TIFF Long Take: Recent Episodes
TIFF (Toronto International Film Festival)
TIFF Long Take is the show that talks to the smartest people in the industry to answer the big questions about what, why, and how we watch. Each week, hosts Rob Kraszewski and Geoff Macnaughton are joined by insiders, journalists, and creators who provide mind-changing insights into the world of the moving image.
This week on TIFF Long Take, Rob and Geoff speak with Ilana Glazer and Abbi Jacobson, stars and creators of the hit television series 'Broad City'. The show, which launched as a web series in 2009, will end it astonishing run this year after five critically adored seasons on Comedy Central.
Glazer and Jacobson talk about the early days of 'Broad City', how they have grown as artists over the last decade, and how they formed a relationship with the show’s Executive Producer, Amy Poehler.
They also discuss the state of comedy in 2019, the guest stars they tried, and failed, to get on the show, and their favourite episodes from the shows run.
This week on TIFF Long Take, Rob and Geoff speak with Nathanaël Karmitz, Managing Director of the mk2 audio visual group, about France's unwavering appetite for the theatrical experience. With many arthouse and independent theatres struggling worldwide to attract patrons, France's culture of movie going seems stronger than ever. Last year – despite the massive growth of SVOD audiences worldwide – French arthouse theatres saw record attendance, selling over 45 million admissions, or about 25% of countries' overall cinema entries that year. Karmitz talks about how the French are taught to think about film as art rather than entertainment, why their interest in foreign cinema has stayed so strong, and why, despite the rise of Netflix, French audiences remain committed to the theatrical experience. He also discusses France's innovative laws around media windows, who these regulations help and hurt the most, and his predictions for the future of the French film industry.
This week on TIFF Long Take, Rob sits down with documentarian Bing Liu. Liu’s debut feature film, Minding the Gap, tells the story of three young men (including Liu) in Rockford Illinois, who use skateboarding as a way to cope with their traumatic home lives. The film, which topped several best of 2018 lists, will be playing as part of TIFF Next Wave.
Liu discusses how he used skateboarding as a gateway to making his own films, the different iterations of Minding the Gap, and why he decided to insert his own backstory into the film’s narrative.
He also talks about how a documentarian knows when their film is done, how he ethically approached making a film about domestic abuse, and his relationship with legendary documentarian Steve James.
This week on TIFF Long Take, Geoff sits down with Jonathan Frantz, a filmmaker, producer, and member of Isuma, an Inuit-led media-arts collective founded by Zacharias Kunuk. Frantz recently produced 'Edge of the Knife', a drama set in the 19th century and directed by Gwaai Edenshaw and Helen Haig-Brown. The film is particularly notable as the first feature made entirely in Haida, an endangered language spoken fluently by fewer than 20 people. 'Edge of the Knife', which features a Haida cast and was made in collaboration with the Council of the Haida Nation, premiered at TIFF in 2018 and will screen as part of our Canada’s Top 10 series in 2019.
Frantz talks about the history and mission of Isuma, the long but rewarding process of making 'Edge of the Knife', and what he hopes the film will do for the Haida language and nation.
He also discusses working with Edenshaw, Haig-Brown, and Kunuk, how he approaches projects such as this one as a non-Indigenous person, and the best resources for movie lovers looking to see more Indigenous films.
This week on TIFF Long Take, Rob sits down with Shawn Finnie, Associate Director of Member Relations at the Academy of Motion Picture Arts and Sciences, to talk about how the Academy has worked to address concerns over the lack of diversity in its membership, nominees, and award winners. In 2012, the Academy was 77% male and 94% white. In 2018 those numbers shifted to 69% male and 84% white — a sign that, while change is definitely slow going, things are trending in the right direction.
Finnie talks about his vision for the future of the Academy, how he helped create the Academy's most diverse class ever, and why a Moonlight Best Picture win 10 years ago likely would have been impossible.
He also talks about why invitations to join the Academy should be based on more than your resume, and why he saw #OscarsSoWhite as an opportunity.
This week on TIFF Long Take, Rob and Geoff chat with some of the smartest people in the business to find out what film and television projects we should be looking forward to in the coming year.
First, Vanity Fair’s K. Austin Collins calls in to talk about some of this year’s Hollywood films, including James Gray’s 'Ad Astra', Steven Soderbergh's 'High Flying Birds', and Quentin Tarantino's 'Once Upon a Time in Hollywood'.
Then TIFF International Programmer Jane Schoettle drops by to discuss upcoming international films such as Robert Connolly’s 'The Dry', Sebastian Schipper’s 'Roads', and the anthology film 'Vai' from producers Kerry Warkia and Kiel McNaughton (Waru).
TIFF and Hot Docs programmer Dorota Lech also calls in to talk about documentary film in 2019, touching on Nanfu Wang and Jialing Zhang’s 'One Child Nation', Tim Travers Hawkins’ Chelsea Manning doc, and Brett Story’s 'The Hottest August'.
And finally, Rolling Stone’s chief TV critic, Alan Sepinwall, joins us to talk about the return of 'Deadwood', as well as other new series like HBO’s 'Watchmen', FX’s 'What We Do in the Shadows', and Netflix’s 'Russian Doll'.
This week on TIFF Long Take, in the second of two parts, Rob and Geoff look back on stories and themes that shaped the year in film and television by revisiting some of their favourite conversations from 2018.
Excerpts include:
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FiveThirtyEight’s Walt Hickey, Ella Koeze, and Rachel Dottle on whether it’s time for a new Bechdel test
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OscarsSoWhite’s founder April Reign on her plan to make to make the industry more diverse
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Actor Steven Yeun on representing Asian Americans onscreen
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Activist Isabel Amor on how the film A Fantastic Woman has advanced transgender rights in Chile
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Actor Ben Foster on how he builds his character
- Sorry to Bother You director Boots Riley on how he gets great performances
- Annihilation director Alex Garland on his approach to adaptation
- Mudbound director Dee Rees on how she puts together her film crews
- Chef’s Table creator David Gelb on revolutionizing the food documentary
This week on TIFF Long Take, in the first of two parts, Rob and Geoff look back on stories and themes that shaped the year in film and television by revisiting some of their favourite conversations from 2018.
Excerpts include:
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Filmmaker and producer Mark Duplass on preserving artistry in the “tent-pole era”
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Filmmaker Debra Granik on the challenges of making “difficult” films
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TIFF’s Thom Powers on why we are living in a “golden age of documentary”
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Faculty of Horror’s Alex West on the changing perception of the horror genre
- Stacy Spikes, the founder of MoviePass, on the history of his controversial company
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IndieWire’s Anne Thompson on Netflix’s move into cinemas
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Kayleigh Donaldson on what the Disney–Fox merger means for the film industry and audiences
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Writer and showrunner Kit Steinkellner on choosing to launch her first show, Sorry for Your Loss, on Facebook Live.
This week on TIFF Long Take, Rob and Geoff look into how blockchain technology and crypto currency could revolutionize the way that we finance and consume films. To guide them, the two welcome Luke Bradley, Director of Communications at the Blockchain Research Institute, as well as Christopher Woodrow, Chairman and CEO of MovieCoin.
Bradley discusses how blockchain and cryptocurrency our already impacting our day to day lives, how the technologies could theoretically upend the entertainment industry, and why Hollywood has, for the most part, been reluctant to get on board?
Woodrow then joins the conversation to talk about the inspiration behind MovieCoin, the types of films that MovieCoin will be funding, and what he thinks the film financing landscape could look like in ten years.
This week on TIFF Long Take, Rob chats with IndieWire’s Anne Thompson about Netflix’s recent foray into the world of theatrical releases. Last month the company announced that three of its upcoming films would open exclusively in select theaters in the US and abroad for one to three weeks before they debuted online. The films include director Alfonso Cuarón’s 'Roma', The Coen Brothers’ 'The Ballad of Buster Scruggs'; and Susanne Bier’s 'Bird Box'.
Thompson talks about why Netflix strayed from its core business model, what message this sends to high profile filmmakers, and why Oscar aspirations may be influencing the decision.
She also discusses if large exhibitors would be willing to cooperate with Netflix, how the company is bracing for upcoming platforms from Disney and Apple, and what Netflix could learn from MoviePass.
This week on TIFF Long Take, Rob and Geoff welcome the VP of Creative Affairs at ‘See Saw Films’, Negin Salmasi. Founded in 2008, the relatively small ‘See Saw’ have punched far above their weight in the increasingly competitive indie film landscape, producing critically and commercially successful films like 'The King’s Speech', and 'Lion', as well as the acclaimed television series 'Top Of The Lake'. Their latest film, 'Widows', directed by Steve McQueen, is playing in theaters now.
Salmasi talks about why making independent films is harder than ever, how she develops projects in the current landscape, and how she’s helped foster long term working relationships with filmmakers like Steve McQueen and Garth Davis
She also discusses why 'See Saw' wanted to get involved in television, why they still believe in the mid-budget film, and how they’ve adapted in the age of Netflix.
This week on TIFF Long Take, Geoff chats with actor and screenwriter Zoe Kazan. It’s been a busy few months for Kazan. In October, the feature film 'Wildlife' — which she co-wrote with her partner, Paul Dano, and which had its Canadian premiere at TIFF in September — opened to great critical acclaim. Most recently, she starred in “The Gal Who Got Rattled,” one of six vignettes that make up the Coen Brothers’ anthology film 'The Ballad of Buster Scruggs', now playing at TIFF Bell Lightbox.
Kazan talks about the films that made her want to pursue a career in show business, how her work as an actor has influenced her screenplays, and the best piece of advice she ever received about writing.
She also talks about her all-time favourite film scripts, how her role in 'Meek’s Cutoff '(2010) prepared her for 'The Ballad of Buster Scruggs', and what she learned working with the Coen Brothers.
