An invitation-only crowd at the Hamptons International Film Festival got schooled on”The Secrets of Schamus” — that’s Focus Features CEO James Schamus — by his former producing partner Ted Hope on Friday night. Schamus, whose career includes screenwriting credits for The Ice Storm and an Oscar nomination as producer of Ang Lee’s Brokeback Mountain , was the recipient of the festival’s Industry Toast at East Hampton Point. For A Good Time Call actress Ari Graynor emceed the event, which included toasts by Sony Pictures Classics Co-President Michael Barker and producer Christine Vachon and videotaped remarks from actor Gary Oldman , who got his first Oscar nomination starring in Focus Features’ 2011 film Tinker Tailor Soldier Spy. “He is a collaborator: an artist with his head in artists’ clouds and a business man with his business feet firmly in the box office,” Oldman said of Schamus before getting big laughs by poking gentle fun at the Focus exec’s mystique as a professorial indie-film rainmaker. (He’s not just a studio executive, he’s a Professor of Professional Practice in Columbia University’s School of the Arts.) “Did you know that he has won trophies for merely thinking?” said Oldman, adding: “He’s the only man ever to ace a Rorschach Test….Whenever he goes for a swim, dolphins appear….If he were to mail a letter without postage, it would get there.” Hope, who was honored with the festival’s Industry Toast in 2006, followed with a wry — and lengthy — recollection of his years spent working with Schamus at their seminal indie production company Good Machine. Under the guise of revealing the business “Secrets of Schamus” — which included “manufacture desire” and “make them want to pick up your phone call” — he amused the crowd with tales of how his bespectacled, bow-tie-wearing partner repeatedly managed to outshine him. “I’ve been a little competitive with James,” Hope said. “It’s hard to keep up with all those accolades.” The newly minted executive director of the San Francisco Film Society recalled how when they were bringing Nicole Holofcener’s Walking and Talking to the Sundance Film Festival in 1996, Schamus convinced him to put the $17,000 cost of a private plane flight on his credit card after their eleventh-hour commercial flight to Utah was grounded. According to Hope, when they learned that the private plane could not accomodate all of their fellow travelers, Schamus stayed behind, leaving his partner to pull an all-nighter in Sundance in order to sell the film to then-Miramax chief Harvey Weinstein. The morning after the sale, Hope said, “I pick up the paper and see that James Schamus had sold the film to Harvey Weinstein.” Hope concluded his remarks by telling the crowd that when he got his business cards from the San Francisco Film Society, they read: “former partner of James Schamus.” Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
The Campaign , the new comedy starring Will Ferrell and Zach Galifianakis, faces the challenge that troubles all political satires these days, which is coming up with material that can rival what’s actually happening in the news. And that’s not a point made in some hacky stand-up comedian way — “Those crazy folks in D.C., am I right?” No, it has become a legitimate, daunting task to come up with anything that can surpass, for instance, the wild reality show that was the recent Republican primaries. Director Jay Roach has, of late, mixed HBO dramatizations of contemporary political events like Game Change into a career otherwise dedicated to comedies like the Austin Powers franchise and Meet the Parents . The Campaign should theoretically fall nicely into the Venn diagram intersection between these two realms, but while frequently funny, it’s a film that also feels disconcertingly and disappointingly mild, ignoring all sorts of specific, choice ammunition in favor of a storyline about how far political discourse has gotten from actual issues (while itself skirting any actual issues). The villain in this case is unassailably soulless “big money,” embodied by Dan Aykroyd and John Lithgow, playing scheming billionaires whose real-life counterparts you may just be able to make out from the fact that they’re named the Motch brothers — and even in that, the film doesn’t really have any sting. It feels akin to setting a film in North Korea and then filling it only with jokes about accidentally ordering dog meat at restaurants. There’s