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Will Bell Lightbox kill indie cinemas in Toronto?

Posted by Guest Contributor / August 26, 2010

Bell LightboxAs the city gears up for the 35th annual Toronto International Film Festival and the grand opening of the Bell Lightbox this September, much attention has been focused on the changing face of local film exhibition.

With its impressive facilities and a mandate to screen first-run films, retrospectives and specialty programming, the Bell Lightbox has been positioned by the Festival Group as a much-needed locus for film culture within the city, as well as an opportunity to bridge the gap between commercial multiplexes and artist-run centres.

Still, there has been some cynicism as to whether the new facilities will ultimately shift attention away from some of the more venerable independent theatres in the city by offering up a state-of-the-art venue to house smaller festivals and screen non-blockbuster fare. While this obviously has yet to be seen, a look back at the history of film exhibition in Toronto reveals that the city has always had an ever-evolving and rather complicated relationship with the medium.

Red Mill TorontoWhile Toronto had its first taste of "moving pictures" at the Industrial Exhibition of 1896 with the debut of Thomas Edison's Vitascope, the first permanent movie house built in the city was The Theatorium (later the Red Mill) at 183 Yonge Street. Opening in 1906 with a screening of Edison's own "The Train Wreckers" (1905), the theatre was a meager one hundred feet by seventeen feet, and cycled twenty-minute programs comprised of short melodramas, comedies, and travelogues.

A lecturer stood at the front of the theatre and entertained audiences with playful anecdotes that were designed to distract viewers as projectionists prepared the next reel. Spectators sat and stood in the gallery, and were encouraged to move up as each patron exited the theatre in order to ensure that there was an efficient turnaround.

Auditorium TorontoThe venue was popular enough to set off a wave of new theatres in the city, with other notable locations including the Auditorium (later the Mary Pickford Theatre) at the northwest corner of Spadina and Queen (now a McDonald's), the Comique Theatre at Yonge and Dundas, the Revue Cinema (1912) at 400 Roncesvalles, and the Fox Theatre (1914) at Queen Street East and Beech Avenue, the Eglinton Grand (1936) on Yonge and the Kingsway Theatre (1939) at Royal York and Bloor.

The current Bloor Cinema opened in 1905 as the Madison Theatre, and it held a Class A license, which permitted both theatrical performances and film screenings. The venue would go through a number of transformations over the course of the next one hundred years - in 1941 it would become a Class C establishment (showing vaudeville and movies) renamed the Midtown; in 1967 it would become the Capri Theatre; and in 1973 it reopened as an adult movie house known as the Eden. It was only in 1979 that the venue was christened the Bloor and transitioned into a repertory cinema. (A bit of trivia: the original Bloor Cinema was actually housed across the street in what is currently Lee's Palace.)

The current Elgin and Winter Garden Theatre started its life in 1913 as the Loew's Yonge Street Theatre, with the upper level Winter Garden Theatre opening up the following year. The shift away from vaudeville to motion pictures led to the closure of the upper level in 1928, and the downstairs became a movie-only venue from 1930 onward, with the Canadian premieres of /Gone With the Wind/ and /The Wizard of Oz/ taking place at
the facility.

With the introduction of Cinemascope, structural changes were made to the building that led to the removal of opera boxes, orchestra pit and proscenium arch, and the building was sold, re-branded the Elgin, and transformed into a second-run movie house during the 1970s. It closed its doors in 1981, only to be designated a National Historic Site and restored as the last remaining "stacked" theatrical venue later in that decade.

Like the Madison and the Elgin, many entertainment venues in the city evolved throughout the century to meet the changing demands of patrons. As mass film audiences became more rare with the rising popularity of television, many large single-screen theatres like the Uptown (at Yonge and Bloor) and the Imperial Six (at Yonge and Dundas, now the Canon Theatre) were converted into multi-screen venues, and were later either demolished or converted back into live theatre venues as an indirect result of the introduction the "Cineplex" concept by Canadian theatre mogul Nat Taylor.