This week on TIFF Long Take, Rob sits down with director Joseph Kahn. Long considered one of the most prolific and commercially successful music video directors, Kahn has recently made his return to feature films with ‘Bodied’, the story of ambitious graduate student who becomes immersed in the world of battle-rap. Written by Canadian battle-rapper Alex Larsen, and produced by Eminem, ‘Bodied’ won the Toronto International Film Festival People's Choice Award: Midnight Madness at TIFF 2017, and is currently playing at TIFF Bell Lightbox.
Kahn talks about why he thinks ‘Bodied’ has struck a chord with “repressed” audiences, how Eminem got involved with the film, and the difference between art and entertainment.
He also discusses the art of battle-rap, how he honed his craft working on commercials and music videos, and why good art needs to offend.
This week on TIFF Long Take, Rob and Geoff sit down with television writer, director, and producer Sam Esmail. Best known as the creator of the hit television series ‘Mr. Robot, Esmail recently directed all ten episodes of the new series ‘Homecoming’; an adaptation of the extremely popular podcast created by Eli Horowitz and Micah Bloomberg. The series which premiered last weekend on Amazon Video, stars Julia Roberts, Stephan James, and Bobby Cannavale.
Esmail talks about why he was initially reluctant to adapt ‘Homecoming’, the classic thrillers that inspired his vision for the show, and why he thought the series would work better broken into half hour episodes.
He also talks about the TV shows that are currently inspiring him, whether the amount of TV currently being produced is sustainable, and what he thinks has elevated television to a higher art form in recent years.
This week on TIFF Long Take, Rob and Geoff sit down with ‘Faculty of Horror’ podcast co-host Alexandra West, to discuss the ever increasing legitimacy of the horror films. Thanks in part to the overwhelming critical praise of films like Jennifer Kent’s 'The Babadook', Robert Egger’s 'The Witch', David Robert Mitchell’s 'It Follows', and Jordan Peele’s 'Get Out', the perception of horror has changed over the last decade, from a beloved, but relatively niche genre, to one that cinephiles feel they should be paying attention to.
West talks about the films and filmmakers that taught her to love horror, the factors that have lead to the genre becoming more prestigious, and how film critics are covering horror now, as opposed to 10 years ago.
She also discusses horror’s unique ability to critique social issues, Jason Blum’s recent comments about the lack of women working in horror, and which gateway films she would recommend to someone who is still on the fence about the genre.
This week on TIFF Long Take, Rob sits down with director and screenwriter, Dee Rees. Beginning with her excellent semi-autobiographical debut'Pariah'(2011), Rees has earned the reputation as one of her generation’s most exciting filmmakers. Her most recent feature film, 'Mudbound'(2017), earned 4 Academy Award nominations, including a Best Adapted Screenplay nomination for Rees; making her the first black woman to be nominated for any Academy Award in a writing category.
Rees talks about the series of events that led her to NYU film school, working with mentors like Spike Lee and Lee Daniels, and long road to her first feature film, 'Pariah'.
She also discusses why Netflix was the only studio to take a chance on 'Mudbound', how she approaches adaptation as an auteur, and what genre she would like to work in next.
This week on TIFF Long Take, Rob and Geoff sit down with renowned documentarian and director, David Gelb. Starting with his critically acclaimed debut film, 'Jiro Dream’s of Sushi', Gelb’s aesthetically beautiful and emotionally rich profiles of great chefs have had a significant impact on the genre of food documentary. He has since gone on to create the highly influential Netflix docu-series ‘Chef’s Table’, which recently debuted its fifth season.
Gelb talks about how he fell into documentary filmmaking, the chain of events that lead to the making of 'Jiro Dreams of Sushi', and how he went about pitching ‘Chef’s Table’ to Netflix.
He also talks about how he’s managed to create a consistent aesthetic across his work, how he picks and chooses which stories he wants to tell, and why the most recent season of ‘Chef’s Table’ is its most political yet.
This week on TIFF Long Take, Rob and Geoff sit down with Romanian super producer, Ada Solomon. Over the last 10 years, Ada has played a large role in the Eastern European film industry, producing some of the region’s most exciting films including: Maren Ade’s 'Toni Erdmann', Cãlin Peter Netzer’s 'Child’s Pose', and most recently Radu Jude’s 'I Do Not Care If We Go Down in History as Barbarians', which played at this year’s TIFF. When not producing, Solomon serves as the President of the Board for the ‘European Women’s Audiovisual Network’ (EWA), an organization founded to create greater gender equality for women audiovisual professionals throughout Europe.
Solomon talks about the early days of Romanian New Wave cinema, the challenges of distributing Romanian films internationally, and why, despite festival success, Romanian films have struggled to find a significant audience in their home country.
She also highlights the most exciting filmmakers currently working in Romania, her experience executive producing 'Toni Erdmann', and her role in promoting gender parity in European film.
This week on of TIFF Long Take, Rob and Geoff sit down with South African film producer, and founder of the production company ‘Big World Cinema’, Steven Markovitz. Over his thirty years in the film business, Markovitz has produced over 40 films in on the continent of Africa, and has seen his fair share of challenges trying to get these projects financed, and distributed around the world. One of his most recent productions, the Wanuri Kahiu directed 'Rafiki', was embroiled in controversy after it was was banned in its home country of Kenya. The ban sparked international outrage among supporters of LGBTQ rights, and has since been lifted.
Markovitz talks about the events that inspired the founding of his film company, how his films strive to challenge the “dominant African narrative”, and how he’s managed to identify talent across the continent.
He also talks the most exciting young filmmakers working in Africa, the difficulties he’s experienced trying to market African films to an international audience, and the saga behind making and distributing 'Rafiki'.
This week on TIFF Long Take, Rob and Geoff sit down with Kit Steinkellner, creator of the acclaimed new television series Sorry For Your Loss. Since writing the pilot script on spec, Steinkellner has overseen every step of the series’ production, culminating with its recent premier on the new streaming platform Facebook Watch. The series which stars Elizabeth Olsen and Kelly Marie Tran is available now.
Steinkellner talks about the experience that inspired ‘Sorry For Your Loss’, television’s role in furthering social conversations, and why she didn’t shy away from writing the show on spec.
She also talks about the excitement, and anxiety, she feels about being the flagship series on a new streaming platform, what makes Facebook Watch unique, and why we don’t see more half hour dramas.
With another Toronto International Film Festival in the books, Rob and Geoff sit down with the founder of 'The Black List', Franklin Leonard, to talk about the films, performances, trends, and stories that had the industry talking at this year's TIFF.
Franklin talks about the most buzzed about films of the slate, how the various studios and distributors faired, and which festival film he thinks has the potential to be a sleeper hit following its release.
He also discusses the changes he's seen in the types of films getting funded, how the role of film festivals is evolving, and his favourite memory from his many years coming to TIFF.
This week on TIFF Long Take, Rob and Geoff sit down with one of the film’s most exciting young actors, Steven Yeun. Steven is probably best known for his role as Glenn Rhee on 'The Walking Dead', but since leaving the show has leaned more towards independent and international cinema with roles in Bong Joon-ho’s 'Okja', Boots Riley’s 'Sorry To Bother You', and, most recently, Lee Chang Dong’s 'Burning'. The Korean thriller premiered at Cannes to rave reviews and is the first film to feature Yeun in a starring role.
Yeun talks about the films and filmmakers that influenced him growing up, why he was initially hesitant to make a film in Korea, and what makes Lee Chang Dong so special.
He also talks about how he prepares for his roles, the under-representation of Asian Americans in Hollywood films, and why thinks he wouldn’t have been offered a role as substantial as ‘Burning’ in the United States.
This week on TIFF Long Take, Rob and Geoff speak with Daniel Sawka, director of the timely social drama Icebox. The film, which premieres at TIFF 2018, tells the story of a 12 year old Honduran boy, interned at a US immigration detention centre, and has gained added resonance in the wake the Trump administration’s “zero-tolerance” immigration policy. The group also welcome Karine Jean-Pierre, advisor and national spokesperson for ‘MoveOn’. The progressive policy advocacy group recently helped to organize #FamiliesBelongTogether, a day of coordinated protest against family separation and family detention.
The four discuss the making of Icebox, how film can be used to increase awareness of a social issues, and why Sawka chose to highlight this issue through a narrative film, rather than a documentary.
They also talk about the casting of the film’s remarkable young lead, Anthony Gonzalez, how issues of immigration of migration in the United States have become exacerbated under Trump’s policies, and the influence of the film’s producer, the legendary James L. Brooks.
This week on TIFF Long Take, Rob and Geoff welcome TIFF’s Director and CEO, Pier’s Handling. This will be Handling’s final festival in charge of TIFF, having assumed his current position in 1994. He originally joined the festival in 1982.
Handling looks back on the films that made him a cinephile, his first exposure to the Toronto International Film Festival, and biggest challenges facing film festivals now vs. 40 years ago.
He also discusses how TIFF’s philosophy has evolved since it was founded in 1976, the long road to opening the TIFF Bell Lightbox in 2010, and what audiences are looking for from a film festival in 2018.
In 2018 alone, three documentaries: Won’t You Be My Neighbor, RBG, and Three Identical Strangers have exceeded $10 million at the domestic box office, a remarkable trend considering only 25 other documentaries has reached this milestone in the past 35 years. To find out what is leading to this sudden increase in the genre’s popularity, Rob and Geoff are joined by TIFF programmer, and host of the documentary themed podcast ‘Pure Nonfiction’, Thom Powers.
Powers discusses how “documentary” went from a dirty word to a financially viable genre, how Netflix helped expand the artform, and the technological innovations that have changed the genre for the better.
He then goes through some of the more anticipated documentary titles coming to TIFF next month including: Michael Moore’s Fahrenheit 11/9, Werner Herzog’s Meeting Gorbachev, Alexis Bloom’s Divide and Conquer: The Story of Roger Ailes, John Chester’s The Biggest Little Farm, E. Chai Vasarhelyi and Jimmy Chin’s Free Solo, and Errol Morris’ American Dharma.
