by Takis Garis (@takisgaris)
Episode 11 Don't TIFF it's over
Hard to believe that TIFF2012, TIFF37 if you prefer, is just over. Can I express my feelings by presenting you some facts & figures? Bear with me for a while folks:
362 films. 162 countries, 62 languages represented. Film tech stats: 13 films in 16mm, 37 in 35mm, 1 in 70mm, 79 in HDCAM and 232 in DCP.
2.200 volunteers made every single one feeling at home. There’s no denying that.
More than 500.000 visitors altogether, which is industry, press, spectators as a whole.
Check how many film rights’ acquisitions have taken place, by distributor (Source: Indiewire):
362 films. 162 countries, 62 languages represented. Film tech stats: 13 films in 16mm, 37 in 35mm, 1 in 70mm, 79 in HDCAM and 232 in DCP.
2.200 volunteers made every single one feeling at home. There’s no denying that.
More than 500.000 visitors altogether, which is industry, press, spectators as a whole.
Check how many film rights’ acquisitions have taken place, by distributor (Source: Indiewire):
BY DISTRIBUTOR
Anchor Bay Films
• “Jayne Mansfield’s Car”— directed by Billy Bob Thornton, written by Tom Epperson and Thornton — North American and UK rights (WME Global)
Annapurna Pictures
• “Spring Breakers” — directed and written by Harmony Korine — U.S. rights (CAA, Ted Field)
Cinedigm Entertainment Group
• “Come Out and Play” (“Juego De Niños”)— directed and written by Makinov — U.S. rights (Cinetic Media)
The Cinema Guild
• “Leviathan”— directed by Lucien Castaing-Taylor and Véréna Paravel — U.S. rights
Dimension Films
• “Aftershock”— directed by Nicolás López, written by Guillermo Amodeo, Eli Roth and López — U.S. rights (CAA)
Film Movement
• “Three Worlds”— directed by Catherine Corsini, written by Benoît Graffin and Corsini — U.S. and Canadian rights (Pyramide International)
Focus Features
• “The Place Beyond the Pines”— directed by Derek Cianfrance, written by Ben Coccio, Darius Marder and Cianfrance — U.S. rights (WME Global, CAA)
HBO
• “Casting By”— directed by Tom Donahue — U.S. TV rights (Submarine Entertainment)
• “Love, Marilyn”— directed and written by Liz Garbus — U.S. TV rights (Submarine Entertainment)
IFC Films
• “Byzantium” — directed by Neil Jordan, written by Moira Buffini — U.S. rights (WME Global, CAA)
• “The Reluctant Fundamentalist” — directed by Mira Nair, written by Mohsin Hamid, William Wheeler and Ami Boghani — North American rights (Cinetic Media)
Lionsgate / Roadside Attractions
• “Imogene”— directed by Shari Springer Berman and Robert Pulcini, written by Michelle Morgan — U.S. rights (UTA Independent Film Group)
• “Much Ado About Nothing” — directed and written by Joss Whedon — North American rights (CAA)
• “Thanks for Sharing”— directed by Stuart Blumberg, written by Matt Winston and Blumberg — U.S. rights (WME Global, UTA Independent Film Group)
Magnolia Pictures
• “The Brass Teapot”— directed by Ramaa Mosley, written by Tim Macy — North American rights (The Gersh Agency)
• “No Place on Earth”— directed by Janet Tobias, written by Paul Laikin and Tobias — U.S. rights (Submarine Entertainment)
Millennium Entertainment
• “What Maisie Knew” — directed by Scott McGehee and David Siegel, written by Carroll Cartwright and Nancy Doyne —U.S. rights (WME Global)
• “Writers”— directed and written by Josh Boone — U.S. rights (CAA)
MPI Pictures
• “Therese Desqueyroux”— directed by Claude Miller, written by Natalie Carter and Miller — U.S. rights
Outsource Media Group
• “Great Expectations”— directed by Mike Newell, written by David Nicholls — North American rights (HanWay Films)
Paladin and 108 Media
• “The We and the I”— directed by Michel Gondry, written by Jeffrey Grimshaw, Paul Proch and Gondry — North American rights (WME Global)
Roadside Attractions (see also Lionsgate)
• “Stories We Tell”— directed and written by Sarah Polley — U.S. rights (National Film Board of Canada)
Samuel Goldwyn Films
• “Still”— directed and written by Michael McGowan — U.S. rights (Paradigm)
Strand Releasing
• “Paradise: Love,”plus the other two films in the trilogy — directed by Ulrich Seidl, written by Veronika Franzand Seidl — U.S. rights
