I've now covered the period from the moment one enters a screening until leaving the venue and the time it takes to travel to the next film.

The third and final consideration in deciding how big a gap to allow between the end of one screening and start of another can be summed up in three words: waiting in line. When I talk to people who haven't been to Toronto (or any festival, for that matter) the term "waiting in line" usually elicits looks of horror. But to those of us who've been there, the reaction is more of a big grin.

You see, waiting in line is a time-honored tradition which ranks right up there with Thanksgiving dinners, family reunions, and holiday barbecues. It's a time when festival veterans meet up with folks they may only see once a year, and make new friends whom they hope to see in future Septembers. Waiting in line also offers one of the best opportunities to fill out your schedule with one question posed to a line mate: "So what have you liked so far?"


1) First, some non-venue-specific generalities. Each location handles it differently but there are usually two lines: one for ticketholders and one for non-ticketholders (the "rush line"). For the purposes of this article I'll assume you're a ticketholder, as the procedure for getting tickets is itself worthy of an entire article.


2) Upon arrival at the venue you should immediately be able to see where the lines are located and which is which. If not, there are usually clearly marked signs and there are always a multitude of volunteers who really are extremely helpful. If you're lost or confused, do not hesitate to ask for help. They usually have the answer and, if not, can get on the horn and flag down someone who does. Chances are the people in line also know what line they're in.


3) Take your place at the end of the line and try to spark up a conversation with someone ahead of you (or behind you, as you surely won't be last for long). Even if you're with one or more people it's a smart thing to get to know the folks around you, especially since you may be standing together (or sitting) for a long, long time.


4) Normal social rules don't necessarily apply here. It is generally not considered rude to "overhear" someone else's conversation about a particular film and ask a question or give your opinion about it. Of course there are exceptions, but of the hundreds of times I've done it I rarely recall anyone treating me with disdain for poking my head in to discuss a film. Likewise, you should expect others to hear what you are saying and be prepared for them to chime in. It goes without saying that the reaction you get will vary if the person hasn't seen anything yet or hated everything they have seen. It's okay to slink away and slyly turn to someone else. Everyone waiting in line is part of one big community (I've actually waited in line and joined in a rousing chorus of "Kum Ba Yah," but that was at a Midnight Madness screening at the Ryerson and those patrons, myself included, have their own unique subculture).


5) Naturally, some prefer to simply carry a good book or read the morning paper. But you'd be surprised how fast the time flies when you're engaged in conversation about the films you've seen and liked, didn't like, or hope to see. Some of my favorite films from festivals past were called to my attention from conversations while waiting in line. I've also learned what to avoid. I can't stress it any more: I have never turned to someone standing next to me and asked, "so what have you seen/liked/not liked so far?" and not gotten into an engaging conversation. Even folks who look like they've had the worst day can be the most pleasant when approached. I've made some great friends this way and lifelong relationships can be forged while waiting in line.


6) Now for some venue-specific tips. Like my earlier posts, this is not meant to be all-encompassing, but just some points based on my own experiences. Some rules apply to all locations. For example, the larger the party the less likely you'll find seats together, and the earlier you'll want to arrive (and the longer you'll wait in line) if you do want to. If you're solo or don't mind sitting apart you can afford to arrive later (and not wait as long).


7) Of the several multiplexes utilized by the festival, my personal favorite is the Scotiabank at Richmond and John Streets. Outside the building you'll find festival volunteers clearly separating those entering and exiting. After passing through the doors you'll be directed up what must be one of the longest single escalators in North America. You're even entertained with a sound and light show as you ascend. You'll then walk through an intimate circular lobby with a food court and even a small cafe with hot drinks and tables.

The Scotiabank dedicates four screens to the festival and, depending on the theater, the line will either snake bank-style around ropes outside the house doors or along a wall towards the rear. At first glance it looks like mayhem but is actually very well-organized. It's quite easy to leave the line and come back for any reason as neighbors generally are happy to hold your place. The popcorn and poutine may be irresistible. The houses vary in size from one to several hundred.

In my experience the lines here are not as long as at other venues, perhaps because it's not as centrally located and uses less screens than the other multiplexes. In most cases if I showed up an hour beforehand I'd be first in line. A wait of a half hour is usually sufficient. I've staggered in ten minutes prior to the start of the film and still gotten a good seat, although I don't recommend it and the festival does not guarantee admission less than 15 minutes before the start of a film. Of course, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. In my opinion these are the coziest lines because they're indoors and comfortable.