This week on TIFF Long Take, Geoff sits down with independent filmmaker Desiree Akhavan. Following her acclaimed 2014 debut, Appropriate Behavior, Akhavan’s latest is an adaptation of Emily. M Danforth’s novel The Miseducation of Cameron Post. The film, which stars Chloë Grace Moretz and Sasha Lane, won the Grand Jury Prize for US Drama at this year’s Sundance Film Festival. Akhavan is also an actress, appearing in projects like Girl’s and Creep 2.
Akhavan talks about how she approached the adaptation process, why having a hit film at Sundance didn’t make the financing of her future projects any easier, and how she adapted her original vision of The Miseducation of Cameron Post script to make it work with a smaller budget.
She also talks about why Chloë Grace Moretz’s interest in joining the cast surprised her, why, despite glowing reviews and festival awards, it took so long to sell the film, and why she finds making TV more difficult than making movies.
Last week, Disney and Fox shareholders approved a deal that would see Disney acquire 21st Century Fox for a whopping $71.3 billion. The deal - which includes properties like Fox Searchlight, X-Men, Avatar, The Simpsons, and many more - gives Disney an unprecedented market share in the film and television industry. To find out how this acquisition will impact audience members, as well as the industry at large, Rob and Geoff speak with Kayleigh Donaldson, staff writer and editor for Pajiba.
Donaldson explains why the deal will likely lead to fewer theatrical films, the uncertain fate of Fox Searchlight, and how other Hollywood studios might react to this merger.
She also talks about how the deal has disrupted the streaming landscape, possible crossover opportunities, and why the merger could be a threat to independent cinemas.
This week on TIFF Long Take, Rob and Geoff speak with Nadira Azermai, founder of the script analysis company, ScriptBook. Founded in 2015, ScriptBook claims they will be able to save film studios a fortune using artificial intelligence to more accurately identify which scripts will lead to financially successful films.
Azermai discusses how ScriptBook functions, the product’s track record of accurately (and sometimes inaccurately) predicting which films will hit or flop, and the most glaring blind spots that studios and producers fail to recognize when analyzing scripts.
She also talks about whether applying a scientific method to a creative artform will lead to more homogenized films, how the #MeToo movement has influenced ScriptBook, and whether computers will eventually replace writers altogether.
This week on TIFF Long Take, Rob and Geoff are joined by TIFF’s Director of Programming, Kerri Craddock, to discuss some of the most exciting and anticipated titles on this year’s Toronto International Film Festival slate.
Craddock gives her thoughts on some of the Gala and Special Presentation titles that TIFF just announced, including Elizabeth Chomko’s directorial debut, 'What They Had'; Paul Dano’s family drama, 'Wildlife'; Bradley Cooper’s musical drama, 'A Star is Born'; Claire Denis’ sci-fi adventure, 'High Life'; Damien Chazelle’s Neil Armstrong biopic, 'First Man'; Steve McQueen’s heist film, 'Widows'; Hirokazu Kore-eda’s Palme d’Or winner, 'Shoplifters'; Asghar Farhadi’s psychological thriller, 'Everybody Knows'; and Jacques Audiard’s western, 'The Sisters Brothers'.
This week on TIFF Long Take, Rob and Geoff sit down with filmmaker Boots Riley. Although he is perhaps better known as an activist and the front man for the popular political hip-hop group The Coup, Riley has recently focused his talents on filmmaking, writing, and directing the critically adored 'Sorry to Bother You', starring Lakeith Stanfield, Tessa Thompson, and Armie Hammer.
Riley talks about the six-year battle to get Sorry to Bother You made, why he wanted the screenplay to read more like a novel than a film script, and how a previous job working at a call centre helped to inspire the film’s plot.
He also discusses how he reconciles his socialist beliefs with working in the inherently capitalist film business, how he assembled such a phenomenal cast for his debut film, and his talent for directing grounded performances within absurdist plot-lines.
This week on TIFF Long Take, Rob and Geoff sit down with award winning independent film director and writer, Debra Granik. Granik, whose films include Down to the Bone and Winter’s Bone, is recognized as one of film’s great talent spotters, casting actors Jennifer Lawrence and Vera Farmiga in their star-making roles. Her latest film, Leave No Trace, starring Ben Foster and rising star Thomasin McKenzie, is playing now at TIFF Bell Lightbox.
Granik discusses what she looks for most in her leading actors, how she’s able to spot talent in relatively unproven actors, and how she prepares her cast for such physically and emotionally demanding roles.
She also talks about about why she chooses to set her films in less conventional locations like the Ozarks or the Oregon wilderness, the challenges of making films about the disenfranchised, and where in America she hopes her next film will take her.
This week on TIFF Long Take, Rob and Geoff sit down with one of the industry’s most versatile and compelling actors, Ben Foster. Whether he’s playing a Texas bank robber in 'Hell or High Water', Lance Armstrong in 'The Program', or William S. Burroughs in 'Kill Your Darlings', Foster’s legendary range has earned him a wide variety of eclectic roles over the last decade. He most recently collaborated with filmmaker Debra Granik on 'Leave No Trace', which opens at TIFF Bell Lightbox on July 6.
In this episode, Foster discusses how he prepares for physically and emotionally demanding roles, the challenges of leaving a character behind, and what advice he wishes he’d been given when he was starting out in the business.
He also talks about what he values most in directors, how he’s avoided being typecast, and the secret to playing historical figures well.
This week on TIFF Long Take, Geoff sits down with Vanessa Matsui, the creator and star of the web series 'Ghost BFF'. A dark comedy about depression, 'Ghost BFF' is yet another example of creators using the web series medium as an alternative to network or cable television. The show, which was recently greenlit for a second season, is distributed by WhoHaHa, a creative studio co-founded by Elizabeth Banks that celebrates and elevates women in comedy.
Matsui talks about how she came up with the concept for 'Ghost BFF', the advantages and disadvantages of the DIY model, and why she hopes her show will follow in the footsteps of other web series–turned–cable shows like 'High Maintenance', 'Insecure', and 'Broad City'.
She also discusses the economics of making a web series, how difficult it is to sell a show about mental health, and her creative collaboration with Elizabeth Banks and WhoHaHa.
This week on TIFF Long Take, Rob sits down with Indonesian filmmaker Mouly Surya whose latest film, ‘Marlina: The Murderer in Four Acts’, was released earlier this year to great acclaim. The movie, which follows a Sumba woman taking revenge against the the men who have wronged her, is the director’s Indonesian spin on the Spaghetti Western genre.
Surya discusses why Indonesia, the fourth largest country in the world, has such a small national cinema, her earliest inspirations as a filmmaker, and why her apathy towards the Western genre actually worked in her favour when making her latest film.
She also discusses the film’s imaginative score, how getting international financing has changed her approach to filmmaking, and how growing up in an especially patriarchal society has impacted her career.
This week on TIFF Long Take, Rob and Geoff sit down with Pixar animation artist, Domee Shi. Shi made history this month, when her animated short film ‘Bao’ became the first Pixar short to be directed by a woman. The film, which is based loosely her experiences as a child of Chinese immigrants in Toronto, is currently being shown prior to screenings of ‘Incredibles 2’.
Shi talks about how she went from Sheridan College’s animation program to landing one of the most coveted jobs in the business, the creative culture at Pixar, and why pitching her short film was strangely similar to ‘American Idol’.
She also discusses where the inspiration for ‘Bao’ came from, hiring her mother as a cultural consultant, the relevance of short films in 2018, and where she hopes her career will take her next.
This week on TIFF Long Take, Rob sits down with documentary filmmaker Sarah Burns, best known for her acclaimed film The Central Park Five, which she co-directed with her father, legendary documentarian Ken Burns, and her husband, David McMahon. Her second film, a documentary about Jackie Robinson, was released on PBS in 2016.
Burns talks about what she learned growing up in a house full of filmmakers, why she initially resisted her parent’s career path, and how her connection to the Central Park jogger case came long before she began filmmaking.
She also talks about the benefits and challenges of collaborating with your family, what the story of the Central Park Five represents in “Trump’s America,” and what her hopes are for Ava DuVernay’s upcoming dramatization of the story.
This week on TIFF Long Take, Rob chats with producer and YouTube personality Adi Shankar. Last month, Shankar (whose films include Dredd and The Grey) launched The Apu Screenwriting Contest, an online competition to which writers are encouraged to submit a spec script for The Simpsons that subverts, pivots, or writes off the character of Apu. A mainstay in The Simpsons’ universe, Apu has long been a controversial figure for what many see as a stereotypical and hurtful portrayal of Indian Americans. Shankar has promised that the winning script will be made, either as an official Simpsons episode or as a self-financed episode in Bootleg Universe, Shankar’s YouTube series.
Shankar talks about the massive cultural influence of The Simpsons, why he finds the character of Apu so damaging, and his frustration with the show’s reluctance to acknowledge or address the problem.
He also discusses where the inspiration for his spec-writing contest came from, his track record of circumventing traditional Hollywood practices, and why he thinks crowdsourcing is such a powerful tool for driving progressive change.
This week on TIFF Long Take, Rob sits down with acclaimed writer and director Ramin Bahrani. Bahrani, who is best known for his independent dramas 'Man Push Cart', 'Chop Shop' and '99 Homes', has recently released the new film through HBO; an adaptation of Ray Bradbury’s 1953 dystopian classic ‘Fahrenheit 451’, starring Michael B. Jordan and Michael Shannon. The novel was previously made into a film by François Truffaut in 1966.
Bahrani talks about why he wanted to engage with Bradbury in 2018, how he was able to update a 65 year old story for the digital age, and why the genre of science fiction lends itself so well to political commentary.
He also talks about his fear of technology, his fascination with directors Werner Herzog and Mike Leigh, and why, despite his love of cinema, he elected to take this project straight to television.
This week on TIFF Long Take, Rob and Geoff sit down with the founder of MoviePass, Stacy Spikes. MoviePass has been making waves in the industry for the last few months after unveiling a plan that allows its users to see one movie a day in theatres for $9.95 a month. While many cinephiles are applauding the company for championing the in-cinema experience, other industry insiders are wondering if the MoviePass vision is too good to be true.