• “White Elephant”— directed by Pablo Trapero, written by Alejandro Fadel, Martín Mauregui, Santiago Mitre and Trapero — U.S. rights (Wild Bunch)
Tribeca Film
• “How to Make Money Selling Drugs” — directed and written by Matthew Cooke —U.S. rights (ICM partners, Larry Kopeikin)
Well Go USA
• “Dangerous Liaisons”— directed by Hur Jin-Ho, written by Geling Yan — North American rights
XLrator Media
• “Thale”— directed and written by Aleksander L. Nordaas — U.S. rights (XYZ Films)
Are you ready for the TIFF Oscar Factor trivia since 1978? Case-in-point is “how winners of People’s Choice Awards fared at the Oscars”. Check this out (Source: The Hollywood Reporter):
• Girlfriend (1978) — none
• Best Boy (1979) — documentary WON
• Bad Timing (1980) — none
• Chariots of Fire (1981) — picture WON, director, supporting actor, original screenplay WON, film editing, original score WON, costume design WON
• Tempest (1982) — none
• The Big Chill (1983) — picture, supporting actress, original screenplay
• Places in the Heart (1984) — picture, director, actress WON, supporting actor, supporting actress, original screenplay WON, costume design
• The Official Story (1985) — original screenplay, foreign language film WON
• Le Declin de l’empire Americain (1986) — foreign language film
• The Princess Bride (1987) — original song
• Women on the Verge of a Nervous Breakdown (1988) — foreign language film
• Roger and Me (1989) — none
• Cyrano de Bergerac (1990) — actor, foreign language film, art direction-set direction, costume design WON, makeup
• The Fisher King (1991) — actor, supporting actress WON, original screenplay, art direction-set direction, original score
• Strictly Ballroom (1992) — none
• The Snapper (1993) — none
• Priest (1994) — none
• Antonia (1995) — foreign language film WON
• Shine (1996) — picture, director, actor WON, supporting actor, original screenplay, film editing, original score
• The Hanging Garden (1997) — none
• Life Is Beautiful (1998) — picture, director, actor WON, original screenplay, foreign language film WON, film editing, original score WON
• American Beauty (1999) — picture WON, director WON, actor WON, actress, original screenplay WON, cinematography WON, film editing, original score
• Crouching Tiger, Hidden Dragon (2000) — picture, director, adapted screenplay, foreign language film WON, art direction-set direction WON, cinematography WON, costume design, film editing, original score WON, original song
• Amelie (2001) — original screenplay, foreign language film, cinematography, art direction-set direction, sound mixing
• Whale Rider (2002) — actress
• Zatoichi (2003) — none
• Hotel Rwanda (2004) — actor, supporting actress, original screenplay
• Tsotsi (2005) — foreign language film WON
• Bella (2006) — none
• Eastern Promises (2007) — actor
• Slumdog Millionaire (2008) — picture WON, director WON, adapted screenplay WON, cinematography WON, film editing WON, original score WON, original song WON, original song, sound editing, sound mixing WON
• Precious (2009) — picture, director, actress, supporting actress WON, adapted screenplay WON, film editing
• The King's Speech (2010) — picture WON, director WON, actor WON, supporting actor, supporting actress, original screenplay WON, art direction, cinematography, costume design, film editing, original score, sound mixing
• Where Do We Go Now? (2011) — none
• Silver Linings Playbook (2012) - ? (I see multiple oscar noms)
Anchor Bay Films
• “Jayne Mansfield’s Car”— directed by Billy Bob Thornton, written by Tom Epperson and Thornton — North American and UK rights (WME Global)
Annapurna Pictures
• “Spring Breakers” — directed and written by Harmony Korine — U.S. rights (CAA, Ted Field)
Cinedigm Entertainment Group
• “Come Out and Play” (“Juego De Niños”)— directed and written by Makinov — U.S. rights (Cinetic Media)
The Cinema Guild
• “Leviathan”— directed by Lucien Castaing-Taylor and Véréna Paravel — U.S. rights
Dimension Films
• “Aftershock”— directed by Nicolás López, written by Guillermo Amodeo, Eli Roth and López — U.S. rights (CAA)
Film Movement
• “Three Worlds”— directed by Catherine Corsini, written by Benoît Graffin and Corsini — U.S. and Canadian rights (Pyramide International)
Focus Features