Eaton Centre CineplexOn April 19th , 1979, Taylor opened the Eaton Centre Cineplex - the then-largest cinema house in the world, with over eighteen screens, staggered start times, and computerized ticket machines. Originally conceived to revitalize the second-run film industry, the concept soon spread to the United States and revolutionized first-run film exhibition.

The popularity of this format influenced to the closure of many small cinema houses, and eventually led to the development of corporate "mega-plex" cinemas like the AMC at Yonge and Dundas and The Queensway in Etobicoke.

Still, even as commercial interests have dictated the direction of cinema exhibition over the last century, conscious efforts by members of Toronto's film community and organizations like TIFF have ensured the survival of beloved cinema houses like the Bloor, the Revue, and the Fox by maintaining them as welcome alternatives to "mega-plex" model.

While the opening of Bell Lightbox does indeed signal a significant change for Toronto's cineastes, TIFF director and CEO Piers Handling has gone on record as saying he hopes that the new screening facilities will inspire and encourage Torontonians to seek out non-commercial cinematic fare all over the city. And with the creation of a complex dedicated to the preservation of film rather than one privy to the whims of an ever-fickle commercial audience, Toronto may finally have a permanent home for its film culture.

Writing by JP Larocque. Additional material from the City of Toronto Archives and Peter Morris' "Embattled Shadows: A History of Canadian Cinema, 1895-1939" (McGill-Queen's University Press 1978), and the Archives of Ontario. Bell Lightbox photo by Canmark on Flickr.