Spikes discusses how MoviePass’ business plan has evolved since he founded the company in 2011, why it has more in common with Google than with Netflix, and why so many large theatre chains were initially hesitant to partner with MoviePass.
He also talks about what the company means for independent film and addresses the perception that MoviePass’ current business model is unsustainable.
This week on TIFF Long Take, Rob sits down with actor and filmmaker Mark Duplass. Along with his brother, Jay, the Duplass brothers have become two of the most influential figures in independent film, writing and directing films like 'The Puffy Chair', 'Cyrus', and 'Jeff, Who Lives at Home', as well producing films like 'Safety Not Guaranteed', 'The Skeleton Twins', and the recent Netflix documentary series 'Wild, Wild Country'. Their recently published memoir, 'Like Brothers', is in stores this week.
Duplass talks about the challenges of being inextricably linked to a creative partner, how to create a financial model that prioritizes artistry, and why he’d rather be prolific than be a perfectionist.
He also discusses why he and his brother aren’t interested in making “bigger” movies, the importance of “failing cheaply,” and his track record of giving young filmmakers a platform.
This week on TIFF Long Take, Rob and Geoff sit down with director and screenwriter Jason Reitman. Although only 40 years old, Reitman already seems like a seasoned veteran in Hollywood, with four Oscar nominations to his name as well an impressive filmography of critical and commercial successes like 'Juno', 'Up in the Air', and 'Young Adult'. His latest film, 'Tully', starring Charlize Theron and Mackenzie Davis is in theaters now.
Reitman talks about his unglamorous beginnings in filmmaking, the unlikely benefactors of his first movie, 'Thank You For Smoking', and his frequent collaborations with screenwriter Diablo Cody.
He also talks about his success casting relatively unknown actors like Ellen Page and Anna Kendrick, why he continues to pursue theatrical distribution rather than going the Netflix route, and who he would cast in hypothetical remakes of 'Jaws', 'Thelma and Louise', and'Harold and Maude'.
This week on TIFF Long Take, Rob and Geoff sit down with celebrated director Andrew Haigh. Over the last decade Haigh has established himself as one of the most daring new filmmakers in the industry, writing and directing films 'Weekend', and '45 Years', as well as creating the HBO series 'Looking'. His latest film, 'Lean on Pete', was released earlier this month to critical acclaim.
Haigh discusses his early struggles as a filmmaker, why he prioritizes creative control over a higher budget, and what the decline of the “mid-budget film” means for filmmakers at his level.
He also talks about why, to this point, he’s only directed his own scripts, what attracted him to ‘Lean on Pete’, and how he approaches working with a great young actor like Charlie Plummer.
Last month, the Chilean film 'A Fantastic Woman' won the Academy Award for Best Foreign Language Film and made history as the first Oscar-winning film with a transgender performer in the lead. Now transgender activists in Chile are hoping to use the film’s success to push forward a 2013 bill that would allow transgender people to legally change their names and gender marker on official documents. To get the full story, Rob and Geoff speak with Isabel Amor, Director of Education at Iguales Chile.
Amor discusses the history of transgender rights in Chile, the importance of the gender identity bill, and how the international success of A Fantastic Woman has helped accelerate her institution’s mission.
She also talks about the significance of A Fantastic Woman being broadcast on public television in Chile, why the film’s Oscar win gives a new significance to award shows, and why a documentary on the same subject likely wouldn’t have had the same impact.
This week on TIFF Long Take, Rob and Geoff sit down with celebrated character actor and filmmaker Steve Buscemi. Although his name rarely appears at the top of the credits, Buscemi has gained a level of recognition comparable to most A-List actors, with iconic roles in films like Reservoir Dogs, Fargo, The Big Lebowski, and Ghost World. He can also be seen in Lean on Pete and The Death of Stalin, two of this year’s most acclaimed new films.
Buscemi talks about his early days in New York City's East Village theatre scene, why it’s important for him to balance independent work with more commercial films, and how he managed to form partnerships with filmmakers like the Coen Brothers.
He also talks about his approach in working with young actors, what his work as a director has taught him about acting, and what he thinks is the best show currently on television.
This week on TIFF Long Take, Geoff chats with social activist and founder of the famous #OscarsSoWhite movement, April Reign. Reign has recently started a new project, Akuarel; a digital database for minorities seeking work in Hollywood and other creative industries.
Reign talks about how she started an online movement completely by accident, how the mission of #OscarsSoWhite has evolved over the last three years, how she and her campaign have navigated the darker side of Twitter.
She also discusses the problem with thinking #OscarsSoWhite accomplished its mission with Moonlight’s Best Picture win, why the hashtag has become such a powerful tool for social movements, and why she saw the need for a tool like ‘Akuarel’.
This week on TIFF Long Take, Rob and Geoff sat down with veteran Canadian film producer J. Miles Dale, who recently brought a Best Picture Oscar home to Toronto for his work on The Shape of Water. Even though the movie is not typically viewed as a “Canadian film,” Dale argues that its success has been a watershed moment for our national cinema, given that it was filmed in Toronto and was made by a largely Canadian crew.
Dale discusses the unique challenges of making Hollywood films in Canada, why he thinks The Shape of Water’s success has been so significant for the Canadian film industry, and why some Canadians feel the need to draw a line in sand when it comes to what is, and what is not, Canadian.
He also talks about his relationship with Guillermo del Toro, the incredible homegrown talent working in the industry, and how his professional life has changed after winning an Oscar.
Editing is one of the most integral parts of any film, yet a good editor often doesn’t receive the level of recognition that a director, cinematographer, or composer would. To take a closer look at the often unappreciated craft Rob and Geoff sit down with one of the best film editors working today, Tatiana S. Riegel. Over her 30 year career Riegel has worked on a number of beloved films including Pulp Fiction, There Will Be Blood, and Lars and The Real Girl, and recently won an Independent Spirit Award and was nominated for an Oscar for editing I, Tonya.
Riegel talks about how she fell into the business of editing, her collaborations with filmmakers like Quentin Tarantino and Craig Gillespie, and why being a successful editor comes down to being able to navigate a lot of very different personalities.
She also discusses why audience screenings are so crucial to her job, and why, despite a large disparity, women have historically had more opportunities in the field editing than they have in other disciplines like cinematography or directing.
One of the most interesting success stories in Hollywood this decade has been the meteoric rise of A24. The upstart distributor has built a reputation as one the film industry’s top tastemakers, releasing films like Lady Bird, Ex Machina, Room, The Witch, and a little film called Moonlight. To get the story of how A24 went from nonexistence to Best Picture status in just five years, Rob and Geoff speak with New York Times reporter Brooks Barnes.
Barnes discusses A24’s origin story, how its media-shy founders have cultivated a sense of mystery around the company, and how their rivals, including Annapurna, Blumhouse, and Neon, are also disrupting the film business.
He also talks about how A24 runs more like a Silicon Valley startup than a traditional film distributor, their upcoming forays into television, and why some in Hollywood think the company might be overrated.
This week on TIFF Long Take, Rob and Geoff chat with Katey Rich and Richard Lawson, the hosts of Vanity Fair’s 'Little Gold Men' podcast, about the biggest winners, surprises, and storylines coming out of the 90th Academy Awards.
Rich and Lawson chat about the thrill of seeing James Ivory and Jordan Peele step to the podium, the agony of watching Lady Bird go home empty handed, and whether the Oscar’s preferential ballot voting method is leading to good results.
They also talk about the uphill battle Black Panther has to get a nomination next year, why the Oscars’ ratings continue to fall year after year, and what films they think could sneak into the best picture race in 2019.
This week on TIFF Long Take, Rob sits down with renowned screenwriter and director, Alex Garland. Over the last 20 years, Garland’s films, including 28 Days Later, Sunshine, and Ex Machina, have helped him stand out as a fresh voice in the crowded landscape of modern science fiction. His latest film, Annihilation, starring Natalie Portman and Oscar Isaac, and adapted from Jeff Vandermeer’s best selling novel, is in theaters now.
Garland discusses how J.G. Ballard and Stanley Kubrick got him hooked on science fiction, how he comes up with and researches such complex ideas, and why he doesn’t see his films as prescient, but rather catching up with the obvious.
He also talks about his unconventional approach to adapting Annihilation, how he conceived of the legendary Ex Machina dance scene, and which film in his catalogue he wishes he’d done differently.
Throughout the 80’s, 90’s and early 2000’s, sports movies were one of Hollywood’s most celebrated and bankable genres. Recently though, things seem to have changed. Of the top 50 grossing sports movies of all-time, only 3 have come in this decade with Creed, The Fighter, and 42 barely cracking the list. So what’s going on? Have the quality of sports movies declined? Are studio’s making less of them? Or have audience tastes just changed? To figure it out, Rob sits down with The Ringer’s Adam Nayman.
Nayman discusses how the definition of a “sports film” has evolved over the years, why the genre has seen such a steep decline this decade despite hitting with the critics, and why making more baseball and boxing movies probably isn’t the answer.
He also talks about how sports documentaries have thrived in the place of narrative sports films, how sports movies have likely been a casualty of the decline of the mid-budget film, and which director he would like to see revitalize the genre.
As much as we love to argue about their relevance, there’s no denying that an Academy Award is still the height of prestige in the film industry. But is winning an Oscar more about politics then merit? Over the last 40 year’s studios have increasingly relied on incredibly expensive, and often quite nasty, campaigns to get their film’s a statue. To get the story the evolution of Oscar campaigns, Rob and Geoff talk to Screen Rant’s Kayleigh Donaldson.
Donaldson talks about how the term “Oscar bait” originated, how Michael Cimino’s now classic film The Deer Hunter defined the modern Oscar campaign, and the unfortunate legacy of Harvey Weinstein and Miramax’s smear campaigns.
She also discusses what an Oscar means to the bottom line of a film in 2018, why, despite their massive marketing budgets, superhero films have not been able to get in the academy’s good graces, and why Get Out may have run this year’s most effective campaign.
