Olympia Changing Table

It is about 6 pm and film producer Mary Aloe and I are sitting on a leather sofa in the dimly lit bar at the Sutton Place Hotel Toronto. It is difficult toignore cacophonous noise of over 60 people crammed into the hotel close all talking at once, but the noise only adds to the excitement of this special week in September from Toronto International Film Festival. And while journalists and film buffs like to sit and take in the magic temporarily transplanted to Hollywood, like Mary Aloe producers have relied heavily on the reception of their films, many of whom will have their world premieres at the festival.

In addition to meetings around the clock, with distributors and the parties with guest lists tighter than tube tops Mariah Carey, Mary Aloe main reason for being here was to attend the gala premiere of his latest project , Battle in Seattle. The film, about the late 90s, riots in the city on the west coast, stars and Charlize Theron is also the first film's husband Theron, Stuart Townsend. This gala can make or break a possible release of a film based on how it is received by the crowd and criticism. Fortunately, when the credits rolled the film was greeted with a standing ovation 15 minutes from the famous Elgin and Mary Aloe, the first thing the next day, was greeted with a deluge of phone calls from distributors to bid. As I browse the wine list, Mary Aloe find herself a glass of sparkling water. She has a dinner to go after that and prefers to start the evening on a light note. I asked him what the job of a producer of the film involves and why it is these boys' clubs. "Here's the thing ...», said Mary Aloe, and we begin to really speak.

How come I do not know the producers or know what a producer does?

It's funny, even if you are the Kennedy / Marshall, many people do not know which one of these producers are - unless you go to win the Oscar. And they do not remember your name! As you remember the name of the producer who produced Crash? We are the unsung hero.

So you get the big Oscar at the end of the Oscars, then?

You get the great, the last and best picture. Whether in studio or in the independent world, we all aspire to be recognized by our peers and make them say: "You have the best job. You are at the top of the best and everybody really respects what you have done. "I had a great sense of Toronto the night [other at the premiere of Battle in Seattle]. We had a lot of interest [distributors], and we had four offers. But the standing ovation at the end of 15 minutes - it's equally exciting to see Stuart Townsend and Charlize cry cry for a story, and hugs and kisses everyone after a year of work to put this together.

Why are you behind this particular film, and you never kick you for not producing more?

I had that Crash and Capote. Nobody wanted to read Capote, because nobody wants to read a gay writer, and I was like, "You're wrong!" And I knew I was right and I had these two scripts. I did not have the finances that I have now, but I knew I had good taste! The script [for Battle in Seattle] was given to me, and I saw the potential. It was also based on real events. In 1999 there were riots that have transformed an American city in a global war zone, literally for five days, and it is very rare in America, and the issues behind the riot happened. [The] script took everyone: pedestrians, the demonstrators, the police.

What it means to be an independent filmmaker?

In the independent world, I go out and raise money to buy the project. I am going to Chicago, New York. I am meeting a producer of milk, I will meet a real estate magnate, I will meet the owner of his name.