deanween / August 26, 2010 at 12:56 pm
it's sad to see so many theatres have disappeared.
bRod replying to a comment from deanween / August 26, 2010 at 01:31 pm
Theaters are disappearing all over the world, and its not because of the Bell Lightbox. Its because of home theaters, 3D theaters and the computer you on right now
David Simmons / August 26, 2010 at 01:35 pm
The Cinematheque film series is moving into the Lightbox this Sept. from its long-time home at the Jackman Hall Theatre in the AGO. I've just been notified through the mail that the Lightbox will be doubling basic membership fees for the Cinematheque to mark the event. As a consequence, I will be dropping my Cinematheque membership as I don't see enough films at it for it to be worth it. The Lightbox will almost certainly be a nicer environment than many indie theatres in Toronto, but will it be as affordable?
Eric Veillette / August 26, 2010 at 02:11 pm
Great post! For the record, however, the Madison/Midtown/Bloor did not open until 1913, despite what the owners say.
asad / August 26, 2010 at 02:16 pm
i miss the Eaton Centre Cineplex , me and my friends would skip afternoon class in middle school and watch movie there for like 3$ and they had some great arcade games
anna karenina / August 26, 2010 at 02:37 pm
im not sure what "indie cinema" you're referring
skaught / August 26, 2010 at 07:39 pm
bob / August 26, 2010 at 11:29 pm
This will atleast revive passion for indie films... but even the Carlton Cinema almost faced death.
Ed / August 26, 2010 at 11:32 pm
I'm still waiting for Mies' theatre to re-open! (As if)...
bob / August 26, 2010 at 11:33 pm
the building is quite nice tho
agentsmith replying to a comment from David Simmons / August 27, 2010 at 09:36 am
Exactly. I expect the Lightbox will largely price itself out of the market, and will end up being only for the higher-end festivals and such.
Alan Bacchus / August 27, 2010 at 12:14 pm
Nice article. Thanks.
I don't think the reps will die out because of Lightbox. The neighbourhod locality of Kingsway, Revue, Fox has a good foundation of local support.
And it's good healthy competition if anything.
Ramon Vanderlinden / September 9, 2010 at 12:43 pm
My fear is that the Toronto Cinematheque will become like the Canadian Opera Company, as an example, in its posh new cinemas, and become a venue only for people money to spend. For myself, I'll support the local rep cinemas and "attend" the film festivals on TCM.
eb / September 13, 2010 at 02:30 am
IF the Bell Lightbox wanted to be successful in its "grand opening" today September 12th, then why is it showing a defamatory, libelous, pornographic film which will destroy an innocent person's life? The city of Toronto, --and the film going public--needs to know what thieves ERROL MORRIS and his sleazy lying "producer " MARK LIPSON are and how they got their "material" for their pornographic film "TABLOID"!!! DON'T waste your money to go see it folks! It is a solid lie and slanders victim Joyce McKinney. What they did to her is outrageous and they DESERVE the twenty million dollar lawsuit they are going to get! Here's what happened: In July of last year, a sly woman-- a wanabe named AJAE CLEARWAY approached Miss McKinney. She lied to Miss McKinney--telling her she was "working for Oscar winning director Errol Morris, from SHOWTIME NETWORK doing a series for television about innocent people whose lives were destroyed by slander and libelous stories from the tabloids". Miss McKinney is a former Miss Wyoming from a very religious family, who was the victim of a tabloid PRESS HOAX for 22 years! Her TRUE story has never been told! And creep ERROL MORRIS certainly doesn't tell it. He is going to be sued for twenty million dollars and any distributor dumb enough to buy his celluloid trash (SPREAD THE WORD) will be subject to a lawsuit as well! SO BUYERS BEWARE. STAY AWAY FROM THEM. DON'T TOUCH THEM WITH A TWENTY FOOT POLE! Moreover, if you want the TRUE Joyce McKinney story, then go to Joyce herself. THE FACTS: In July of last year AJAE CLEARWAY, representing ERROL MORRIS came to Miss McKinney and said she wanted to do a "short interview" for SHOWTIME NETWORK. She pretended to be friendly to Miss McKinney, telling the trusting woman that they "wanted to help her clear her name from the tabloid ordeal" in order to gain her trust, as she normally does not give interviews. This poor lady has been harassed, chased, and slandered by the tabloid press for 33 years with a Mormon- sourced libelous FALSE story that she "kidnapped and raped" a Mormon in 1977. The Mormon man was a huge hulking 200 pound 6'5" MAN and in 1977 (when the original story happened) she was 112 pounds, a gorgeous model who ran for the MISS USA beauty title. A Mormon named Kirk had asked her to marry him and they were happily planning their upcoming marriage when suddenly he vanished into thin air. With the assistance of a detective, Joyce found him in England where he was under the brainwashing of the Mormon cult. He was in a disassociative state, his eyes dialated, chanting about polygamous Mormon