Last week marked the release of the contentious Bollywood film Padmaavat. The lavish epic about a Hindu queen, Padmavati, is one of the most expensive Bollywood films ever, but is not without its detractors, with many claiming the film is historically inaccurate and disrespectful. Rajput and Hindu extremists who oppose the film attacked Padmaavat’s crew while it was in production, vandalised theaters screening the film, and offered a bounty to behead director and lead actress.
To make sense of the outrage surrounding Padmaavat, Rob and Geoff sit down with Dilani Rabindran, founder of Viewfinder Film Consulting, and programmer at Reel Asian Film Fest.
Rabindran walks them through Padmaavat’s long and troubled history, explains the furor surrounding its plot and themes, and questions if the controversy surround the film has helped it gain a wider audience.
She also breaks down the concessions the film had to make to be cleared by the censor boards in India, and how the film has helped spark a debate on the limits artistic license.
Since its start in 1978, The Sundance Film Festival has served as both an exhibition for the best independently produced films from around the world, and, as the first major film festival of the year, an early predictor of the year’s movie trends. To get the story of the films and themes that shaped this year’s festival, Rob and Geoff speak with IndieWire’s Senior Film Critic, David Ehrlich, who just finished up a week in Park City.
Ehrlich talks about the most buzzed about films from this year’s slate (including Josephine Decker's Madeline's Madeline, Boots Riley’s Sorry to Bother You, and Jennifer Fox’s The Tale), why the absence of an “early awards frontrunner” isn’t a bad thing, and Netflix and Amazon’s quiet week.
He also discusses female filmmakers dominating the festival’s major awards, and his favourite films from his year’s covering Sundance.
Since the early 1980s, the Bechdel-Wallace test (often just called “The Bechdel Test”) has helped call attention to the gender imbalance in Hollywood by asking two simple questions of a film: Does it have at least two named female characters? And do those characters have at least one conversation that is not about a man? But nearly 40 years since its creation, is the test in need of a successor that could better influence Hollywood’s decision makers? To find out Rob and Geoff speak with Walt Hickey, Ella Koeze, Rachael Dottle of FiveThirtyEight.com. The three recently published a study where they interviewed a number of women writers, directors, actresses and producers, and asked them what they thought the next Bechdel Test should be. They then ran these new tests on the top 50 films of 2016 to see how they stacked up.
Hickey, Koeze and Dottle discuss how the opinion of the Bechdel test has evolved since 1980, why the time seemed right to find a replacement for the test, and the glaring need for female representation behind the camera, in addition to onscreen.
They also point out the distressing lack of Latina representation in top grossing films, and wonder how this year’s crop of potential Oscar nominees would fair when taking these newly imagined tests.
This week, on a very special live episode of TIFF Long Take, Rob and Geoff sit down with Canadian director Jeremy Podeswa. In his home country, Podeswa is likely best known for his celebrated independent films The Five Senses and Fugitive Pieces, but across the globe he’s quickly gaining notoriety as one of television’s most prolific and skillful directors — with episodes of Game of Thrones, The Walking Dead, and The Handmaid’s Tale among his many credits.
Podeswa talks about how the perception of working in television has changed in the last 30 years, how he found himself directing TV after years of trying to make his own films, and why he doesn’t see much of a difference between film and television anymore.
He also discusses how to push things forward creatively while still being respectful to the history and vision of the show on which you’re working, how he got involved in the world of Game of Thrones, and how to direct actors, like Peter Dinklage, who have been playing the same role for years.
When it comes to contending in Hollywood, Canadian actors have always punched above their weight. But for every Ryan Gosling, Tatiana Maslany, or Rachel McAdams, there’s a Paul Gross, a Mary Walsh, or a Gordon Pinsent — actors who have, for the most part, forgone a career in the US and instead made names for themselves within the Canadian film and television scene. It makes us wonder: which career path should Canadian artists be following? To get the answer, Rob and Geoff sit down with an actor who has a foot in both camps, Maxim Roy. Maxim is well known amongst Canadians for 19-2, Allure, and Les Boys, but has also built a career south of the border with roles in Shadowhunters and The Factory.
The three discuss why so many Québécois actors are reluctant to work outside their home province, what the anglophone-Canadian film industry could learn from the francophone industry, and if star Canadian directors like Denis Villeneuve and Jean-Marc Vallée should be making more of an effort to cast Canadian talent.
They also talk about why French-Canadian actors don’t break through internationally in the same way actors from France do, and why French-Canadian characters aren’t more present in English-language films.
This week on TIFF Long Take, Rob and Geoff put 2017 in the rearview mirror and look ahead to the films, TV shows, events, and conversations that they’re most intrigued by in the coming year. Joining them to discuss are film critic for The Ringer K. Austin Collins and TIFF Programmer Kiva Reardon.
The four talk about their rabid anticipation for Ryan Coogler’s Black Panther and Alex Garland’s Annihilation, the timeless brilliance of Agnes Varda, and what the hell we can expect from Clint Eastwood’s The 15:17 to Paris.
They also get excited for unlikely genre films from Claire Denis and Luca Guadagnino, wonder what changes Hollywood will make after a year of exposed abuse and harassment, and question where HBO will go after Game of Thrones.
On their final episode of the year, Rob and Geoff look back on a sometimes unreal year in film and television, and reflect on the trends and themes that shaped the industry by revisiting some of their favourite TIFF Long Take conversations from 2017.
Excerpts include:
- IndieWire’s Anne Thompson on the death of the old studio system (2:10);
- Variety’s Owen Gleiberman on Netflix and Amazon’s negative reception at Cannes (6:40);
- Vanity Fair’s Katey Rich, Mike Hogan, and Richard Lawson on how the Oscars view streaming services (9:25)
- Franklin Leonard on the importance of Moonlight (14:50)
- BFI Southbank’s Gaylene Gould on reframing the context of classic films (17:00);
- Los Angeles Times’ Tre’vell Anderson on why are studios are reluctant to finance diverse films (20:50);
- IndieWire’s Tom Bruggeman on what film studios could learn from the Mayweather vs. McGregor fight (24:45);
- The Ringer’s Adam Nayman on franchise fatigue and the decline of Summer blockbusters (29:00);
- Jason Blum on the economics of the genre films (36:25);
- TIFF’s Peter Kuplowsky and Faculty of Horror’s Alex West on why horror has thrived while the greater box office is on the decline (40:20);
- USC’s Professor Stacy Smith on the the data behind Hollywood sexism. (47:35);
- Ashley Mckenzie on working in a male created system (51:35); and
- Christine Kleckner and Steph Guthrie on where the film industry goes after #MeToo (54:40).
On this episode of TIFF Long Take, Rob and Geoff chat with Diana Elbaum, prolific Belgian producer and founder of Entre Chien et Loup. She is one of the leading advocates of international co-productions, a model that has led to a number of recent Canadian successes like Room and Brooklyn (both co-pros with Ireland).
In this episode, Elbaum explains why being a producer is not the glamorous life it’s made out to be, and how co-productions help smaller countries create thriving film scenes while allowing filmmakers to make more ambitious movies on limited budgets.
She also discusses the headaches that come with co-producing, and how the declining popularity of European cinema amongst North American audiences has changed her job.
This week on TIFF Long Take, Rob and Geoff sit down with Gaylene Gould, Head of Cinemas and Events at the British Film Institute Southbank. She recently provided consultation on TIFF’s Black Star, a programme celebrating Black excellence on the big screen, which was lifted from the original BFI run and reimagined for Toronto audiences.
In this episode, Gould discusses the fine line between programming challenging films and meeting financial expectations, the questions she asks herself when selecting films, and how she tests her audience's unconscious bias.
She also speaks to the importance of reexamining revered films through a different lens, and why it is crucial for young, diverse audiences to see the themselves on the big screen.
This week on TIFF Long Take, Rob and Geoff sit down with Steph Guthrie and Christine Kleckner, the producers of the new documentary A Better Man.
In the film, co-director Attiya Khan confronts her former partner about the violence that he inflicted on her during their relationship. The film, now airing on TVO, has been hailed, not only as a brave and exceptional work of art, but also as a vehicle to better understand how systemic abuse is endemic to our culture — and our industry.
On this week’s episode, Guthrie and Kleckner speak to Khan’s decision to confront her abuser on camera, what can be learned from the therapeutic concept of “restorative justice,” and where the conversation around abuse will now go after #MeToo.
So far this year, nine out of the 10 top-grossing domestic films have either been a sequel, remake or spin-off, and with the box office down 14% from the year before, many are citing “franchise fatigue” as one of main contributors to this downturn. While it’s fair to feel disappointed by the lack of originality at the movies, films like Patty Jenkins’ Wonder Woman, James Mangold’s Logan, and Denis Villeneuve's Blade Runner 2049 have shown us that, sometimes, sequels and reboots are capable of great things. To figure out the recipe for a good franchise film, Rob and Geoff sat down with Creed writer Aaron Covington.
Covington talks about teaming up with Ryan Coogler, why making Creed wasn’t his primary goal as a writer, and what pressures come with adapting a beloved film franchise.
He also discusses whether inserting people of colour into an established narrative is the most plausible, and powerful, way of driving diversity on screen, and his dream of writing the next great basketball movie.
In 2000, David Gordon Green received universal acclaim for his feature debut, George Washington, and it wasn’t long before people in the industry started referring to Green — then 26 years old — as “the next Terrence Malick.” However, after a string of well-received, but financially unsuccessful indie films, Green decided to pivot with the 2009 stoner smash hit Pineapple Express. Since then, Green’s filmography has become as varied as you’ll see from a modern Hollywood director, from low-brow fantasy epics (Your Highness) to emotional biographical dramas (Stronger) to horror reboots (the upcoming Halloween).
Geoff sat down with Green to discuss how he became so comfortable changing styles and genres, why it pays off to stay close to your college buddies (especially when they include Danny McBride), and why, despite the understated tone of his early films, he’s always been drawn to projects that are “big and outrageous.”
He also considers the added responsibility of telling true stories, why it was important for him to inject humour and levity into a film as emotional as Stronger, and why he wouldn’t say no to the next Star Wars movie.
