Fantasia 2016, Day 2: Some Monsterism (Guillermo del Toro press conference and master class, The Dark Side of the Moon, Creature Designers — The Frankenstein Complex, and Rupture)
Friday, July 15, began early for me. I headed down to Fantasia’s De Sève Theatre to watch a 2 PM press conference with the winner of this year’s Cheval Noir Award, Guillermo del Toro. I’d already decided that afterwards I’d head to the festival’s screening room and watch one of the movies I’d be unable to attend due to a scheduling conflict, a German suspense thriller called The Dark Side of the Moon. Then I’d go to the Hall Theatre to watch Creature Designers — The Frankenstein Complex, a documentary about the makers of movie monsters in the 1980s and 1990s. That was to be followed by a master class on monsters given by del Toro to the Creature Designers audience. I’d wrap up my night with Rupture, a suspense movie with science-fiction elements.
You can watch the hour-long press conference with del Toro here. A few things struck me, then and also now as I look back in the light of hindsight and of other movies I’d see at Fantasia this year.
As del Toro recalled his start as “part of a monster-kit geekdom,” I found him remarkably and indeed touchingly open about his love for monsters. From his discussion of learning English by reading issues of Famous Monsters of Filmland with a dictionary, to his analysis of Frankenstein’s monster as a holy figure (and it’s worth noting that he never simply said “Frankenstein,” but always “Frankenstein’s monster”), del Toro emphasised the power and meaning of the monstrous and how the idea of the monster has inspired him and his filmmaking voice. He recalled making Blade 2 where he told star Wesley Snipes that he didn’t understand Blade or why Blade was killing vampires — Snipes should take care of Blade, and del Toro would handle everything else.
Last time I was talking about the idea of there being a time to railroad. In other words, that there’s a time when the supporting technology, or maybe just the zeitgeist, allows for a concept or invention to finally flourish. The railroad itself is the ultimate example of this idea technologically, and you can look at 
Thursday, June 14: as good a day as any to begin an adventure. I walked downtown that afternoon under looming clouds to Concordia University’s EV Building, where I picked up my accreditation for the 2016 edition of the Fantasia International Film Festival. I’d been looking forward to writing about this year’s festival for Black Gate virtually since last year’s had ended. Now things were finally about to begin. A laminated press pass, a festival schedule, a thick program book: the guide to the adventure unfolding over the next three weeks, to fantasy and horror and science fiction and a lot more.