prophets, etc. It was three days before he came out of his "cultic trance" but after he had normalized they again made marriage plans and went sightseeing into London where they were having lunch at the crowded Hard Rock Cafe when Joyce and Kirk saw what would be the first of 33 years of false and defamatory headlines which would ruin Joyce's life, career and reputation. The Mormon-sourced headlines said "BEAUTY QUEEN KIDNAPS AND RAPES MORMON". Of course, the cult's PR teams and spin doctors were doing damage control--spreading this lie to save their multi- million dollar Mormon Image -- since their street recruiters, which they erringly call "missionaries"-- are not supposed to fall in love. But anyway, they spread this lie to the tabloids. They told the police another false story--that she had "falsely imprisoned him and carried him away" (almost humorous since he was 6'5" tall weighing in at 300 pounds and 112 pound Joyce couldn't lift his leg!) The Mormons tried--but failed to imprison the poor woman, who had no criminal record and was a Sunday School teacher, and a virgin at 26 who had never even gone to bed with a man. They Mormon cultists had her charged with false imprisonment (NOT kidnap and rape, as the tabloids said!) but failed to imprison her after they went into collusion with a trashy pornographic British tabloid who bribed a dishonest apartment caretaker to break into her home and use a crowbar to prise open a steamer trunk full of pictures, which he sold for thousands of dollars to a British tabloid, who was in league with the Mormons to discredit her, as well as to make newspapers sales for themselves. The tabloid then smuggled the burglar to Mexico so he could not be prosecuted for breaking and entering. They used the stolen photos which they altered--superimposing her head on someone elses's naked body-- and even slandered her by calling her a prostitute--a vicious lie, since she was actually a 26 year old virgin when she got engaged to Kirk, her fiance. SInce in England, it is illegal to SUBJUDICE A CASE because the defendant cannot get a fair trial of "twelve jurors tried and true", the case was not pursued by the British courts. Joyce went back to America to try to pick up the pieces of her shattered life, but the tabloid press would not let her alone. They lines up in rows in front of her farm house, sitting in trees outside her house, and even putting on rubber boots to wade through the river to get shots of her in her home. For 33 years they continued to spread this Mormon-sourced tabloid PRESS HOAX (that she kidnapped and "raped" him--although there was not a scintilla of truth to it.) this innocent young woman life was destroyed. Her father had a nervous breakdown, her deeply religious mother had to have seditives to help her sleep and to dull the pain the tabloid lies caused, and Joyce, once an outgoing happy bubbly girl--became withdrawn and depressed, battling agoraphoba and feelings of low self worth and even thoughts of taking her own life. She was afraid to date, for fear if she even kissed a guy he'd go sell a story for $50,000 that she had "raped" him. She was afraid to make a friend, as stories on her went for $150,000 and up. Anyone who was a crook or a hoodlum saw it as a quick way to make quick buck. But in the end it was Joyce who paid for the slander by others. Her reputation and career destroyed, she became a recluse, trusting only animals instead of people, and she tried to keep her faith in God to keep going on. In 1996, she had another tragedy when some local hillbillies --thinking it would be a hoot to hurt that Joyce McKinney who they disliked due to tabloid news stories they'd read and been influenced by--altered a prednizone prescription on a guard dog which her family had to keep reporters out of the yard. The poor animal went crazy and died that night, but not before attacking Joyce. Her left arm was amputated, and three fingers on her right hand. This beautiful model who was a classical pianist who had once run for the MISS USA beauty title, who played the guitar, who loved showing her horses, suddenly found herself without the use of her hands. She was in surgery 14 hours while doctors worked feverishly to save her life and re-attach her limbs. They succeeded, but Joyce was left without the use of her hands. But SHE DID NOT bemoan her fate, she simply began rescuing dogs from kill pens at pounds and began training them to help other handicapped people. And she trained her own service dog Booger to be her "hands". Booger was an amazing dog who could open doors with his teeth, answer the phone, and get towels. He helped this very special lady, to get her courage back. Together, they went all the way to the Supreme Court of the land to fight--and win--a landmark civl rights case, so that handicapped people could go in public place places with their service animals. Joyce wanted to make a difference in other people's lives. She is that kind of person. Then in 2004 four hurricanes ravaged the south, --Ivan, Francis, Rita, and Katrina--and flood waters covered