Ilana Glazer

Abbi Jacobson

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 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.

Ep. 103: Ilana Glazer and Abbi Jacobson on the Life and Legacy of ‘Broad City’

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.

Ep. 102: How is France Keeping its Arthouse Cinemas Packed?

Bing Liu

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, 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 <a href="https://www.nytimes.com/2018/12/05/movies/best-movies.html" rel="nofollow" target="_blank"> best of 2018 lists</a>, will be playing as part of <a href="https://www.tiff.net/films/minding-the-gap/" rel="nofollow" target="_blank">TIFF Next Wave</a>. 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.

Ep. 101: Bing Liu on the Making of ‘Minding the Gap’

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, 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.

Ep. 100: Can a Film Preserve an Endangered Language?

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 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.

Ep. 99: How the Oscars Addressed its Diversity Problem

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, 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'.

Ep. 98: What We’re Looking Forward to in 2019

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: - FiveThirtyEight’s Walt Hickey, Ella Koeze, and Rachel Dottle on whether it’s time for a new Bechdel test - #OscarsSoWhite’s founder April Reign on her plan to make to make the industry more diverse - Actor Steven Yeun on representing Asian Americans onscreen - Activist Isabel Amor on how the film A Fantastic Woman has advanced transgender rights in Chile - 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 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: - FiveThirtyEight’s Walt Hickey, Ella Koeze, and Rachel Dottle on whether it’s time for a new Bechdel test - #OscarsSoWhite’s founder April Reign on her plan to make to make the industry more diverse - Actor Steven Yeun on representing Asian Americans onscreen - Activist Isabel Amor on how the film A Fantastic Woman has advanced transgender rights in Chile - 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

Ep. 97: Year in Review (Part 2)

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: -  Filmmaker and producer Mark Duplass on preserving artistry in the “tent-pole era” -  Filmmaker Debra Granik on the challenges of making “difficult” films  - TIFF’s Thom Powers on why we are living in a “golden age of documentary” - 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 - IndieWire’s Anne Thompson on Netflix’s move into cinemas - Kayleigh Donaldson on what the Disney–Fox merger means for the film industry and audiences - 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, 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: -  Filmmaker and producer Mark Duplass on preserving artistry in the “tent-pole era” -  Filmmaker Debra Granik on the challenges of making “difficult” films  - TIFF’s Thom Powers on why we are living in a “golden age of documentary” - 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 - IndieWire’s Anne Thompson on Netflix’s move into cinemas - Kayleigh Donaldson on what the Disney–Fox merger means for the film industry and audiences - Writer and showrunner Kit Steinkellner on choosing to launch her first show, Sorry for Your Loss, on Facebook Live.

Ep. 96: Year in Review (Part 1)

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 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 <a href="https://www.forbes.com/sites/jamos/2018/08/01/will-moviecoins-blockchain-technology-revolutionize-hollywood-film-production/#253477fe1258" rel="nofollow" target="_blank"> MovieCoin</a>. 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.

Ep. 95: How Will Blockchain Transform the Film Industry?

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 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.

Ep. 94: Why Netflix Set Its Sights on Cinemas

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 pod is brilliant! These guys are charming, smart, funny and are adding something new to the conversation around film culture, other than their loud voices (shots fired at The Watch). It&#39;s got all the weight of an NPR pod without the stuffiness. Can&#39;t wait to hear more!!

Wow!

TIFF Long Take

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 &amp; Andy: the Great Beyond - the story of Jim Carrey &amp; 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.

Ep. 32: Jim Carrey on Characters, Comedy, and Existence

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)

Ep. 3: Why is Martin Scorsese Too Risky for a Major Studio?

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.

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.

Ep. 56: How A24 Made Film Distribution Cool

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).

Ep. 5: How IMDB Demystified the Film Industry

Mark Duplass

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 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.

Ep. 64: Mark Duplass on the Changing Economics of Film

David Gordon Green

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.

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.

Ep. 40: How David Gordon Green Became Hollywood’s Most Eclectic Filmmaker

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 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 <a href="https://www.tiff.net/the-review/tiff-18-gala-special-presentations/" rel="nofollow" target="_blank"> Gala and Special Presentation</a> 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'.

Ep. 75: A Guide to Festival 2018

Alex Garland

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.

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.

Ep. 54: Alex Garland on ‘Annihilation’, Adaptation, and the Future of Sci-Fi

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.

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.

Ep. 79: Are we in a Golden Age of Documentary Film?

Boots Riley

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 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.

Ep. 74: Boots Riley on the Long Road to Making 'Sorry to Bother You'

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 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.

Ep. 89: Why It’s Finally Time to Take Horror Seriously

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).

Ep. 21: How to Get a Script Made in 2017

Zoe Kazan

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, 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.

Ep. 92: Zoe Kazan on Writing, Westerns, and Working With The Coen Brothers

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 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.

Ep. 65: Can MoviePass Save the Cinematic Experience?

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.

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.

Ep. 78: What Does a Festival Award Mean to a Young Filmmaker?

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 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.

Ep. 69: What’s it Like to Work at Pixar?

Steven Yeun

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 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.

Ep. 82: How Steven Yeun Went From ‘The Walking Dead’ to ‘Burning’

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.

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 <a href="http://FiveThirtyEight.com" rel="nofollow" target="_blank">FiveThirtyEight.com</a>. 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.

Ep. 49: Is it Time for a new Bechdel Test?

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.

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.

Ep. 62: The Difficulties of Being an Auteur in 2018

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