TIFF SIFTS THE HOPEFULS
How the fest picks its movies
Piers Handling still remembers the taste of the wine — Francis Ford Coppola’s wine, that is.
The director and CEO of the Toronto International Film Festival sipped the delicious red while visiting the Oscar-winning director at his California winery to see his film Twixt in his cutting room.
He was there with Cameron Bailey, artistic director of TIFF, to decide whether the film should be a part of the 2011 festival. It ended up in the lineup.
“We had a wonderful lunch at a picnic table by a roadside café, surrounded with just normal people rolling up to have burgers and hotdogs,” says Handling.
Choosing films for the annual celebration of cinema, which this year runs Sept. 7 to 17, is a yearround process that sometimes involves travelling to movie makers’ private screening rooms, edit suites and homes.
“I’ve certainly been to people’s screening rooms in Mumbai, in Calcutta, sometimes places where I don’t even know exactly where I am or how to get back to my hotel. But I go because I want to feel what it’s like to make that film there,” says Bailey.
“It’s not just seeing them, because that can happen digitally. It’s more a sense of understanding them — to be in the context where the film was made, to be able to talk to the writers, the directors, the producers, to understand why it was important to make this particular film now.”
Bailey recalls watching a film in the basement of a certain producer’s home in London a few years back.
“He was making tea upstairs and brought down some biscuits,” says Bailey. “In the end, the film became a very big film and I won’t name it, but it won an Academy Award.”
Then there was the time he and Handling went to director Agnes Varda’s house in Paris to see her film projected onto a wall.
“Her voice-over was not on the film (yet), so Agnes had her script and she had a little microphone,” says Handling. “She read the voiceover while she was projecting the film.”
TIFF programmers have “a massive tracking list” for films that are in production, so they’re usually not surprised by what’s available, says Bailey.
This year, however, comedy star Louis C.K. caught them off guard.
“He called up our office himself, totally cold, and said, ‘Hi, my name is Louis C.K., I made a movie.’ And we’d never heard of it,” says Bailey.
The film is I Love You, Daddy and it will make its world première at TIFF.
“He had made it with his own money, he’d financed it himself completely off the radar of the entire film industry, wasn’t represented by any big company,” says Bailey.
When TIFF programmers go to a filmmaker’s home or personal studio to see their works, sometimes the producer or director is sitting right beside them.
“That can be a somewhat awkward experience because they’re reading your every move as you sit and watch,” says Bailey. “But you get something out of that as well. You get the fact that this is always going to be a human exchange, a human interaction.”
If the filmmaker is present during the screening, Bailey tries not to reveal any physical reactions.
“Even if you’re shifting in your seat, sometimes that makes filmmakers nervous,” he says.
If a filmmaker asks what Bailey thought of the movie, he says he always tries to offer something positive, even if it doesn’t seem a right fit for TIFF.
Sometimes the film needs work and isn’t ready for that year’s fest, but might debut the following year.
“Our advice to filmmakers is: ‘Don’t rush it, take your time and if you have to wait, if you possibly can, make sure you get it right,”’ says Handling.