the little farm where she lived. She had to sit on a hillside and watch as a wall of water, like an angry black hand, washed over the her home, and even the yard she had played in as a child. This brave woman, although handicapped, had to literally swim for her life. With her elderly father and a horse who had lost a leg in the horse trailer behind her, she crawled in the dark up a hillside to the closest neighbor. With the batteries in her flashlight dying, she struggled to live, and to save her loved ones, as she clawed her way though thick brush. She was so determined to save her loved ones that she didn't even feel the barb wire fencing cut her flesh, or the thorns hurting her arms. She thought only of their survival. When she got to the top of the hill where her neighbor's house was, she pounded frantically on the door. "HELP ME!" she screamed "My father and pets are below in the horse trailer, and the water is getting higher. Hurry, bring your truck and come help them!" It is amazing how ignorant people actually BELIEVE the libelous press stories about her--and then react in a hostile way she does't deserve. Refusing to help her, the cold hearted neighbor took one look at her, and said "YOU'RE Joyce McKinney--from the tabloids. You're dripping on our rug" and shut the door in her face, with her father and pets drowning below! In other words, they had been so affected by the libelous tabloid news stories, they were going to let Joyce and her father and pets, drown. Well that made ol' Joyce more determined than ever. Even though she was crippled and hand disabled...she turned around and crawled back down the hill. And she saw this old tree, its arms outstretched to the sky. And she kneeled down in the water, with the hurricane winds blowing around her and she said "God, it you let us survive, if you don't let us drown, I'll go to a big city, and I'll some how get the courage to tell my story, no matter how painful it is. I'll expose what the Mormon cult did to me and what they are doing to destroy people. Just give me the courage to get though my pain and just please stop the storm." And suddenly, as if He had heard her, the rain began to slack, and the hurricane winds began to be stilled. And all grew quiet...and she went over to her old pickup, and she took some McDonald's kepsup package and she caught some water in a cup and made some cold soup, and she survived for three days, cold and wet, with her dog and a dying badly wounded horse and her elderly father. And as soon as the flood waters went down and the National Guard thought it was safe enough to go back into her home, she went. There was four feet of water, and she risked her life falling into sinkholes, but she made her way back to her home, to get the materials for her book--MEMORABILIA which she had once turned down TWO MILLION DOLLARS from Penthouse when that magazine tried to buy the story and she had turned them down because she was a Christian and they had nudity in them. Money wasn't important to her, but Truth was. Also, she wanted to save the life rights for a LEGITIMATE BOOK PUBLISHER and LEGITIMATE FILM studio, and for the right time. So, as soon as the highway people cleared the trees off the road, she buried her little horse under its favorite tree, salvaged what she could from her wet flooded clothes and flood soaked furniture, and she started driving to a big town to find an agent and publisher. She just stepped out on Faith. She had a fancy agent in three days. (He represented film greats like Paul Haggis and James Elroy.) And she sat about to writing. Again tragedy struck when someone broke into her truck, stealing documentation and court records of her story--apparently "someone" didn't want the story done or the truth exposed. She also learned that Mormon cultists lived across the street of the house where she was staying and that her best friend --a fatherly man who had taken her in after the flood--was from a MORMON family. All she had left was some suitcases of pictures and a photograph album of 33 years old news clips, along with a film treatment called "A Very Special Love Story" which she had written in 1977-78 in case someone like the dishonest LIPSON and MORRIS tired to steal her story. But she believed. believed that one day her script and book containing the TRUE Joyce McKinney would be bought and her TRUE story told and her name cleared til she could hold her head up high. At least that was her dream until sleazy ERROL MORRIS and his cronie MARK LIPSON got a hold of her and started the whole tabloid nightmare all over again, opening old wounds and renewing her pain. Here's what happened: In July of last year a woman named AJAE CLEARWAY called Joyce. She claimed she was doing a documentary with "Famous Oscar winning film director Errol Morris". She lied and said it was for a series for SHOWTIME NETWORK about people "whose lives had been destroyed by tabloid headlines." IT WAS A RUSE, OF COURSE, for they knew Joyce would never talk to them if they told her what their TRUE purpose was--to turn the tabloid trash into a film