?

Like many of my fellow staff I'm on my 14th straight day of work but, perversely, I don't want this to end.

Ryan and Jason, the men behind Romeo and Juliet vs. The Living Dead, just dropped by the EIFFtv portacabin (the glamour!) to do their final interview. The interview turned into a bit of a love-in (in the purest sense) and then we said our goodbyes.

If you're reading this, thanks guys for bringing your inspired Shalespearian zombie insanity to EIFF.

My deputy Mhairi is sitting across the desk getting our final e-newsletter ready. She's as bright, breezy and cheerful as ever. Mhairi rocked the fest, as a roving reporter and social butterfly.

EIFFtv director Iain and editor Rachel are cutting together another episode, this one featuring an interview with my good friend and crack Mirror film critic David Edwards. Along with Garry, Alex, Claire and Laura, the EIFFtv crew were a force of nature. What a team!

I could do a tedious Oscar-winner type list of thanks, but I just want to thank one more person and leave you with a final story.

Four years ago I was a jobbing film writer looking to change careers when the EIFF Head of Marketing, Kate Park, contacted me about becoming Web Editor. I remember sheepishly explaining to her that I had no web experience. She took a punt on me, and changed my life in the process.

Now we have a web/EIFFtv crew of 8, and we've innovated and created great things online - Web Membership, vodcasts, blogs... I could go on.

She's leaving this year for pastures new. I know everyone at EIFF will miss her, and I certainly will. Thank you taking a chance on me Kate.

So, it's nearly done. Worry not fest lovers, I'm going to be around all year, getting interviews online, updating you on EIFF movies and giving my own spin on film news. Look out for the monthly EIFF e-newsletter.

Until next time,

Colan

It's more than that though. Really, I've been making movies in one way or another since 1997.

Nearly every person in my life has been entangled in it in some way.

It's hard not to feel like this is a referendum on the choices you've made.

You try to tell yourself to enjoy the moment. Don't worry too much about what comes next. We never know if this is the high point of our careers or the first step to something larger.

No matter, sitting there in the darkness surrounded by a packed house of strangers and flagged by two of my best friends, I can tell you it was simply one of the happiest days of my life.

For the record, the crowd response was wonderful. We've received quite a bit of interest from the industry and this film will definitely have a life.

You can keep an eye on www.thirdstarfilms.com for news and announcements.

Thanks to Hannah McGill and Robert Hope for all the support.

Thanks to Jason Witter for traveling this road with me.

And, thanks most of all to the fanatical movie-loving people of Edinburgh. Without you, none of us would be here.

For now, it's back to real life which, I expect to find, will never be the same. Even if it only appears that way through the new eyes you've given me.

...that I shall say good night till it be morrow.

Ryan

This evening, we have a few meetings and then it's off to Filmhouse at 23:00 to face the music.

Yesterday was fantastic. I went for a run to Arthur's Seat and Hutton's Section with one of my dearest friends.

It was indescribable. She's a geology enthusiast and her excitement at standing in the birthplace of modern geology was inspiring.

Gazing into the evidence of Earth's 4.6 billion year history made me feel all at once insignificant and connected to something larger.

I feel very centered today and look forward to sharing my film with an amazing
Edinburgh audience.

Often, it's not the biggest names which make me a little nervous. A red carpet with Keira Knightley? A lot of fun but strictly business. I know the remit, pop the questions and, in most cases, get the answers I need.

Once in a blue moon, I get an interview with someone I hold in such reverence that I feel a little apprehensive. Such was the case this morning with Roger Corman.

While Corman may not be a household name (friends and family won't , I'm sure, share my excitement), the man is a cinematic legend, an influential giant of the silver screen, a veritable... well, you get the point.

I realised this when I repeatedly called him Mr. Corman, despite his insistence on 'Roger'. I did the same with Mr. Harryhausen last year.

Chatting with Mr. Corm -- sorry, Roger was an absolute pleasure. He discussed his production work on Cockfighter (Monte Hellman's film which we were unable to show at EIFF 2006 as it contained real cockfighting scenes), his decision to move away from directing and gave his views on censorship.

The full interview will appear, along with a number of others, throughout the next year on the website.

Why not now? Well, the EIFFtv editors are flat out, so we'll show a clip from it in the Festival Rushes as a teaser.

It's one of my Festival highlights and I'm looking forward to sharing it with you. Keep an eye on the monthly EIFF e-newsletter in the coming months for the full version.
 

The Living Dead yesterday. It was without a doubt one of the most instructive experiences of my life.

I spent most of the following hours wrapped in insecure mood swings and testing the patience of my friends until we started to receive calls and emails from interested journalists and distributors.

This is, of course, the world premiere of R&J coming up on Friday night, but it's also my debut as a feature filmmaker.

