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By Ray Pride Pride@moviecitynews.com

HOT DOCS BOARD OF DIRECTORS NEW APPOINTMENTS

At Hot Docs’ recent AGM, the organization said farewell to long-serving Board directors and former co-chairs Louise Lore and Norm Bolen, as well as filmmakers Yanick Létourneau (Peripheria Productions, Montreal) and Danijel Margetic (Balkan Films, Toronto). Hot Docs would like to thank these Board members for their passionate guidance, tremendous support and invaluable contributions to the organization’s dynamic growth and stability.

Since stepping in as Hot Docs’ executive director and its first full-time employee 15 (!) years ago this month, I’ve had the great pleasure of working with five outstanding Board co-chairs. At our AGM last week, Louise Lore and Norm Bolen stepped down from our board after more than 25 years of combined volunteer service. Having them mentor, champion and challenge me and our team has been one of the highlights of my career, and one of the reasons our festival continues to succeed. Louise and Norm set the tone and instilled a sense of professionalism in those early years, and they consistently made the staff feel that they were working for us rather than the reverse. They made us look good and work smarter, and helped us attract other high-performing board and staff who’ve worked together to make this Festival great. On behalf of our Board of Directors, staff and, of course me personally, I offer many, many thanks to you both.

- Chris McDonald, Executive Director

Hot Docs is pleased to welcome Barry Avrich (Melbar Entertainment Group, Toronto), Charlotte Engel (Rock Yenta Productions, Toronto), and Katarina Soukup (Catbird Productions, Montreal) to the organization’s Board of Directors. We look forward to working with them on our upcoming 20th anniversary edition, and for many festivals more.

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“The evening’s curious vanity and irrelevance stay with me, if only because those qualities characterize so many of Hollywood’s best intentions. Social problems present themselves to many of these people in terms of a scenario, in which, once certain key scenes are licked (the confrontation on the courthouse steps, the revelation that the opposition leader has an anti-Semitic past, the presentation of the bill of participants to the President, a Henry Fonda cameo), the plot will proceed inexorably to an upbeat fade. Marlon Brando does not, in a well-plotted motion picture, picket San Quentin in vain: what we are talking about here is faith in a dramatic convention. Things “happen” in motion pictures. There is always a resolution, always a strong cause-effect dramatic line, and to perceive the world in those terms is to assume an ending for every social scenario… If the poor people march on Washington and camp out, there to receive bundles of clothes gathered on the Fox lot by Barbra Streisand, then some good must come of it (the script here has a great many dramatic staples, not the least of them in a sentimental notion of Washington as an open forum, cf. Mr. Deeds Goes to Washington), and doubts have no place in the story.”
~ Joan Didion On Hw’d In 1970

CAMPION: We were driving around the countryside the other day, and we happened to chance upon a lone bull and cow going through some sex rituals. I was so surprised to see how lengthy the whole process was for this bull. He started licking the cow’s shin and worked his way quite laboriously up toward her ass. And every now and again, you thought, “Maybe she’s ready now—he’ll try a quick move.”
TAYLOR-JOHNSON: She wasn’t ready.
CAMPION: She made it clear that that wasn’t the case. We couldn’t even wait; it was like 15 minutes, but it was really adorable. Even when we came back, they were still at it. The foreplay was phenomenal.
TAYLOR-JOHNSON: You don’t think of animal love in that way.
~ Jane Campion And Sam Taylor-Johnson in Interview

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