so they could fill their greedy pockets. They were so DECEPTIVE! Anyway, NO SUCH SHOWTIME "TV SHOW" EXISTED. It was all a lie. But CLEARWAY had really buttered Joyce up--taking her to get her hair done, hugging her in a sisterly fashion, and pretending she wanted to help Joyce "Clear her name". CLEARWAY knew what buttons to press and that Joyce was trusting and vulnerable. Then she sent a car In September to pick Joyce up for the "short interview" for "Showtime". When Joyce walked into the set, it looked like a real studio, so she thought it really WAS for Showtime. She did not know that Errol Morris was actually making a pornographic film TO MAKE FUN OF HER and to make it appear that she was a "KIDNAPPER RAPIST" or that he was going to lie to the world and make it "appear" the tabloid press hoax fabrications were true. She only gave these crooks an interview because they told her they wanted to clear her name, NOT SLANDER it! Anyway, they three of them (LIPSON. CLEARWAY AND MORRIS) had the whole thing planned. MORRIS would keep her busy on camera, and while he had her on camera, Lipson and the others would plunder and ransack her luggage to see what they could find. And folks, Lipson literally ROBBED her. He and his cronies stole pictures of her as a child out of her suitcase, playing with her dogs and horses. He also invaded her parents' privacy (and yes, they'll be suing too!) by stealing pictures of her with her mom and dad in their living room. He invaded their privacy by using (without their consent) pictures of their private home (when CLEARWAY had promised her they would not give their home address out to the press!) The worst thing he did was to steal two FILM TREATMENTS that Joyce had written herself. One was a film treatment called "A Very Special Love story" which she wrote in 1977-78, about the famous love story and the Mormon Press Hoax. The second was called "To Clone My Friend" and was about her first service dog Booger who passed away. LIPSON apparently recognized that she had writing talent and that the cloning story would be good as a movie as well, the sneak! (Actress Virginia Madsen's people had requested a synopsis on the dog cloning story, and a copy of the script when she finished it. Joyce did her PhD. in Film and was quite capable of writing it herself, with a special computer for a handicapped person.) But MARK LIPSON took these treatments, and was so sloppy in his burglary, that when he stole them to make copies, he KEPT THE ORIGINAL, which was written on pink paper with an old manual typewriter in 1977, and then when he reproduced them on a zerox machine, the pink paper reproduced grey. And he gave this grey copy--with pages missing--back to Joyce, which is how she knew he stole them. He also took pages she had typed up from her personal diary, which was not for anyone to see, as they were very private. And he had helped himself to the pictures (worth thousands of dollars) which she had planned to use for her upcoming book. A British reporter once told her that a picture of her went for about ten to twenty thousand dollars! He also told her that every ward which came out of her mouth was worth around $2,000 pounds--because she was an international news figure. He also ripped the pages out of her British scrapbook, which she treasured and had in a special cover to keep out dust for 33 years.
Errol Morris was such a tight wad that he gave her nothing--nothing that is except a crooked lawyer and a trainer who was responsible for the death of her beloved service dog, which as a handcapped person, she desparately needed. Here's how greedy producer
LIPSON blackmailed and forced her into sign a contract she had no desire to sign! What he did to her is SICK. Here's what happened: In November of last year, a street druggie and ex convict broke into the kennel where her service dog was being kept while she worked on the documentary and her writing. As Joyce went there to drop off his dog food, she saw street hoodlums breaking into his kennel cage, and they were hitting her beloved service dog Jazz Puppy (who'd taken over after Booger's death from cancer) on the head with a metal pipe. When the burglars realized they were caught, they called the pound, complaining that the dog went for them. With Joyce crying hysterically, the pound came and took Joyce's beloved service dog to the pound to be killed. Now Joyce was frantic, she tried everything for four months to save her old friend who had worked taken care of her for four years--opening her doors, taking off her socks, even pulling open the sliding glass doors with his harness. He seemed to sense it hurt her hands. She really loved that little service dog, and now he was in the pound on death row. Joyce made herself sick, sitting up all hours of the night with her crippled old hands trying to E mail rescue groups, animal rights groups, the governor--anybody who would try to save her old friend. One day--as Jazz Puppy had only days to live--she sat frantically trying to type E mails, which is hard for her since she doesn't have the use of al her