8) As I mentioned in a previous post, the AMC in Toronto Life Square, at the bustling intersection of Yonge and Dundas, opened last year and is situated within a large multi-level mall. Due to the cramped, narrow nature of the space upstairs where the theatres are, and fire regulations, lines last year were held outside the building and stretched around the corner. Procedures changed during the week but for most of my screenings there was one single line for all ticketholders. Even though the folks waiting in line may have been there for a half dozen different films beginning at staggered times on the many screens dedicated to TIFF (eight this year), there was simply no room to keep separate lines for each screening. Staffers would yell out the name of the film and those ticketholders would step out of the line and move forward.

Patrons would then be escorted up several flights of escalators prior to the start of each film. Those attending successive screenings there faced a dilemma. It's a bit frustrating to walk out of a theater knowing your next film starts in just a few minutes in the exact same house and have to leave the building and get in the back of a line winding around the block. So some filmgoers found a place to chill in the food court and carefully observed the lines as they headed up the several flights of escalators. The festival instituted various methods of combating this as time went on.

Theatre capacities here vary as well but since one line was used for all screenings it was very deceptive. One might arrive to see a line of several hundred people winding its way down the block and yet they may all have been there for another film. It was nearly impossible to tell how good a spot you had and very hard to predict how early to get there. I usually allowed up to an hour but, again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had.

In general I found this venue to be much more popular than Scotiabank with longer lines. It was not a very pleasant experience and a bit confusing although the volunteers did their best and it didn't take away from the experience. Patrons on the sidewalk also had to contend with college students and workers coming and going throughout the day. In addition, the main box office had been moved here and there were lines of people waiting to get there as well. The main box office has now been moved to 100 Queen Street West. I'm also told there's a new arrangement for AMC this year.


9) Like the AMC, The Varsity also is dedicating eight screens to TIFF. It's part of the Manulife Centre, a large shopping mall on Bloor Street with plenty to see and do between screenings. Most people will arrive indoors via the mall's many entrances. Signage is terrific and it shouldn't be hard to find the escalators and elevators that lead up to the theatres. However, the theatre lobby itself is almost nonexistent so lines typically wind along the walls, down emergency staircases, and outside the building. As time goes on you'll be able to discern how long it will take based on where the line ends but it's very hard to tell.

In general, though, I found the lines and waiting times to be similar to Scotiabank with a half hour usually being sufficient. Again, all this varies depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had. Comfort level depends on whether or not you're early enough in line to actually be inside the building, in the part of the line winding down the staircase, or outside on the street. The one advantage of being on the stairs is ease of sitting down if one desires.


10) The Cumberland will only be used on the last two days of the festival. Located on a small street just north of Bloor, this quaint venue also keeps its lines outside. But there's often a cart with fresh gourmet food and drinks on the sidewalk serving patrons. I've had some terrific sandwiches and baked goods while waiting in line at the Cumberland. It's not the best place to see a subtitled film due to the low slope of the theatre floors but that's another article for another time. Festival traffic slows down by the last weekend and most films have been shown several times so lines here tend to be short. A half hour or less should suffice, depending on the popularity of the film, size of the house, time of day, and number of screenings the film may already have had.


11) If only by virtue of the mathematics involved, most people will see the bulk of their films at the above multiplexes. But there are a handful of other venues, proscenium arch theatres with stages and converted auditorums, which host many festival screenings. These include some of the most high-profile ones in the Galas and Special Presentations sections. Anyone with "premium tickets" will be seeing those films at Roy Thomson Hall and the Visa Screening Room (Elgin Theatre). The Elgin also hosts regular screenings. Other venues hosting regular screenings include Isabel Bader, Winter Garden, Jackman Hall, and the legendary Ryerson Auditorium, home of Midnight Madness.


12) Roy Thomson Hall is used exclusively for Galas. It's the largest venue at the festival with 2630 seats. Located to the south at King and Simcoe Streets, security is extremely tight here with the presence of VIPs. There are separate entrances for certain festival donors and honored guests. You'll likely pass through several security checkpoints before being directed to whatever line you need to wait in. Lines snake around ropes on the sidewalk and can be quite long. An hour wait is certainly a good bet given the popularity of these films.