• “The Place Beyond the Pines”— directed by Derek Cianfrance, written by Ben Coccio, Darius Marder and Cianfrance — U.S. rights (WME Global, CAA)
HBO
• “Casting By”— directed by Tom Donahue — U.S. TV rights (Submarine Entertainment)
• “Love, Marilyn”— directed and written by Liz Garbus — U.S. TV rights (Submarine Entertainment)
IFC Films
• “Byzantium” — directed by Neil Jordan, written by Moira Buffini — U.S. rights (WME Global, CAA)
• “The Reluctant Fundamentalist” — directed by Mira Nair, written by Mohsin Hamid, William Wheeler and Ami Boghani — North American rights (Cinetic Media)
Lionsgate / Roadside Attractions
• “Imogene”— directed by Shari Springer Berman and Robert Pulcini, written by Michelle Morgan — U.S. rights (UTA Independent Film Group)
• “Much Ado About Nothing” — directed and written by Joss Whedon — North American rights (CAA)
• “Thanks for Sharing”— directed by Stuart Blumberg, written by Matt Winston and Blumberg — U.S. rights (WME Global, UTA Independent Film Group)
Magnolia Pictures
• “The Brass Teapot”— directed by Ramaa Mosley, written by Tim Macy — North American rights (The Gersh Agency)
• “No Place on Earth”— directed by Janet Tobias, written by Paul Laikin and Tobias — U.S. rights (Submarine Entertainment)
Millennium Entertainment
• “What Maisie Knew” — directed by Scott McGehee and David Siegel, written by Carroll Cartwright and Nancy Doyne —U.S. rights (WME Global)
• “Writers”— directed and written by Josh Boone — U.S. rights (CAA)
MPI Pictures
• “Therese Desqueyroux”— directed by Claude Miller, written by Natalie Carter and Miller — U.S. rights
Outsource Media Group
• “Great Expectations”— directed by Mike Newell, written by David Nicholls — North American rights (HanWay Films)
Paladin and 108 Media
• “The We and the I”— directed by Michel Gondry, written by Jeffrey Grimshaw, Paul Proch and Gondry — North American rights (WME Global)
Roadside Attractions (see also Lionsgate)
• “Stories We Tell”— directed and written by Sarah Polley — U.S. rights (National Film Board of Canada)
Samuel Goldwyn Films
• “Still”— directed and written by Michael McGowan — U.S. rights (Paradigm)
Strand Releasing
• “Paradise: Love,”plus the other two films in the trilogy — directed by Ulrich Seidl, written by Veronika Franzand Seidl — U.S. rights
• “White Elephant”— directed by Pablo Trapero, written by Alejandro Fadel, Martín Mauregui, Santiago Mitre and Trapero — U.S. rights (Wild Bunch)
Tribeca Film
• “How to Make Money Selling Drugs” — directed and written by Matthew Cooke —U.S. rights (ICM partners, Larry Kopeikin)
Well Go USA
• “Dangerous Liaisons”— directed by Hur Jin-Ho, written by Geling Yan — North American rights
XLrator Media
• “Thale”— directed and written by Aleksander L. Nordaas — U.S. rights (XYZ Films)
Are you ready for the TIFF Oscar Factor trivia since 1978? Case-in-point is “how winners of People’s Choice Awards fared at the Oscars”. Check this out (Source: The Hollywood Reporter):
• Girlfriend (1978) — none
• Best Boy (1979) — documentary WON
• Bad Timing (1980) — none
• Chariots of Fire (1981) — picture WON, director, supporting actor, original screenplay WON, film editing, original score WON, costume design WON
• Tempest (1982) — none
• The Big Chill (1983) — picture, supporting actress, original screenplay
• Places in the Heart (1984) — picture, director, actress WON, supporting actor, supporting actress, original screenplay WON, costume design
• The Official Story (1985) — original screenplay, foreign language film WON
• Le Declin de l’empire Americain (1986) — foreign language film
• The Princess Bride (1987) — original song
• Women on the Verge of a Nervous Breakdown (1988) — foreign language film
• Roger and Me (1989) — none
• Cyrano de Bergerac (1990) — actor, foreign language film, art direction-set direction, costume design WON, makeup
• The Fisher King (1991) — actor, supporting actress WON, original screenplay, art direction-set direction, original score
• Strictly Ballroom (1992) — none
• The Snapper (1993) — none
• Priest (1994) — none
• Antonia (1995) — foreign language film WON
• Shine (1996) — picture, director, actor WON, supporting actor, original screenplay, film editing, original score
