Somehow I missed this on Thursday, but apparently so did everyone else, since I didn’t see it linked anywhere. Roger Ebert was hanging out at a post-production studio in Chicago, watching the restored new print of The Godfather, when he was unexpectedly joined by Larry and Andy Wachowski, the famously inaccessible duo behind The Matrix, Speed Racer, and (people forget) Bound. Afterward, he got a chance to chat with them — not in a conventional interview setting, complete with a hovering publicist (the brothers don’t do that, remember?), but over a beer.

Ebert was impressed with the “zillionaires”: “Nice people. Friendly. No Hollywood attitude.” He writes that “[t]he blogosphere paints them as mysterious recluses, which may add to the legend but doesn’t match the reality.” But their being nice and friendly doesn’t make them any less mysterious and reclusive: I’d wager that Ebert only ran the piece because of their reputation for not giving interviews or talking to anyone in the press.

Anyway, it’s really interesting to “hear” them speak, though they mostly talk about the difficulties of keeping a moving 35 mm shot in focus and the brilliance of Coppola’s Godfather shot selection. It’s funny how keeping silent for a while will make such brief, mundane snippets into objects of arcane fascination. (Though since I think the Wachowskis are pretty formidable visual artists themselves, I find their perspective on that sort of thing interesting in its own right.)

No photo, of course; all you get is that old shot of the two admiring a Matrix comic book.

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Flash of Genius is a conventional crowdpleaser but not, I’m pleased to report, a shameless one. Chronicling the true story of a college professor’s fight to reclaim his invention – the intermittent windshield wiper – from the car company that stole it, the film does many of the things you’d expect, but it may also surprise you. Don’t let its Telluride placement fool you: this is a staunchly mainstream, unchallenging film, the sort of underdog-vs.-corporate-behemoth story you’ve seen time and again. But it’s a decent rendition, hitting the right notes without insulting our intelligence.

Now, the intermittent windshield wiper is not exactly the light bulb. If you’re not familiar with the term, the wiper is “intermittent” in the sense that it can pause between wipes – a problem that apparently puzzled engineers at all the major car companies until Kearns cracked it the late 60s. But part of what’s nifty about the film is its ability to create suspense and curiosity around something so seemingly mundane. Kearns’ first demo of his device to Ford is exciting in a very goofy way, but exciting nonetheless.

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Is Jack Black replacing Matt Damon in the Bourne franchise? Thankfully, no, however The Hollywood Reporter tells us the funnyman has teamed back up with Kung Fu Panda writers Jonathan Aibel and Glenn Berger for a live-action comedic take on The Bourne Identity. In the film, Black will play some dude who washes up on the shores of Cuba with no memory of who he is or how he got there. Of course, he automatically believes he’s a superspy (thanks Hollywood!), though nothing could be further from the truth. Sounds like a funny premise — but is Black the right one for the role?

Meanwhile, Sky High’s plant-loving sidekick, Danielle Panabaker, is going back to school. According to The Hollywood Reporter, she’ll star in Chuck Russell’s upcoming sci-fi action film called Prodigy. Based on Dave Kalstein’s book, the film focuses on an elite prep school that takes teaching to the extreme — they make students into geniuses with a “drug-and-diet regimen.” Panabaker will play the smartie daughter of a senator who questions the powers that be. This might be particularly bad for those powers since, as Publisher’s Weekly describes it, the conditioning makes these kids “ninja-assassin geniuses.”

Last but not least, there’s the talented Michael Sheen. Putting aside retro politics and The Music Within, Variety reports that the actor has picked up two new gigs. First, there’s Sam Jackson’s Unthinkable, which dips into the ethics of torture and terrorism, and then comes a little Alice in Wonderland. Unfortunately, there’s zip-all on who he’s playing in these films. At least that leaves us free to speculate — who on Earth will Sheen be in the world of Mad Hatters and White Rabbits?! Not Tweedledee and Tweedledum — that’s Matt Lucas, it seems.

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I haven’t even finished all of my Fantastic Fest work yet (expect a semi-large wrap-up real soon), but my inbox has been flooded with new reports from three other genre festivals. And since I love this stuff, I figured I’d throw ‘em all into one handy section. Let’s begin reverse-chronologically, shall we?

Beginning on October 17 is the small-but-powerful Toronto After Dark festival (October 17 - 24), which aims to fill a post-TIFF void while Midnight Madness programmer Colin Geddes and his staff take a well-earned vacation. I shan’t be able to attend this fine-looking event, but the final slate just came in — and I can definitely vouch for titles like the brilliant Let the Right On, the amusingly bizarre South of Heaven, the splatterific Tokyo Gore Police, and the stylishly nasty Donkey Punch. Among those “ooh, I wanna see that” titles we have Kevin Tenney’s Brain Dead, the comedy horror Netherbeast Incorporated, and I Sell the Dead, which stars Ron Perlman, Dominic Monaghan, Larry Fessenden AND Angus Scrimm. Cool. For more info on Toronto After Dark, click right here.

After the jump: More geeky droolings on L.A. Screamfest and the biggie: SITGES!

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