Tiff Long Take

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

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

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 stre

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 n

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

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:

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)