It's easy, given the amount of time it takes to develop, produce and release a second feature, to feel that the course of my natural life is dependent on this one film's success.

Is that true? If R&J screens Friday night and never again will that mean I'm destined to remain a below-the-line worker?

Will I find no release for the many feature films rattling around in the confines of my overactive imagination?

Will I never fall in love, get married, have children, watch them grow, drift apart during the difficult teenage years only to come back together after the trials of adulthood have brought them clarity of thought and myself acceptance of the unique human beings they truly are, instead of a collection of my unreasonable expectations...You get the picture. I tend to over-think.

Which is why I'm taking the first part of my day to journey to Arthur's Seat, behold the birthplace of modern geology and not think about the Festival for a while.

When I return, I will be calmer, wiser in the ways of rocks and listening to Joe Dante speak at Cineworld.

Perhaps I'll ask him if mogwai have the need for romantic love.

Life must be simpler if all you need to procreate is a tall glass of water.

And what a journey that was... I don't want to give too much away, but it was the start of a hilarious evening adventure for myself and the EIFFtv crew of director Iain, Gary and Rachel.

We'll be posting the highlights of the evening later in the week, from the freestylin' Scorz in the limo, to a bemused Le Donk who was clearly underwhelmed by director Shane Meadows and producer Mark Herbert's post-screening party.

The continued adventures of Le Donk were a thrill ride that you shouldn't miss... watch this space.

Romeo & Juliet vs. The Living Dead has its industry screening tomorrow morning at 10:50, Filmhouse 1. This will mark the first time I've shown it to a group of people who didn't work on it or don't love me in one way or another.

No matter how the screening goes, we'll unwind at the Corman reception. See you there! Time to party like Edgar Allan Poe!

And talk about iconic, not since Orson Welles exhaled "Rosebud" have words resonated as much as when that fox says "Chaos reigns." Man, that was super sweet.

I'll cut it short today. Go see Antichrist and bring someone you love.

A couple troupes of musicians entertained those gathered and sipping champagne: a quartet who played sweetly in front of the massive fireplace and kilt-clad bagpipers and drummers, who offered a rousing performance outside in the courtyard.

We toured around a bit and got an eyeful of the Crown Jewels. A guard informed us that the massive gem-studded crown gets trotted out every few years for Parliamentary proceedings.

As things were winding down, Janet Street-Porter, Frank Langella and I posed for a silly photo in the castle courtyard choreographed by Frank and inspired by the "See No Evil, Hear No Evil, Speak No Evil" trio of monkeys.

Perhaps we should consider the wisdom of our primate brethren and make those words to live by when we launch into deliberations Monday afternoon!

By the evening, the formality of the Q&A was dissolved completely when we all found ourselves gathering at Zach Clark’s screening of Modern Love is Automatic. If you haven’t seen it yet, there’s another screening Saturday at 22:45 Filmhouse 1. I highly recommend it.

With great skill, Zach reveals the journey of two women on opposite paths. Rather it’s Adrian’s fanatically enthusiastic pursuit of her impossible dreams or the malignant weight of Lorraine’s apathy, his camera is unflinching. We’re left questioning which course is more wrought with pain. I have my opinion, but I don’t want to give too much away.

For those who survive the epileptic seizure brought on by the main titles, you will be treated to a subtle and captivating tour de force by Melodie Sisk. Without a doubt, she gives the breakout performance
of the festival.

One of these days, I intend to be in bed before the sun comes up. Not as easy as you would think in this country.

Festival bashes come in all shapes and sizes - from the spectacular Opening Night and Homecoming parties (which my fellow bloggers, Ryan and Claudia, reported from), to the more intimate affairs, such as The September Issue reception hosted by distributor Momentum this evening.

Suitably enough for a documentary set in the fashion world, the reception took place in the plush surroundings of Edinburgh's Missoni Hotel - the Prosecco was flowing as freely as the conversation, and the canapes were exceptional. It's a hard job, and all that...

Please don't get green-eyed... the truth is that EIFF staff are more often than not working at these functions. Our tireless Development team work with sponsors, distributors et al to ensure that things go off without a hitch and that a great time is had by all.

Just as importantly, these are ideal opportunities for filmmakers and industry folk to make contacts and network. EIFF is about introducing new talent to the audience and the industry.

Almost inevitably these functions are attended by those most experienced of liggers - the fine gentlemen and ladies of the press. Glancing around the room tonight I spotted The Daily MIrror's David Edwards (a seasoned pro of the party scene), Empire's Damon Wise, Joe Utichi of Rotten Tomatoes... I could go on.

Oh, and then there's the celebs. Is there gossip to be had? Well, that would be telling...

And so, to tomorrow night's calendar. The Le Donk party looks like it'll be a blast, with rapper Scor-zay-zee performing live and Paddy Considine on the decks.