a giant elephant (and donkey) in the room. As a goofball comedy, at least, The Campaign generally works, pitting Ferrell at his most obliviously pompous against Galifianakis in full, mincing weirdness. Ferrell’s Cam Brady is the incumbent Congressman in the fictional 14th district of North Carolina, a Democrat (not that, as mentioned, it matters in the least) with a ferociously ambitious wife (Katherine LaNasa), two kids and an apparently steady, unchallenged political career. But after a sex scandal involving a misdirected answering machine message tarnishes his image, Brady’s position doesn’t seem as secure, and the Motchs decide to fund an opponent who’ll favor their interests. Their pick is the cardigan-and-turtleneck wearing doofus Marty Huggins (Galifianakis), who has no experience or anything else to recommend him for the job except that his father (Brian Cox) is a former Republican bigwig. He desperately wants to prove himself to his dad, and with the help of Motch agent Tim Wattley (Dylan McDermott) as his campaign manager, he starts shaping up to be a viable candidate. Most of The Campaign deals with the increasingly absurd escalation in hostilities between the opponents, with Brady launching the first salvo against his naive opponent at a bipartisan brunch and the action quickly upping from there to spite sex and retaliatory “hunting accidents.” There’s a particularly rewarding recurring joke about a misdirected punch, an absurd take on a politician’s nightmare that becomes an amusing twist on just what it would require to end a career these days. In that regard, the film has an entertainingly cynical take on how ridiculous moves, like the release of a sex tape campaign ad, result in a bump in the polls, likability competitions as bread and circuses for the masses. The Campaign gets mileage out of pandering to religious groups — Brady does a press day at a snake handling church, while Huggins salutes Jesus Christ as the “greatest American who ever lived” — but neither that nor the repeated cracks about the candidates’ non-answers, filled with talk of “freedom” and “jobs” and no actual content, are exactly hard-hitting or fresh. Bits about Brady noting that Huggins keeps pugs, which are from China and therefore must be of Communist origin, or Huggins digging up a book Brady wrote in the second grade as evidence of his belief in the redistribution of wealth really don’t seem that far from actual, awful political attacks. There are plenty of practical reasons for The Campaign ‘s choice to remain non-partisan — isolating potential market share is, as the Motch brothers could surely tell you, bad business. But while funny enough, the film feels even smaller than its 85 minute runtime, like it runs through every last bit of the territory deemed safe to tread and just barely makes it to the credits at a credible feature length. Ferrell and Galifianakis both do what they’ve proven they can do so well in the past, while McDermott, clad in all black, is surprisingly good in a comedic role. You wish there was more for Aykroyd, Cox and Lithgow to do in their small and largely symbolic roles — Aykroyd and Lithgow in particular seem like they could have done more with a joke about disguising sweatshop labor that, while lifted from 30 Rock , is still a good one. At a dark moment in his career, Ferrell’s distraught Brady promotes the first person he sees in his office to the position of his campaign manager. The kid turnes out to be an intern, and the first thing the eager poli sci major brings up is that fact that we shouldn’t give tax breaks to corporations that outsource jobs. Brady immediately throws him out in favor of someone with a background in sports marketing. It’s cute, but it’s also what you’d imagine the process of conceiving of and writing The Campaign was like. Having a character land on stage at an election event playing a keytar in the midst of cheerleaders while fireworks go off? It pales in comparison to an actual Herman Cain ad . Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