• The Hanging Garden (1997) — none
• Life Is Beautiful (1998) — picture, director, actor WON, original screenplay, foreign language film WON, film editing, original score WON
• American Beauty (1999) — picture WON, director WON, actor WON, actress, original screenplay WON, cinematography WON, film editing, original score
• Crouching Tiger, Hidden Dragon (2000) — picture, director, adapted screenplay, foreign language film WON, art direction-set direction WON, cinematography WON, costume design, film editing, original score WON, original song
• Amelie (2001) — original screenplay, foreign language film, cinematography, art direction-set direction, sound mixing
• Whale Rider (2002) — actress
• Zatoichi (2003) — none
• Hotel Rwanda (2004) — actor, supporting actress, original screenplay
• Tsotsi (2005) — foreign language film WON
• Bella (2006) — none
• Eastern Promises (2007) — actor
• Slumdog Millionaire (2008) — picture WON, director WON, adapted screenplay WON, cinematography WON, film editing WON, original score WON, original song WON, original song, sound editing, sound mixing WON
• Precious (2009) — picture, director, actress, supporting actress WON, adapted screenplay WON, film editing
• The King's Speech (2010) — picture WON, director WON, actor WON, supporting actor, supporting actress, original screenplay WON, art direction, cinematography, costume design, film editing, original score, sound mixing
• Where Do We Go Now? (2011) — none
• Silver Linings Playbook (2012) - ? (I see multiple oscar noms)
Would you fancy some awards ceremony gossip? Well, it lasted for just less than an hour, the Intercontinental ballroom not being quite packed (to my utter enjoyment). Excellent food (branch); little chit-chat. TIFF’s artistic director Cameron Bailey has tweeted a congratulatory text to Silver Linings Playbook’s director David O’Russel which was leaked the minute I sat down at my table, some 45 minutes before the commencement of the ceremony (…) On another note, I saw Brandon Cronenberg sharing the award for best Canadian first feature (although Bailey himself announced that finally the monetary prize of $15K is going to be multiplied by two) and I can cerify that Cronenberg Jr (whose first effort is titled, quite tellingly, Anti-viral) seemed quite dazed and confused. All and all, it was an emotional ending to what I consider to be one of the greatest TIFFs ever, certainly the most attractive of talent than every other festival in 2012, including Cannes.
Back to the oscar hype, because officially nowadays TIFF signals the beginning of awards season, I’ll be brief and clear: TWC played it supremely well (no wonder) with Silver Linings Playbook, stealing The Master’s thunder in popularity (expectedly so). It won over Argo, which came second, depriving it from a prestigious award oscarwise. The Master is still a critical favourite, the real winner in Venice (Pieta was not well received here, almost as little as the deplorable To The Wonder), enjoying a record breaking box office in a screenings’ closed circuit, this very weekend. There’s no doubt that these three films have greatly benefited from TIFF, along with The Sessions, The Impossible and Looper, lest we forget that it’s not only about awards, but strong box office too.
And, oh boy, did I miss many of the films I was dying to see; Sightseers, The Last Quartet, Seven Psychopaths (winner of Midnight Madness people’s award), even the twisted Witches of Salem. Also, Artifact, by Jared Leto (winner of best documentary award) and the list goes on and on. I knew I wouldn’t be stunned by the new Redford, Mitchell, Wright, Whedon. Next year I certainly promise solemnly to give newly emerging talent a bigger chance. I hope you enjoyed our daily reports, made possible only by my partner George Zervopoulos, who had the procrustean task to make both English and Greek critique versions available to you. I am deaf to his sky-scraping (ουρανομήκεις) cries (κραυγές) to keep my writing earthbound. Too late, bro!
Don’t forget to tweet me: @TakisGaris. The oscar season is officially open! God bless you all, rendezvous at TIFF2013.
gaRis
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