Just when I thought the Festival couldn't get any better...

I first came across Crying with Laughter in the latter part of last year, as a friend was working on the production and perpetually raving about its potential. Before you call shenanigans on me for being biased, I'll add that they've worked on many films that are, well, not classics.

Having seen the film, I can now see why they were so excited.

Crying with Laughter has, and this is the key for me, a great story at its core. A stand-up comedian (a star turn by Stephen 'Rushmore' McCole), makes an ill-timed gag about an old friend which kick starts a chain of disastrous events.

It doesn't feel parochial, looks great and has standout performances across the board. I'm of the opinion, as are many industry folk I've spoken to, that it also has commercial potential.

And if you don't believe me, check the latest set of Standard LIfe Audience Award results. After its first screening, the film sits just shy of Moon in second place. Could we have a local winner on our hands?

Later in the evening I was thrilled to meet some festival goers that had already bought tickets to my premiere next week. They have their entire viewing schedule mapped out for the duration of the festival.

It's people like that who make the world go round. Tomorrow we're part of a panel at the U.S. Consulate. Also, I'm booked in the Festival Conversations series. Laughter In The Dark. We'll discuss in public the jokes we don't want to make in public. Should be a passive-aggressive good time. Wednesday the 23rd, 5:30pm in the Traverse Theatre!

As I’m sure you know, many critics have not been kind and I don’t have enough space here to pose a complete counterargument, but I would like to offer a direction of thought.

I can understand the idea that Verona and Burt are obnoxiously perfect and that there is a smug superiority in Mendes’ treatment of them over the other couples they encounter. The New York Times stated that they “inhabit no recognizable American social reality.” I would argue that viewing each of the film’s vignettes as glimpses into any kind of reality is an unproductive way to read this film. Keep in mind, reality isn’t a huge priority for the guy who just directed Romeo & Juliet vs. The Living Dead.

Think of Verona and Burt as Dante traversing a sort of parental Inferno. Each couple they encounter presents us with our fears made flesh, the various ways we could fail our children. Callousness, disillusionment, fanaticism, the unknown terrors of decay and changing emotions, they all take on a mythological tone as we watch these parents-to-be struggle not only to define a future for their child geographically, but morally, spiritually and with a sense of permanence.

This is an unplanned pregnancy for a couple that, like so many in my generation, have not steered their lives toward a paradigm of adulthood (see obvious companion piece Revolutionary Road, might as well be one of the vignettes). Away We Go is a metamorphosis of lovers into parents; or at the very least, we see them clarify in thought the parents they wish to be.

I could better argue that if I had more space, but I’m already too long for a blog. Catch me in person for more. To sum up, stop hating on Sam. He’s one of the good ones.

Though, he added, a full day's schedule of interviews looms during his short stay. He had heard about the Oasis concert tying up traffic, so when he was formally introduced to the audience before the film by director Sam Mendes, he strode up to the microphone and announced: "Ladies and Gentlemen--Oasis!"

As the jurors gathered for the after party in one of several wood-paneled rooms in the University's student union, New Yorker Frank Langella and Sacha Horler, of Sydney, marveled about how light it stayed late into the night here.

Very different from the US or Australia. Langella, who spent most of the pre-party chatting with Connery, went on to say the last time he'd been in this city he was 17 years old as part of a student touring musical performance. He brought his 26-year-old daughter Sarah along for this trip.

Sarah plans to squeeze in some sightseeing and visit the castle tomorrow, along with my daughter Danielle, while we jurors spend the afternoon watching films. Here's hoping John Krasinski can slip away from reporters and find time to do a bit of sightseeing as well.

I met up with Ryan in the Delegates Centre yesterday afternoon to film an interview for EIFFtv and, while it wasn't quite Frost/Nixon, I could tell it was the beginning of beautiful realtionship.

Ryan was accompanied by the co-writer of Romeo and Juliet vs The Living Dead, Jason Witter (more on whom in later posts), and the pair are set to rock the festival in any number of ways. Indeed, after reading Ryan's first couple of entries, I was almost tempted to hang up my Blackberry. Great stuff.

At the Away We Go party that evening I finally got to meet our Jury blogger - the USA Today film critic Claudia Puig.

It's no exaggeration to say that Claudia is one of the biggest names in the world of film criticism and, at the risk of gushing, I'm a little humbled to have her contribute. It says a lot about Claudia that she's willing to chip in with the blog in the midst of a hectic jury schedule.

It's not often at a film festival that you get the chance to see behind the scenes with the Jury. In fact I've never come across a blog from a Jury member, so don't miss the chance to check Claudia's posts. Besides any of which, she's a brilliant writer (sorry, gushing again).

So there we go - EIFF 2009 has kicked off, and the crack blogging team is in place. Why, I feel like the luckiest editor in the world.