The Toronto International Film Festival unveiled its Canadian lineup Wednesday, including new work from Sarah Polley , Bruce Sweeney, Xavier Dolan, Michael McGowan and Bernard Émond. Today’s 19 titles will screen in the September festival’s various sections. The lineup also spotlights first-time feature work from Jason Buxton, Brandon Cronenberg, Igor Drljaca and Kate Melville. “Through comedy, thrills, drama and suspense, films in the lineup present stories of youth and violence, coming of age, the environment, dysfunctional families, sex and celebrity,” said Steve Gravestock, Senior Programmer, TIFF. “From intimate, affecting stories with big impact to films with global scope, the Canadian films in this year’s Festival will move audiences.” Toronto’s Canadian lineup with descriptions provided by TIFF : Special Presentations : Antiviral by Brandon Cronenberg, Canada/USA North American Premiere Syd March is an employee at a clinic that sells injections of live viruses harvested from sick celebrities to obsessed fans. When he becomes infected with the disease that plagues superstar Hannah Geist, he must unravel the mystery surrounding her before he suffers the same fate. Starring Caleb Landry Jones and Sarah Gadon. Inch’Allah by Anaïs Barbeau-Lavalette, Canada World Premiere Chloe is a young Canadian obstetrician working in a makeshift clinic within a Palestinian refugee camp in the West Bank where she treats pregnant women under the supervision of Michael, a French doctor. Facing daily checkpoints and the separation barrier, Chloe is confronted with the conflict and the people it affects. Her encounter with the war draws Chloe into an adventure that’s both deeply personal and as large as the land. From the producing team behind Academy Award®-nominated Monsieur Lazhar and Incendies. Laurence Anyways by Xavier Dolan, Canada Toronto Premiere In the 1990s, Laurence tells his girlfriend Fred that he wants to become a woman. In spite of the odds — and in spite of each other — they confront the prejudices of their friends, ignore the counsel of their families, and brave the phobias of the society they offend. For ten years, they try to live through this transition, and embark on an epic journey which, unbeknownst to them, may cost Fred and Laurence their love. Starring Suzanne Clément and Melvil Poupaud. Liverpool by Manon Briand, Canada Toronto Premiere A coat check attendant in a bar decides to take an unclaimed coat back to its owner, but soon finds herself in the middle of criminal intrigue. A regular of the bar has long harboured a secret love for the attendant — enough to put his life on the line to help her. Starring Stéphanie Lapointe, Charles-Alexandre Dubé and Louis Morissette. Rebelle by Kim Nguyen, Canada Toronto Premiere Komona, a 14-year-old girl, tells her unborn child the story of how she became a child soldier. A tale set in Sub-Saharan Africa, Rebelle is also a love story between two young souls caught in a violent yet beautiful and magical world. Starring Rachel Mwanza (winner of Silver Bear for best actress at Berlin International Film Festival), Alain Bastien and Serge Kanyinda. Still by Michael McGowan, Canada World Premiere Based on true events and boasting a veteran cast, Still is a heartfelt story about an 89-year-old New Brunswicker (James Cromwell) who faces jail time when the government tries to stop him from building a more suitable house for his wife (Geneviève Bujold), whose health is beginning to fade. Stories We Tell by Sarah Polley, Canada North American Premiere In this inspired, genre-twisting film, Academy Award-nominated writer/director Sarah Polley discovers that the truth depends on who’s telling it. Polley is both filmmaker and detective as she investigates the secrets behind a family of storytellers. She playfully interrogates a cast of characters of varying reliability, eliciting refreshingly candid, yet mostly contradictory, answers to the same questions. As each relates their version of the family mythology, present-day recollections shift into nostalgia-tinged glimpses of a lively, fun-loving past and the shadows just beneath. Polley unravels the paradoxes to reveal the essence of family: a messy, intense and loving tangle of contradictions. Discovery : Blackbird by Jason Buxton, Canada World Premiere An alienated teenager’s online threat ignites fear in a small community, in this disturbing and perceptive look at how our media-fuelled, post-Columbine culture can transform typical teen angst into intimations of murder. Krivina by Igor Drljaca, Canada World Premiere Miro, an immigrant from the former Yugoslavia, lives in Toronto. He has a hard time relating to others and he never stays in one place for too long. When he finds out that his pre-war friend Dado, who has been missing for almost two decades, is