6:55 pm. Typing without a net for the first time, making my live blog debut. So indulge me while I get the hang of it—this notion of journalism as one of the performing arts. Or performance art, given that I’ll be typing in an living room of full Oscar watchers. I’m at an Oscar party hosted by Helga Stevenson, former director of the Toronto International Film Festival. Most guests haven’t arrived yet.I’ll be doing this, somewhat non-stop, for almost as long as a flight from Toronto to Vancouver.
6:55 pm. Typing without a net for the first time, making my live blog debut. So indulge me while I get the hang of it—this notion of journalism as one of the performing arts. Or performance art, given that I’ll be typing in an living room of full Oscar watchers. I’m at an Oscar party hosted by Helga Stevenson, former director of the Toronto International Film Festival. Most guests haven’t arrived yet.I’ll be doing this, somewhat non-stop, for almost as long as a flight from Toronto to Vancouver.
We’re watching Ben Mulroney and Jeanne Becker. Jeanne was actually here last year, watching the show at Helga’s house. Ben has hair that looks like it’s been laminated, a hemet that makes Stephen Harper’s look like Mick Jagger’s.
“It’s Juno’s world and we’re just living in it,” Ben Mulroney tells Juno director Jason Reitman.
“I don’t have a speech ready,” says Reitman. “I’m not going to win tonight. There’s a certain joy in knowing your not going to win. I still can’t believe I’m here. It never creeped into my mind.” When Ben says he’d like to see Juno nominated for a Juno. I guess he means a Genie, or that’s how Reitman interprets, as he asserts the CanCon of his film, although it’s not considered a Canadian production for Genie purposes. “We’ve made a Canadian film,” he says, “and its time for Canada to realize that.”
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