I either knew or half-suspected that Alfonso Cuaron‘s Gravity, John Wells‘ August: Osage County, Steve McQueen‘s 12 Years A Slave, Justin Chadwick‘s Mandela: Long Walk to Freedom, Bill Condon‘s The Fifth Estate, Ron Howard‘s Rush, Jean-Marc Vallee‘s Dallas Buyer’s Club and Jason Reitman‘s Labor Day would turn up at the 2013 Toronto Film Festival. I didn’t predict this, of course, but I was secretly presuming. And yet for whatever reason I never had it in my head that Peter Landesman‘s Parkland (script reviewed by yours truly on 2.9.13) would be shown there. But it will be apparently.

I just want to be cool, is all. I just want to be free. I just want to think and breathe and speed-walk and imagine for myself. And I’m just saying in part that I agree with Sasha Stone that very few people are going to call the forthcoming Lee Daniels’ film about a White House butler who served under seven presidents (which the Weinstein Co. will release on 8.16)….very few people outside of A.O. Scott and the trade critics are going to reverently and straight-facedly call it Lee Daniels’ The Butler. They’re going to call it The Butler. But I like The Bee better, you see. No biggie is I’m all alone on this, but if those who feel as I do can clap your hands, we can all call it The Bee…and before you know it, that’s what it’ll be.

“In a way…the special effects is just the way of the process. The film itself is not ‘a special effects film.’ In many ways it’s a film that required so many special effects just to make it look like a Discovery channel documentary.” – Gravity director Alfonso Cuaron speaking last weekend to a Fandango interviewer. This quote also: “Like a ballerina who has to be so precise so she can not think about [technique] and just convey emotion…? This was pretty much what [Sandra Bullock] was required to do.”

In the view of Variety‘s Peter Debruge, James Mangold‘s The Wolverine (which I’ll be seeing today at 3 pm) is “an entertaining and surprisingly existential digression from [the] usual X-Men exploits” of the buffed-up, mutton-chopped, “adamantium-reinforced” superhero.

Early this afternoon Blue Jasmine star and likely Best Actress nominee Cate Blanchett and her three male costars — Peter Sarsgaard, Andrew Dice Clay, Louis C.K. — answered questions for about 30 minutes or so in front of a group of 20 or 25 journalists on the 4th floor of the Waldorf Astoria Hotel. Variety critic Scott Foundas moderated.

“You and that other dummy better start getting more personally involved in your work or I’m gonna stab you in the heart with fucking pencil.” — Dennis “left the earth too soon” Farina as Jimmy Serrano in Martin Brest‘s Midnight Run.

From Friday, 7.26 to Tuesday, 7.30, the Film Society of Lincoln Center and AMC will be presenting a Breaking Bad marathon…everything, all of it, start to finish. Under the title “Long Cook: A Breaking Bad Marathon,” the free screenings will happen at the Elinor Bunin Munroe Film Center on 65th Street. FSLC will also present a ticketed event called “Perfect Batch: Breaking Bad Cast Favorites” on Thursday, 8.1. and Friday, 8.2. Creator Vince Gilligan and series stars Bryan Cranston, Aaron Paul, RJ Mitte, Anna Gunn, Betsy Brandt and Bob Odenkirk will introduce favorite episodes and take questions, etc.

LexG/Ray Quick wrote a couple of weeks ago that he doesn’t have clue #1 about what Palestine is or what exactly constitutes a Palestinian or anything along these lines. There’s no short answer but at the very least he could acquaint himself with the territorial and geographical diminishment of the Palestinians over the last 60-odd years and particularly since 1967.

Terry: I don’t know, Charlie. I mean I’m tellin’ ya, I don’t know. This is what I wanted to talk to you about. Charlie: Listen, Terry, you know what this movie costs? You know how many millions are at stake here? You think they’re gonna risk even a small piece of this over one rubber-lipped…what the hell? Terry: I’m tellin’ ya I haven’t made up my mind yet. Charlie: Well, make up your mind before we get to 437 River Street!

Respected and renowned for his whispery mood-trip films and for indulging in meditative reveries to a point that these reveries become the whole effing movie, Terrence Malick seemingly lives in a state of coddled denial. His producers, Sarah Green and Nicolas Gonda, apparently see to that. He lives to “paint” and dither and toss lettuce leaves in the air. Indulged and allowed to operate within his own cloistered realm, Malick doesn’t just take eons to edit his films — he apparently decides not to make films that he intended to make if the elements don’t feel right or…you know, if they haven’t come together in his head or if he needs to shoot a bit more or whatever.

This is indicated by a 7.21 New York Post story by Isabel Vincent and Melissa Klein that says Seven Seas Partnership, a London-based company, is suing Malick for the $3.3 million it provided to fund Malick’s Voyage of Time, which was supposed to be some kind of trippy, loose-shoe cosmic IMAX trilogy that would have amounted to two (2) 45-minute IMAX films plus a feature. Who would want to watch that much footage or that many films about the origins of earthly creation or whatever the fuck by way of Malick’s fingerpaint mise en scene?