On the first anniversary of Donald Trump's election victory, Rob sits down with documentarian Greg Barker to discuss how documentaries fit into a "post-truth" world. Greg’s new film, 'The Final Year', looks back on the last year of Barack Obama's administration. The two talk about why the Obama years already feel like ancient history (3:15), why Greg wanted humanize the foreign policy process (5:20), and how he ended up with a film that even Trump supporters will enjoy (7:00). Greg also talks about the experience of filming the reaction on election night (15:15), how documentaries are a response to the shortcomings of modern journalism (17:00), and why the form has a greater role to play than ever before (19:10).
We’re not even halfway through our stashed Halloween candy, and it’s already official: 2017 has become the biggest box office year ever for horror. While the domestic box office has been down 11 percent since 2016, horror films managed to pick up $733 million in ticket sales, fueled by monster smashes like 'Get Out' and 'It'. In this episode of TIFF Long Take, host Geoff Macnaughton puts together his own Scooby Gang — 'Faculty of Horror' podcast co-host, Alexandra West; and Midnight Madness programmer, Peter Kuplowsky — to investigate our renewed bloodlust for genre films. The three discuss the mainstream appeal of horror (4:10), why some Stephen King adaptations thrived ('It') while others failed to stay alive ('The Dark Tower') (7:40), and how Jordan Peele’s Get Out became a cultural phenomenon (10:45). In the episode’s second half, Geoff, Alexandra, and Peter get into why A-listers aren’t necessary in horror (18:00), what major studios can learn from Blumhouse (22:55), and why movie theatres are still the perfect setting for jump scares (28:05).
Over the last decade, ratings aggregators like Rotten Tomatoes and IMDB have surpassed individual critics as the most influential arbiters of taste in the film world. And while many of us trust these sites to curate our moviegoing experience, most don’t fully understand how these hugely persuasive scores are calculated, or where the data informing them is coming from. To get the full picture, Rob and Geoff sat down with Walt Hickey, Chief Culture Critic at FiveThirtyEight.com. Hickey discusses the influence of ratings aggregators on the 2017 box office, why the scores of controversial films and mediocre films end up being so similar, and why these sites need to adjust their scores to better reflect their audiences. He also talks about the implications of displaying data that’s predominantly collected from male users, how trolls can sink a film with poor ratings before it’s even released, and why, despite the rise of ratings sites, he still finds himself looking to Peter Travers.
If you watched the 2017 Emmys, you may have noticed that the category of “Music Supervisor” was added to the awards slate. The acknowledgement represents a growing appreciation for television soundtracks, and the idea that a well placed song can have as much impact on a show’s style and tone as the cinematography or the costume design. Beyond that, thanks to incredible soundtracks on shows like Issa Rae’s 'Insecure', Aziz Ansari’s 'Master of None', and Donald Glover’s 'Atlanta', television has become one of the best places to discover new music. Rob sat down with Zach Cowie, one of the best music supervisors in the business, to learn more about this evolving field. Cowie talks about his path from record store clerk to soundtrack designer on 'Master of None', why his job is less glamorous than people think, and why easier access to music through streaming services isn’t necessarily a good thing. He also talks about his favourite music moments in film and television history, and tells us what song he’d want played at his funeral.
This week, Rob and Geoff sit down with Judy Greer, one of Hollywood’s best and most prolific character actors. With over 120 acting credits in the last 20 years, Greer has built a portfolio of incredible characters with roles in 'The Descendants', 'Arrested Development', and 'Married'. She recently directed her first film 'A Happening of Monumental Proportions'. Greer talks about what attracts her most to a project, what she’s learned working with great filmmakers like Spike Jonze, Alexander Payne, and the Duplass brothers, and her method of getting into character. She also discusses how she got involved in the Canadian indie-comedy 'Public Schooled', why she decided to step behind the camera, and the most annoying thing a director can say to an actor.
If you’re a cinephile, chances are you’ve seen John Carroll Lynch's face on a screen recently. The renowned character actor, most recognized for roles like Arthur Leigh Allen in 'Zodiac' or Norm Gunderson in 'Fargo', recently directed his first feature film, 'Lucky', starring the late Harry Dean Stanton. Lynch sits down with Rob and Geoff to talk about his workmanlike approach to his craft, why being an actor is a lot like being a salesman, and what the great directors he’s worked with — like Martin Scorsese, the Coens, and David Fincher — all have in common. He also explains how he developed his directing style, walks us through the how he got involved with 'Lucky', and shares his fondest memory of working with the legendary Harry Dean Stanton.
For film lovers, the end of summer usually signals the start of awards season, with studios rolling out major campaigns for their “prestige films” before the end of the year. But this year, Oscar buzz seems slightly more subdued than usual. Last year’s rating were down significantly, and there appears to be a growing disconnect between the films winning awards and those topping the box office. Is this just a fluke, or are the Oscars becoming less relevant to both films and their audiences? To get the answers, Rob and Geoff are joined in the studio by Katie Rich, Mike Hogan, and Richard Lawson, the hosts of Vanity Fair’s 'Little Gold Men' podcast. The group discusses what an Oscar means to a film or studio now versus 10 years ago, how television has bumped film from the “prestige space,” and what the Oscars can do to attract younger audiences. This also wouldn’t be an Oscars episode without some wild prognostication, so the guests weigh in on a few of the biggest questions surrounding the 2017 awards class: will 'Get Out' get a nomination? Will 'Dunkirk' win Best Picture? And what yet-to-be-released film could make a late-season push?
This week on TIFF Long Take, Rob and Geoff lose their minds as they sit down with one of their childhood idols, Jim Carrey. The legendary comic is the subject of Chris Smith’s new documentary 'Jim & Andy: the Great Beyond - the story of Jim Carrey & Andy Kaufman with a very special, contractually obligated mention of Tony Clifton', an exploration into Carrey’s intense adoption of Kaufman’s persona during the making of the 1999 film 'Man on the Moon'. Carrey talks about his earliest comedic influences, his compulsion to create characters at a young age, and why his rebellious side was drawn to Kaufman’s challenging approach to comedy. He also discusses how his outlook on life has changed over the last few years, why disappearing for long periods of time is important to his art, and why becoming a character like Andy Kaufman is difficult to come back from.
If you’ve spent time at a film festival, you’ve probably heard the term “sales agent” tossed around. And while the title sounds very impressive, few of us know exactly what this mysterious person actually does, or how they contribute to the life of a film. To figure it out once and for all, Rob and Geoff sit down with one of the best sales agents in the business: Vice President of Celluloid Dreams, Charlotte Mickie. Mickie talks about her somewhat accidental entry into the film industry, how she balances art and commerce in her role, and how she’s developed her eye for talent. She also talks about why short films are the best calling cards for emerging talent, why film festivals are not the buyers’ market they used to be, and how her job has become more challenging in the digital age.
It’s been a strange few months for film. Box-office revenues are down 13% from last summer, Game of Thrones hijacked the cultural conversation, and despite a few great original stories, studios continued to shovel the vast majority of their money towards franchises and sequels. So where does film go from here, and what lessons can we gather from this confusing period? To find out, Rob and Geoff sit down with IndieWire’s Tom Brueggemann. Brueggemann explains why the international market can’t get enough of sequels (2:40), how studios are becoming more economical (5:45), and what film studios could learn from the Mayweather vs. McGregor fight (14:20). He also breaks down why, despite successes like Dunkirk and Baby Driver, original ideas continue to struggle at the box office (16:30), why reviews really don’t mean anything anymore (21:00), and why the biggest film of Summer 2017 didn’t come from Hollywood (28:50).
It’s no secret that the digital age has shaken the film world dramatically, and film festivals are no exception. Audience members’ viewing habits are evolving, and with the dramatic rise of online content and on-demand viewing, Rob and Geoff are wondering if film festivals still occupy the same role they used to, even as recently as a few years ago. To get the answer, the two sit down with TIFF’s Artistic Director, Cameron Bailey. The three chat about the allure of film festivals in an age where fewer people are going to theatres (5:40), why the popularity of festivals has risen even as the role of the critic as an arbiter of public taste has declined (12:55), and why film festivals shouldn’t feel threatened by the rise of streaming sites (17:50). The discussion then turns to TIFF 2017. Bailey lays out his top five films to see at the Festival, breaks down his Festival rituals, and describes how he answers the question “What is this year’s Moonlight?” (23:00)
Last week, at the Television Critics Association press tour, Disney made the surprising announcement that it will be removing its entire catalogue from Netflix by the end of 2019. The decision was viewed by many as the beginning of a change in the way that we view content, and has got many wondering what this means for Netflix — and for viewers. To get the answers, Rob and Geoff sit down with IndieWire’s Editor-at-Large, Anne Thompson. The three discuss how other major studios are reacting to this news (5:10), if any future streaming platforms will be able to reach the level of ubiquity that Netflix has (8:00), and if Netflix can survive on original content alone (11:45). They also talk about how how streaming is killing the theatre business (15:10), what we can read into Shonda Rhimes jumping ship to Netflix (25:30), and who poses the biggest threat to Netflix moving forward (26:30).
In 1949, starlet Ida Lupino changed film history when she stepped behind the camera to direct her first film, ‘Unwanted’. Now, nearly 70 years later, Rob and Geoff sit down with Karina Longworth, host of the incredibly popular podcast ‘You Must Remember This’ to talk about Lupino’s story, struggles, and influence on a profession that is still, sadly, overwhelmingly male. The three talk about Lupino’s rise to Hollywood stardom (7:20), the hurdles she overcame to get in the director’s chair (9:40), and how the infamous Howard Hughes both helped and hurt her career (13:45). They also discuss her great works like ‘Outrage’ and ‘The Bigamist’ (16:25), her influence as an early Hollywood multi-hyphenate (18:00), and why, in 2017, women filmmakers are still fighting an uphill battle to gain the trust of studios (20:10).