now wanted for war-era crimes, his life starts to unravel. Upon hearing that Dado still visits Zljebovi, a village on the outskirts of Sarajevo, Miro embarks on a trip to Bosnia to find his friend. Picture Day by Kate Mellville, Canada World Premiere Forced to repeat Grade 12, Claire’s reputation is sliding from bad-ass to bad joke. At night, she escapes to would-be rock star Jim (aged 33), while at school, she bonds with Henry, a nerdy freshman she used to babysit. Eventually, Claire learns the difference between sex, intimacy and friendship. Tower by Kazik Radwanski, Canada North American Premiere Kazik Radwinski’s debut feature Tower is about a single and career-less man who lives at home with his parents in Toronto. He wanders alone in search of companionship and suddenly finds himself in an intimate relationship. Irritated by a raccoon that tears up his garbage, he sets out to catch it. Contemporary World Cinema : Camion by Rafaël Ouellet, Canada Toronto Premiere After being involved in a road accident causing the death of a woman, truck driver Germain’s world collapses as he feels an overwhelming sense of guilt and remorse. His state of mind starts to worry his younger son Samuel, who puts his own janitor job in Montreal on hold to track down his older brother, drifter Alain, in New Brunswick, hoping to head back together to their hometown to give some support to their father. The Crimes of Mike Recket by Bruce Sweeney, Canada World Premiere Bruce Sweeney (Last Wedding) returns to the Festival with this neo-noir police procedural — set against the backdrop of economic hard times — about a failed real estate agent (Nicholas Lea) whose recent attempt to turn things around makes him a suspect in a criminal investigation. Home Again by Sudz Sutherland, Canada World Premiere Home Again is about three adults raised “foreign” (in the USA, United Kingdom and Canada) from childhood and deported back to their birth country, Jamaica. Back “home” each discovers a different Jamaica from the paradise in vacation ads. We follow these three deportees on a journey for survival that surprisingly is filled with hope. My Awkward Sexual Adventure by Sean Garrity, Canada World Premiere To win back his unsatisfied ex-girlfriend, conservative accountant Jordan Abrams enlists the help of Julia — an uninhibited exotic dancer — to guide him on a quest for sexual experience, leading him into a world of strip clubs, sensual massage parlours, cross-dressing and S & M. The Lesser Blessed by Anita Doron, Canada World Premiere The Lesser Blessed is a powerful coming-of-age story about Larry, a Native teenager balancing his romantic heart with a dark past that threatens to unravel his life. Vanguard : I Declare War by Jason Lapeyre and Robert Wilson, Canada World Premiere A group of friends play an innocent game of capture the flag in the neighbourhood woods, arming themselves with nothing more than sticks, their imagination and a simple set of rules. One afternoon, the game takes on a more serious tone and the quest for victory pushes the boundaries of friendship, giving the would-be warriors a glimpse of the darker side of human nature. Masters : Tout ce que tu possèdes (All That You Possess) by Bernard Émond, Canada World Premiere A disgruntled academic refuses a substantial inheritance because the fortune was amassed dishonestly. Soon after, he is reunited with his teenage daughter whose mother he had abandoned when she was pregnant. From the filmmaker responsible for La donation and La neuvaine. Previously announced in the Masters programme: Peter Mettler’s The End of Time. TIFF Docs : Revolution Rob Stewart, Canada World Premiere The much anticipated follow-up film from the filmmakers of internationally acclaimed, box office hit Sharkwater, Revolution follows Rob Stewart on an adventure from photographer/filmmaker to environmental activist trying to change the world. Stewart faces danger, conflict and drama in his struggle to find the key to empowering the conservation movement so it can affect change on a global scale. Canadian films previously announced in the TIFF Docs programme include: Simon Ennis’ Lunarcy! , Jamie Kastner’s The Secret Disco Revolution and Barry Avrich’s Show Stopper: The Theatrical Life of Garth Drabinksy . Previously announced Canadian features include: Denis Côté’s Bestiaire (Wavelengths), Ruba Nadda’s Inescapable (Gala) and Deepa Mehta’s Midnight’s Children (Gala).