fingers, when Morris producer LIPSON came trespassing onto her property. It was bad timing and she didn't feel like messing with him that sad day. She was exhausted--She'd been allowing herself only two hours for sleep per night for four months while her service dog was in the pound kill pen. She was near collapse. Suddenly MARK LIPSON appeared at her doors, vigorously and loudly pounding in a furor. "COME OUT JOYCE" he demanded in a loud voice "OR YOUR DAM DOG IS GONING TO DIE!" He was out there on her front porch bugging her, literally for hours, and refused to go away until she came out. For hours. She could not focus to write the E mails with him out there, so she finally went out hoping to get him to go away. He then assaulted her by grabbing her arm (the one which was amputated, and held together with pins and screws from many surgeries, and scarred) and he twisted it as she screamed out in pain. Then he literally STABBED her right hand with a pen screaming "SIGN OUR DAM CONTRACT OR YOUR DOG WILL DIE!" The poor woman, who is partially blind and could not even read the contract, begged him to let a lawyer to read and interpret it for her because she couldn't see, nor could she understand the legal words she was sure the contract had. But he continued to scream "There isn't time. Your dog dies next week (which was true) and Errol Morris will get you a lawyer and save his life if you sign this dam contract. Mark Lipson was unbelievably cruel and pushy, and had her in tears. As an elderly handicapped person, she needed the service dog to help get her in and out of the bath tub, open doors remove her socks, and guide her in the dark. Ignoring her frightened face and her tears, LIPSON gritted his teeth and grabbed her hands, forcing her under SEVERE DURESS to sign a contract she had bad vibes about signing, and had refused to sign before now. With shaking signs, unable to even read the contract he was forcing her to sign under duress, and to save her friends life as she had no money for a lawyer, she signed while crying hysterically "I don't want to sign. I don't want to sign!" but he forced her under duress to sign. And did LIPSON AND MORRIS kept up their side of the bargain? Oh no! instead of getting a DECENT COMPETENT lawyer to save her beloved Jazz Puppy's life, they instead got a crackpot who wouldn't even return her calls or prepare for the court case to save him! And LIPSON paid a corrupt trainer $2,000 and the trainer (who Joyce had told sternly NOT to go around her dog because she sensed he was a crook and inexperienced with Shultzhund trained dogs!) He went anyway...deliberately agitating the dog inside his cage where he had been starved for four months. Then he filmed it in collusion with the cruel pound killer who then took the video to a corrupt judge and said "This dog is vicious. Kill it! " and they did--after torturing the sweet noble boy as he fought for his life. The pound killers took a kill pole and choked him until his eyeballs popped out. (The autopsy said they were filled with blood.) His teeth were broken off and his jaws cut where he tried to grab the kill pole as he fought nobly for his life. The pound killer hit him with a tranquilizer gun to immobilize him while she stabbed his lungs to deflate them WHILE HE WAS STILL ALIVE. He fought so hard to live, because he knew that his beloved Joyce needed him, and as they killed him on a holiday so no one would hear his cries of pain. In the meantime, the crooked "lawyer" creep Morris and Lipson had hired, did not show up for a stay of execution. Seeing they were going to kill her beloved boy, Joyce painfully stood clutching a walker in line for hours at the courthouse, trying herself to get a stay of execution. When she could to the counter the woman said a "lawyer had to do it", and Lipson's crummy lawyer had not showed up! Meanwhile Joyce had such a bond with the dog, she sensed when the pound was killing him...She began to sway and got dizzy. She began to scream "They are killing my dog! Help me!" but the counter woman would not hel,. and so her dog was tragically killed. All because of liars MARK LIPSON and ERROL MORRIS who had promised to help her--deceiving her to get her to sign a contract to help cover up the September burglary. When Joyce called Mark Lipson to tell him his actions had cost her beloved service dog his life, he was totally unaffected. He behaved like a psychopath, feeling nothing and not even reacting. Why? Because he had again tricked her into signing a contract and that was all he wanted. He had had a crooked lawyer word it so he would get out of the burglary into her suitcase, to make it appear she had given him"permission" to use her photos in his and Morris' sick pornographic documentary! And she had NOT given them permission to rummage through her suitcase or to take her materials, pictures, or film treatments. And the trashy libelous documentary TABLOID that you see at the TORONTO Film festival is sick, pornographic, defamatory and libelous. Friends and family of Joyce are worried that this will cause her to