Mamo’s #TIFF12 Coverage, Part Five: Where Is Here

Special guest star Andrew Robinson joins us on the last day of the Toronto International Film Festival 2012 for our final TIFF ’12 podcast! We wrap up the festival including the audience choice award announcements, and talk To The Wonder, Cloud Atlas, 90 Minutes, Room 237, Reality, Byzantium, Ginger & Rosa, The We and the I, and Everyday. And that’s the end. See you next year!

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  1. After the screening of the film, a viewer during the Q&A segment mentioned the credit indicating which sections of the film the Wachowskis directed and which ones Tom Tykwer directed. Tykwer is credited with the 1930s, 1970s and present-day stories, while the Wachowskis took on the 19th century and two future world stories. In hearing the question, the Wachowskis asked if the credit was actually in this cut shown. When it was confirmed that it was indeed in the cut, the filmmakers conceded that this cut was not the festival cut, but rather the theatrical cut, a forced result of their compromising with the DGA on who directed what in Cloud Atlas.

    • ‘[Lana Wachowski] added that ”the DGA just couldn’t comprehend that three directors could direct one movie.” ‘

      But there are movies by two directors with more frequency – does it make it easier for the DGA to arbitrate when co-directors are siblings (Wachowskis, Coens, Farrellys, etc) or commonly a team? Why would three directors be so significantly more difficult than two?

      • Animated films, in particular CGI & STOP MOTION films, often have two non-sibling director teams.

        • Matt Gamble

          It wasn’t until recently that the DGA even recognized two directors on a project. The Ladykiller’s was the first film both Coen’s were recognized as director’s of the film.

        • I know that animation isn’t covered by the WGA for writers; does the DGA cover animation for directors?

      • The DGA’s issues about multiple director credits first became apparent to me with Sin City.

        Robert Rodriguez wanted to credit Frank Miller as Co-Director (and also gave credit to Quentin Tarantino for the single scene he directed).

        The DGA wouldn’t accept any of that, so Rodriguez promptly quit.


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