Director Stella Meghie has had quite a year. In 2016 her debut film ‘Jean of the Joneses’ premiered at the South by Southwest Film Festival to rave reviews, and just over twelve months later she had her first big financial hit with with the studio film ‘Everything, Everything’. It’s an impressive trajectory for any young director, but when you consider how grossly underrepresented black women filmmakers are in Hollywood, Stella’s ascent seems even more significant. In fact, Stella is the only black woman with a wide-release movie in 2017, a shocking stat that speaks volumes about Hollywood’s diversity problem. Stella sits down with Rob and Geoff to discuss how she went from indie darling to studio director in just over a year (3:25), the challenges that come working within the studio system (5:30), and why, despite her recent mainstream success, she’s excited to go back to telling more personal stories (6:45). She also explains why women filmmakers have more trouble making the leap to studio films than their male peers (12:00), the consequences of diverse audience members not seeing themselves represented onscreen (17:25) and why she’s not happy with the distinction of being the only black woman with a wide release film in 2017 (18:30). Stella is currently an ambassador for TIFF’s Share Her Journey campaign, a five year initiative prioritizing gender parity within the film industry. To find out more about the campaign, please visit: http://www.tiff.net/shareherjourney/
Any filmmaker will tell you that the journey to getting their first feature made is full of ups and downs. But what exactly are the biggest challenges facing aspiring filmmakers and how can we make things easier and more accessible for future generations? To learn more, Rob, and special guest host Chandler Levack, sit down with director Ashley McKenzie, whose debut film ‘Werewolf’ garnered a tonne of attention and admiration at last year’s TIFF. Ashley talks about her long path to getting ‘Werewolf’ made (5:40), why she considers her films “termite art” (13:25), and why young filmmakers need to question the systems in place and find a method that works for them (15:50). She also explains why she thinks female filmmakers have more to prove than their male peers (21:30), why she doesn’t feel at a disadvantage working out of Cape Breton Island (29:30), and why, despite ‘Werewolf’s’ success, she’s not confident that making her second film will be an easier road (30:40) Ashley is currently an ambassador for TIFF’s Share Her Journey campaign, a five year initiative prioritizing gender parity within the film industry. To find out more about the campaign, please visit: http://www.tiff.net/shareherjourney/
Throughout film history, censor boards have often come into conflict with artists looking to push boundaries, from Howard Hawks to Trey Parker and Matt Stone. But in the current digital age, where so much content is unfiltered and readily available, do censor boards still have a role to play in the films we watch? To get the answer Rob and Geoff sit down with Khushboo Ranka and Vinay Shukla, the co-directors of the documentary ‘An Insignificant Man’. The film, which documents the journey of Arvind Kejriwal, "the Bernie Sanders of India," was recently denied an exhibition certificate in the pair’s home country. Khushboo and Vinay discuss the trials they’ve gone through to get their film released (2:35), how India’s Central Board of Film Certification (CBFC) is holding them to the same standards as films released in 1952 (10:15), and why they believe that stringent censorship guidelines are discouraging the next generation of Indian filmmakers (14:00). They also explain why they believe the majority of censorship is used to create a narrative (15:20), and why the definition of what is "appropriate" can only be determined by the consumer (18:10).
This Sunday, Lords and Ladies of the realm will be gathering around their televisions, raising a goblet, and whispering in unison, “ Valar Morghulis.”. Game of Thrones mania is at an all-time high, and it has Rob and Geoff wondering,: by reaching such an unprecedented level of fandom, has the series transcended its medium and become more than just another TV show? To get the answer they sit down with New York Magazine’s renowned film critic, Matt Zoller Seitz. Matt talks about how Game of Thrones became the “Star Wars of cable” (5:05), how the show has reached extraordinary success despite its limited (legal) availability (9:10), and why calling the show a “melodrama” shouldn’t be interpreted as an insult (12:25). He also explains why he doesn’t care about reading the books (17:20), why the show won’t fall victim to the later series pitfalls of other great television (21:05), and why he thinks we shouldn’t hold our breath for a happy ending (22:20).
Every day, thousands of aspiring screenwriters around the globe are putting the finishing touches on what they're sure will be the next Citizen Kane. But is a good script really enough to get your film made in the current climate? To get the answer Rob and Geoff sit down with one of Europe's foremost development gurus, Isabelle Fauvel. Isabelle talks about how she's made a career out of being brutally honest (8:05), why she thinks the industry places far too much emphasis on "well-written" scripts (13:45), and why she's more attracted to good ideas than good writing. She also explains why she suggests that her clients make a dumbed-down version of their script (17:10), how she's able to recognize great talent (27:30), and why asking your mom for feedback on your script probably isn't the right approach (35:40).
Back in July 2015, sci-fi and comedy nerds alike rejoiced at the news that directors Chris Miller and Phil Lord (21 Jump Street, The Lego Movie) would be helming the latest Star Wars Anthology film focusing on the origins of a young Han Solo. It was a marriage that seemed destined for greatness, and so it came as great shock to many last week when the two filmmakers left the project after 5 months of shooting. To get the scoop on Lord and Miller's departure, and what it means for the Star Wars brand, Rob and Geoff sit down with Chris Taylor, deputy editor at Mashable. Chris explains why he was shocked to hear of Lord and Miller's abrupt departure (4:00), why 'Han Solo' may have had more in common with Ace Ventura than 'Rogue One' (7:05), and why on-set improv is a surefire way to make an enemy out of Lawrence Kasdan (12:45). He also discusses why he thinks Ron Howard is the right director to take over the project (17:35), the tragic irony of Alden Ehrenreich needing an acting coach (21:35), why the Star Wars braintrust is so risk averse (24:50), and what might be next for Lord and Miller (29:10).
Last week, The New York Times sent the internet into a frenzy with their list of ‘The 25 Best Films of the Century So Far’. To get the story of how you even attempt to compress 17 years of cinema into an essential 25 films, Rob and Geoff sit down with one half of the duo behind the list, NYT Chief Film Critic, A.O. Scott. A.O. discusses why he and his partner, Manohla Dargis, thought the time was right to reflect on this century’s best films (4:05), the surprising controversy that comes with championing Clint Eastwood (11:40), and why ranking 'There Will Be Blood' #1 was one of the easier choices they made (14:35). He also talks about why 'Inside Out' stands out in Pixar’s incredible library (18:00), what national cinema he could see rising over the next 17 years (21:20), and why he feels Steven Spielberg might be one of this century’s most underrated filmmakers (24:15).
In the last few years, more and more successful indie filmmakers like Colin Trevorrow, Ryan Coogler, and, most recently, Patty Jenkins, have moved over to the world of “Intellectual Property” to make their mark with a major film franchise. While this might be a smart move career-wise, it's becoming increasingly rare to see A-list filmmakers telling original stories. One director rejecting this trend is today's guest, Edgar Wright, whose latest film, 'Baby Driver', comes on the heels of an unsuccessful experience working on Marvel's 'Ant-Man'. Edgar sits down with TIFF’s Rob and Geoff to discuss how difficult it is to get a big budget original film made in the current climate (3:30), why he thought he was headed to "director jail" after 'Ant-Man' (6:15), and why he chose to make 'Baby Driver' rather than take on another franchise (7:50). He also talks about how the original idea for 'Baby Driver' was conceived 22 years ago (9:05), and what might challenge 'Scott Pilgrim vs. the World' as the all-time greatest Toronto film ever made (12:35).
Since JAWS was released in 1975, summertime has always been known to movie lovers as "Blockbuster Season". But with diminishing box office returns, exhausted film franchises pushing out 5th and 6th sequels, and more people staying at home for a night of Netflix, we're starting to wonder, is the age of the Blockbuster coming to close? To get more insight Rob and Geoff sit down with film writer Adam Nayman (The Ringer, The Globe and Mail). The three talk about the origins of the "modern summer blockbuster" (4:50), wonder if the summer films of 1984 will stand the test of time better than 2016(13:25), and discuss why "franchise fatigue" for tent-poles like TRANSFORMERS, PIRATES OF THE CARIBBEAN, and SPIDERMAN, might be a big part of the problem (17:45). They also get into why virtually every superhero movie seems to be immune to financial failure (25:25), and make their picks for a 2017 film that could snap us out of this drought and make blockbusters fun again (31:10).
Telugu, or "Tollywood" cinema is a regional Indian film industry that, until recently, lived in the shadow of the countries' thriving "Bollywood" industry. That's all changed though with the release of BAAHUBALI 2: THE RETURN, a new Telugu film that was been shattering box office records, both in India and around the world, grossing over $20 Million in the US alone (a staggering number for an Indian film). To get the scoop on Telugu Cinema's rise to supremacy, Rob and Geoff sit down with Dilani Rabindran, founder of Viewfinder Film Consulting, and Programmer at the Real Asian Film Festival. Dilani discusses why the terms "Bollywood" and "Indian Cinema" are often falsely conflated (6:10), how Telugu has carved out a distinct style (10:10), and what's driving the genre's incredible success both domestically and abroad (14:20). She also explains how Telugu filmmakers progressed the genre by listening to their critics (20:40), how films like BAAHUBALI 2 are drawing record numbers to the theatre in the age of streaming (24:40), and why content producers like Netflix and Amazon are setting their sites on the Asian market (31:55)
We constantly hear from fans and critics that we're living in a "golden age of television". But are A-List stars, esteemed filmmakers, and massive budgets really leading to better TV? To find out Rob and Geoff sit down with writer and critic Eric Thurm (Esquire, GQ, The A.V. Club). Eric does his best to define "Prestige TV" (3:35), wonders if critics and audiences have an unfair bias towards shows on traditional networks (7:10), and discusses why giving TV creators total creative freedom might not be the recipe for success (11:35). He also explains why calling a TV show "cinematic" shouldn't be considered a compliment (14:50), why the most interesting television makers show a healthy disrespect for the medium (19:05), and why the next "golden age" wont be reached mimicking shows like The Sopranos, The Wire, and Mad Men (28:00).