have a heart attack as she is a heart patient and the stress from what LIPSON and MORRIS have done to her has since weakened her heart and sent her to the hospital. although her spirit is strong, her body is frail, but she does not want to dies without telling HER story, as Morris certainly didn't do that! He was so dishonest, he even edited and ALTERED the interview he did with her--leaving out a key element--a taped recorded conversation between her and her fiance that proves her innocence and as well as the Mormon cult's guilt in orchestrating a worldwide press hoax to discredit her! Some "documentarian" ERROL MORRIS turned out to be! In reality, his work on this picture is a big joke! If Errol Morris is an "Oscar winning" director and the best Hollywood has to offer then Hollywood is in trouble. These "filmmakers" are no better than the tabloid hoodlums they claimed to be criticizing in order to deceive Joyce and get her co-operation for an interview, which again, has been deluted and edited, and does not represent what she actually said--Morris actually protects the guilty parties (the Mormons) by intentionally leaving out the key telephone conversation (taped) wherein Kirk says he wasn't kidnapped or raped but that the Mormons made the story up and gave it to the press to save their image. MORRIS and LIPSON had this on tape, which PROVED HER INNOCENCE but did not include it in their sick film. Instead, they wasted time with had a porno photographer WHO HAD NEVER EVEN MET JOYCE AND DID NOT KNOW HER STORY ONLY WHAT HE HIMSELF HAD READ IN THE TABLOIDS, plus another sleazy man who had once made sexual advance to Joyce who rejected him, and didn't like her. Both jerks who knew NOTHING ABOUT HER STORY OR THE EVENTS IN ENGLAND--as well as a TABLOID REPORTER who knew nothing about her and who in fact had only been with her once at a film premiere in London which they both attended. MORRIS did not interview any of her friends who actually knew her or anyone who was present in England. Their research was non existent. They even lied to Joyce when they told her they would go to England to get court records. In fact, THEY DECEIVED HER ALL ALONG, knowing that such filth would reopen all the pain for her and start her psychological trauma all over agin. (Morris was such a low life that he and the corrupt Lipson had the audicity to offer to pay for counseling after he destroyed her life.) These people are scum, and they do NOT have the true JOyce McKinney story in their porno film TABLOID. Errol Morris' pornographic film TABLOID is NOT The Joyce McKinney Story!!! And the "review" THOM POWERS wrote for the film festival is libelous and defamatory. Miss McKinney can now sue, not only ERROL MORRIS and LIPSON for millions of dollars, but the TORONTO FILM FESTIVAL as well for even having the nerve to show such pornography, as well as to print pictures stolen out of her suitcase by Lipson. Lipson's fingerprints are all over her luggage handles--providing proof that can have him prosecuted for theft. Why did they not do the TRUE version if her story? It was out there--a story about a brave woman's ordeal with a cult that has destroyed the lives of thousands of people around the world, and her courage in fighting them and their tabloid allies. Instead, Morris chose sensationalism and filth. He took tabloid trash and turned it into film. He is disgusting. No wonder RANDALL ADAMS, the subject of his previous film ("Thin Blue Line") SUED him. Joyce McKinney will sue him too. If you readers out there see this, and if you have compassion for this woman and the pain she had suffered, please help by E mailing the Toronto FIlm festival that you WANT THIS TRASHY LIBELOUS FILM REMOVED from this week's showings as it will CAUSE IRREPAIRABLE HARM to a little old handicapped lady who never did anything wrong but love someone, and try to rescue him from a well known non-Christian CULT. It is about a fine gentle lady who has BATTLED FOR 33 YEARS TO CLEAR HER NAME. If any press people are willing to sign in WRITING that they will print the truth, Joyce will talk to them. Her press line number where they may leave a message for her is 718-406-1089. ERROL MORRIS and MARK LIPSON need to be exposed for what they have done to this gentle lady for the sake of their own GREED and quest for fame.
ExPat replying to a comment from eb / September 13, 2010 at 08:21 am
Anybody bother to read that?
JRO / November 25, 2010 at 05:46 pm
That was awesome. Hahaha. There was no way I was reading that.
Strange Magic replying to a comment from JRO / February 25, 2011 at 05:18 am
Plain evidence that most Mormons are religious fanatics who talk shit.
eb / February 27, 2011 at 03:38 pm
The above is 100 per cent true. You the Ignorant should read it closely and learn the FACTS.
And Ms. McKinney is NOT a Mormon. Your comment would insults her as she is totally opposed to the Mormon cult because of its false doctrine, its human rights abuses, and the way they used their corruption and media power to slander her good name.
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