Tiff Long Take

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 f

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

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 pla

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: wi

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

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

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 censorsh