In a move that should cause some shockwaves through the indie filmmaking world, one of independent film’s most recognizable producers, Ted Hope, will takeover as Executive Director of the San Francisco Film Society. The organization annually produces the April San Francisco International Film Festival – the oldest such event in the Americas – in addition to other year-round programming events and filmmaker support services. A long-time figure in New York where he produced films through his companies Good Machine, This Is That and Double Hope Films, he will head west to San Francisco where he will take on the position beginning September 1st. Hope succeeds fellow indie veteran Bingham Ray , who tragically died January early in his tenure at SFFS. Hope has produced dozens of films that are among the staples of any year’s indie stars, eagerly watched by film festival attendees including industry, press and beyond. Recent work includes Todd Solondz’s Dark Horse , Sean Durkin’s Martha Marcy May Marlene and Greg Mottola’s Adventureland . In 1990 he cofounded with James Schamus the production and sales powerhouse Good Machine, which was sold to Universal in 2002. Hope’s films are regularly among the year’s most honored at award ceremonies and throughout the festival circuit. The Savages (2007) received two Oscar nominations as did 21 Grams in 2001. He also holds a Sundance record with three of his 23 Sundance entries ( American Splendor [2003], The Brothers McMullen [1995] and What Happened Was… [1994]) winning the Grand Jury Prize at the festival. It is not immediately clear if Hope’s new role at SFFS will mean he’ll end his role as a producer, though any step back will leave a significant vacuum that will not easily be filled. In recent years Hope has lamented through his blog Hope for Film the challenges facing indie film while also proposing possible remedies. He alluded to the industry’s evolution in commenting about his new position at SFFS in a statement: “The film world – be it in content, creation, business or audience — has changed significantly over the last twenty years and we all must change with it,” said Hope. “It’s time that the film industry looked not just to Hollywood but instead to the Bay Area and Silicon Valley, and San Francisco Film Society is a major artistic voice positioned right in the heart of this vibrant cultural location. This unique opportunity to work with the Film Society’s diverse communities is an extension of producing in the fullest of ways – allowing me to engage with the art form as a whole, at every level of activity. I am deeply honored and humbled to continue the extraordinary legacy of Bingham Ray and Graham Leggat, which is evident in SFFS’s dedication to empowering artists to get their work not just made but also truly appreciated, and by their support for the complete cinematic enterprise, process and community.” Hope will be the third person to hold the Executive Director title at SFFS within the span of just over a year. The organization’s head Graham Leggat served from 2005 to 2011 until his death last August from cancer. Bingham Ray, also a prominent figure in the indie film space in his own right, succeeded him last October until his untimely death during this year’s Sundance Film Festival. “Ted is obviously as engaged as we are in thinking about how movies can continue to thrive and be a vital, dynamic force moving forward and has the knowledge and expertise to ably lead us into the future.” said SFFS Director of Programming Rachel Rosen. “It’s been an incredibly sad and challenging year for the Film Society, so we’re especially excited to enter the next stage of the organization working with someone who clearly shares our sense of mission about this art form that we all love.”
Also in Tuesday morning’s round-up of news briefs, actress Jennifer Lawrence is in negotiations for a hefty paycheck for the second installment of The Hunger Games . Kevin Costner is headed to join a new project. Wayne Wang will direct a basketball tale and big changes at the Abu Dhabi Film Festival. Marvin Hamlisch Dies at 68 He composed the scores for over 40 movies, winning three Oscars, four Emmys, a Tony for A Chorus Line and three Golden Globes. Films included The Sting , Sophie’s Choice , Ordinary People and Take the Money and Run , USA Today reports . Jennifer Lawrence Eyes $10 Million for The Hunger Games Sequel She reportedly received $500K plus bonuses for the first installment which has grossed $683.8 million worldwide, but she’s in final negotiations to return for Catching Fire in a package that could total around $10M range, THR reports . Dreamworks to Make Kung Fu Panda 3 in China DreamWorks Animation and Chinese partners announced plans Tuesday to co-produce the next Kung Fu Panda movie and develop an entertainment district in Shanghai, expanding Hollywood’s fast-growing ties to China, A.P. reports . Kevin Costner Eyes Kenneth Branaugh’s Three Days to Kill Costner has been offered the co-lead in the film that will star Chris Pine. He’ll play Ethan Renner, a government assassin who is dying. Before he goes, he is determined to reconcile with his daughter, while taking on one final mission, Deadline reports . Wayne Wang to Direct Basketball Story Brave Dragons The story is based on Jim Yardley’s new book about an NBA coach who moves with his wife to a Chinese industrial city to coach one of the worst teams in Chinese basketball, Deadline reports . Peter Scarlet Departs from Abu Dhabi Film Festival He will be replaced by Ali al Jabri as Festival Director. He has served as director of the Emirates competition for five years. Scarlet served as head for three years previously topped the Tribeca Film Festival and the San Francisco Film Society. This year’s festival will take place October 11 – 20, Screen Daily reports .