There's no denying that it's a great time for all the foodie film lovers out there, whether they're feasting on CHEF'S TABLE, PARTS UNKNOWN, or RATATOUILLE . But what is it that makes food such a compelling subject both in movies and on the small screen? To find out Rob and Geoff head out for a bite with renowned chef, and host of Viceland's DEAD SET ON LIFE, Matty Matheson. Matty explains why he thinks food is the best introduction to any culture (2:45), how Instagram has fuelled the food craze (10:00), and why he thinks that BURNT is a criminally underrated work of cinema(16:30). He also talks about why the subject of food lends itself better to documentaries than narrative films (18:25), lists his favourite restaurant scenes in film history (23:25), and details his last meal on earth (29:30).
Before Geoff heads out for Cannes, he and Rob sit down with Owen Gleiberman, Chief Film Critic at Variety, to talk about how this year's slate of films is pushing the boundaries of what people expect from the highly influential, but famously traditional festival. The three discuss the impact of bringing Jane Campion's TOP OF THE LAKE and David Lynch's TWIN PEAKS to the festival (3:30), the significance of increasing the number of female filmmakers represented in the lineup (11:25), and why this is such an important festival for Netflix (17:20). They also wonder why there are no major Hollywood studio films in competition this year (23:05), question if worlds of artistic film and popular film are further apart than ever (27:05), and make their extremely premature predictions for this year's Palme d'Or (31:05)
The myth that "Black Films Don't Travel" is one that has existed in Hollywood for decades, despite plenty of evidence to the contrary. But with the recent international success of films like MOONLIGHT, HIDDEN FIGURES, CREED, and STRAIGHT OUTTA COMPTON, what is keeping this antiquated idea afloat in 2017? To find out, Rob and Geoff sit down with Tre'vell Anderson, Film Reporter at the Los Angeles Times. The three discuss the myth's origins (2:10), why film studios consistently under estimate the potential of films with diverse casts (5:05), and why "black film" is not a genre (8:00). They also question if films like MOONLIGHT and STRAIGHT OUTTA COMPTON are laying the groundwork for future international sales (14:25), wonder if the rise of reboots and recycled content is part of the problem (21:30), and discuss if television is ahead of the curve on this particular issue (22:50).
On Monday, 96% of Writer's Guild of America members voted to go on strike as of May 2nd. But what exactly are the writers seeking, who are the players involved, and how would a strike impact the industry and you the viewer? To get the answers Rob sits down with Vox Culture Writer Alissa Wilkinson, who has been covering the impending work stoppage. The two talk about why WGA members are fed up with their current contract (2:30), why too much good TV might be part of the problem (4:55), and why writers are getting paid less than they used to (9:55). They also discuss why shows like SNL and the Daily Show have the most to lose (14:30), why streaming services like Netflix and Amazon aren't concerned (20:05), and why President Donald Trump was the biggest winner of the 2007 strike.
Today we remember legendary filmmaker Jonathan Demme who passed away this morning at the age of 73. Jonathan was the genius director behind classic films Silence of the Lambs, Stop Making Sense, and Rachel Getting Married, among many others. Rob had the pleasure to sit down with Jonathan at last year's festival where the two discussed the art of the concert film (2:25), bringing a documentary approach to narrative filmmaking (12:40), and why musicians make such great actors (17:20).
In the last few years, ESPN, a television channel known for 'SportsCenter' and 'Monday Night Football', has evolved into one of Hollywood's most respected film studios, developing acclaimed projects like the '30 for 30' film series, and the Academy Award winning 'O.J.: Made in America. To discuss this unlikely transformation, Rob and Geoff sit down with the studio's Manager of Development and Production, Jenna Anthony. Jenna talks about the '30 for 30' origin story (4:10), explains how they have been able to build a forum for inclusive storytelling, in such a male dominated industry (9:30), and details how ESPN has continued to stay at the forefront of the increasingly crowded sports documentary landscape (16:30). The three also talk about the unprecedented success of 'O.J.: Made in America' (23:55), discuss how the film's unconventional form, and length, changed expectations about the genre (25:50), and debate which sports stories from the past year might end up as a '30 for 30' down the road (27:40).
It's no secret that Hollywood has a gender bias problem, with males representing about 2/3 of all onscreen roles, and close to 96% of all directors. But how did things get this bad, and more importantly, what can be done to solve this crisis? To get the answers Rob and Geoff speak with Dr. Stacy Smith and Dr. Katherine Pieper of the University of Southern California. Both have done extensive research on what they call Hollywood's "epidemic of invisibility". The four discuss the data behind Hollywood sexism (2:05), why the industries reliance on old conventions and tired tropes is a big part of the problem (5:45), and why the mythology that a female lead can't carry a film still exists, despite a tonne of evidence to the contrary (9:00). They also wonder why male filmmakers are given more chances than females(14:45), explain that women are often just as sexualized in G-rated films as they are in R-rated films (17:30), and argue that a groundbreaking film like HIDDEN FIGURES might be more of an outlier than a new standard (30:35).
In just a few short years, comedian Bassem Youssef, often referred to as "The Jon Stewart of Egypt", went from being Egypt's biggest television star, pulling in 30 millions viewers a show, to living in political exile. But what does his unprecedented popularity, and subsequent cancellation tell us about the impact and importance of modern satire? To find out, Rob and Geoff sit down with Sara Taksler, Senior Producer at The Daily Show, and director of TICKLING GIANTS, a documentary on Bassem and his show, AL BERNAMEG. The three chat about how AL BERNAMEG became Egypt's first, and last, political satire show (7:20), what the show's popularity says about the power of satire in the Middle East (9:05), and why the best comedy often comes out of the toughest situations (10:50). They also discuss the importance of satire in today's political climate (15:30), question if the glut of political satire in popular culture is fatiguing to the consumer (23:10), and wonder if the form is changing opinions or just preaching to the choir (24:25)
2016 was a massive year for animated films with the genre representing 5 of the top 10 grossing films in the US. But are heightened financial expectations squashing creativity within the imaginative form? To get the answer Rob sits down with veteran animated filmmakers, Director Tom McGrath (Madagascar, Megamind, Boss Baby) and Producer Ramsey Ann Naito (Boss Baby, South Park). The three discuss the challenge of making films that will appeal to both kids and adults (2:20), what they learned during their early days working in adult animation (6:00), and the reason why all animated movies are starting to look the same (8:25). They also chat about what's drawing directors like Wes Anderson and Charlie Kaufman into the animated realm (10:50), why, unfortunately, animated films are seen as babysitting tools (13:30), and why the form needs to evolve beyond "talking animals and appliances" in order to stay relevant (20:20)
This week, Rob and Geoff sit down with the man who turned his love of film into one of the web's most influential sites, Internet Movie Database (IMDb) Founder and CEO, Col Needham. IMDb is the most popular film site on the web, and in many senses, it's changed the way we watch films. The three chat about IMDB's origin story (5:25), the early days of the 'World Wide Web' (7:10), the site's evolution over the past 20 years (9:15), how IMDB has empowered a generation of industry insiders (14:05), how their data has influenced the way that movies are made (16:00), and how the site has helped to democratize the film industry (18:45).
Get Out is arguably the most talked-about film of the year, as well as a massive financial and critical success. Rob and Geoff call up Jason Blum, the film's producer and founder of Blumhouse Productions, the company behind such hits as Split, Whiplash, Paranormal Activity, and The Purge. Jason talks about how he got into the industry (2:27), Blumhouse's low-budget, high-yield approach to producing successful (and high quality) films (5:42), why you don't need movie stars to make great genre pictures (9:02), and why he broke his first-time director rule to work with Jordan Peele (11:10). He also discusses his 10-year first-look deal with Universal (15:21), the importance of relationships based on trust (19:37), why genre films are so valuable for generating conversation about social issues (20:50), how he was first connected with Jordan Peele (23:28), the reality that genre is a small part of the business, while tentpole movies remain the biggest part (24:47), and offers his advice to aspiring filmmakers (26:01).
Last week, news broke that Netflix had acquired the rights to Martin Scorsese's upcoming film, THE IRISHMAN, after Paramount Pictures walked away from the project. The deal sent shockwaves around the industry, and Rob and Geoff are pleased to sit down with the writer who broke the story, IndieWire's Editor at Large, Anne Thompson. The three talk about how the film went from a much lauded Paramount property to a $105 Million Netflix acquisition (3:00), why most traditional studios considered the project "too risky" (5:20), and why Scorsese, a noted champion of the cinematic experience, was willing to give up a theatrical release for greater financial and creative freedom (10:35). Anne also explains why current "major studios" are total facades (15:10), the difference between Netflix and Amazon Studio's distribution models (19:10), and wonders why traditional studios don't invest in their own stream services, rather than continue to feed the Netflix beast (22:55)
Franklin Leonard is the founder and CEO of 'The Black List', an annual survey that compiles the "most liked" unproduced screenplays of the year. Since the list's creation in 2005, over 300 Blacklist scripts have been made into theatrical films, with 4 of them going on to win a Best Picture Oscar. Franklin joins Rob and Geoff to talk about the early days of The Black List (2:35), how he's managed to "industrialize" the screenwriting process (5:55), and why, despite his love of data, he has trepidations about applying an analytical lens to an artistic form (8:50). The three also discuss the difference between a "liked script" and a "good script" (11:50), how growing economic pressures have changed what kind of films get made (15:30), why biopics might be the safest bet for aspiring screenwriters(18:20), and why Franklin can't wait for a script about the David Bowie and Iman love story to come across his desk (hint hint, writers).
Is putting together a perfect Oscar ballot really all in the numbers? On the inaugural episode of 'TIFF Long Take', Rob and Geoff sit down with Walt Hickey, FiveThirtyEight.com's Chief Culture Writer, to find out how you can use data to predict the winners on Sunday night. The three discuss the data model that Walt has built to find the probable winners (3:55), why the Golden Globes aren't a great indicator of Oscar success (6:45), why 'La La Land' is a shoe in for Best Picture (10:35), what categories are primed for an upset (17:00), and why an Oscar nomination doesn't always translate to box office success (23:40). Theme Music By The Passion HiFi http://www.thepassionhifi.com