13) The Visa Screening Room (Elgin) and Winter Garden Theatre share a building above Queen on Yonge Street. Organizers try to keep patrons standing in single file heading north on Yonge, around the corner to the east and back down south behind the theatre. The 1500-seat venue is large enough to accommodate many more people than would appear to be waiting in line. It can be quite deceptive because a line which appears to be interminably long may not even fill half the theatre once you get inside. Still, I'd allow at least a half hour to an hour depending on the popularity of the film, time of day, and whether or not this is the first (premium) or later (regular) screening for a Visa Screening Room film. Speaking of which -- at some screenings last year there were separate lines for those with and without Visa cards. As I recall the Visa line was supposed to ensure earlier admission for Gold (or was it Platinum?) card holders but the one I had was not and it didn't matter. Be sure to check and see if there's an advance line for cardholders at your screening. For some reason it seemed to rain the heaviest when waiting in line at this venue but I doubt that was intended.


14) Isabel Bader is an auditorium on the University of Toronto's Victoria Campus at 93 Charles Street West, which is just south of Bloor and east of University Ave. Capacity is 500. Lines wind outside down the sidewalk, which tends to get muddy after a rain. Both the sidewalk and street are quite narrow and it's easy to slip one way into the street or the other way into the grass/dirt/mud. Lines here aren't too long, in most cases, and a half hour should suffice.


15) Which brings us to...Ryerson. Located at 43 Gerrard Street East on the Ryerson University Campus, this auditorium holds 1250 and hosts many high-profile screenings, including some second screenings of films which have premiered at the Elgin. It is also the home of Midnight Madness.

Lines at Ryerson form outside the entrance and wind east down Gerrard, south around the corner down Church, and then west on Gould behind the building. Like the Elgin, this can be quite deceptive as it usually appears there are many more people waiting in line than the theatre can hold when, in reality, I've been almost completely around the block and still entered the auditorium to see it half full. The good news about waiting in line at Ryerson is that it's the one venue where patrons can actually sit. A low brick wall surrounds the building and is just perfect for reading, eating, or conversing with fellow line mates.

My first year at TIFF I actually spent more time at the Ryerson than any other venue, so I grew quite fond of it and it's certainly my favorite non-multiplex theatre. Being a Midnight Madness fan also gives this venue a feel that no other has. MM is the only section which the festival sells dedicated passes for outside the premium screenings, so patrons return every night (and every year) and forge relationships which last long after the festival is over. Even those who only attend a few MM screenings during the week will find a camaraderie among attendees which cannot be matched at any other venue for any other screenings. MM programmer Colin Geddes runs a festival-within-a-festival that hosts some of the best films I've ever seen at TIFF. Experience it and you'll understand.

As a rule of thumb I have always allowed the longest amount of waiting time for Ryerson screenings. An hour is usually a good bet although, as I mentioned earlier, the length of the line is so deceptive compared to the size of the hall that no matter how long the line or the wait it's usually not that hard to get a good seat once inside the cavernous auditorium. But again, this depends on the popularity of the film, time of day, and number of screenings the film may already have had.


16) Add it all up and I'd say that you should expect to wait in line up to an hour for many screenings if you want to be assured of a good seat. Otherwise a half hour should suffice. Anything less is chancy.


17) So taking all three basic considerations into account when deciding how much time is needed from the moment one film ends until your next screening begins:

Allow ten minutes to a half hour for any Q&A. Average is 15-20 minutes.

Allow ten minutes to a half hour for travel time. Average is 15-20 minutes.

Allow a half hour to an hour for waiting in line.

Bottom line: the amount of time to allow between the end of one film and start of another is a minimum of 50 minutes to an hour, maximum two hours. Average for me is closer to 75 minutes.

Keep in mind all the variables I've noted: distance between venues, time of day, number of screenings the film may already have had, popularity of the film, and size of the house, as well as your desire to get the seat(s) you want.

On the other hand, if you're like me and want to see as many films as possible regardless of health concerns, then join me in what I like to call "festival mode." Plan your films carefully. Allow 20 minutes after a film ends and a half hour waiting time before the next one. Then just add travel time to that. You'll get better at it as the week goes on, and share your own tips next year.