Katie Trainor spends her working life surrounded by the movies as film collections manager of New York's Museum of Modern Art. No one would blame her if she took a break from the world of motion pictures during her annual vacation to the mountains of Colorado. But in the days leading to Labor Day, as summer begins its exit and Colorado's leaves get ready to turn, Trainor will work more than 40 hours as a theater manager at the Telluride Film Festival. It's been her late-summer ritual since 2001.
"I don't do it for the money," Trainor says. "It's the least-paying festival job I've had, but it's the one I won't ever give up."
George Christensen, who has been working the festival for 21 years, arrives in Telluride each year from his home in Chicago by bicycle.
He used to bike all the way from Chicago, but now the 65-year-old professional bike messenger takes the train to Grand Junction and makes the 128-mile climb up to Telluride's nearly 9,000-foot elevation — a breeze compared with his annual journey to the Cannes Film Festival, which he attends and then stays to follow the Tour de France. On that trip, between the tour route and his traveling, he rides more than 5,000 miles.
"I love only bicycling more than cinema," says Christensen, who always comes to Telluride in early August to start work in the festival's shipping office processing sponsorship material.
He first heard about Telluride from the writings of the late Roger Ebert, who famously said the festival is "like Cannes died and went to heaven."
Celebrating its 40th edition this Labor Day weekend, the Telluride Film Festival is a gem among film festivals not only for its location and film selections but also for the heart behind it all: the nearly 900 volunteers and staff who run the operation.
SHOWCorps, as the festival's conglomeration of hardworking staff and film-buff volunteers is known, draws people ages 21 to 80 from all parts of the country — 117 of the more than 900 who help run Telluride are from California alone.
Marked by the green passes around their necks, the job requires a minimum of 40 hours of work during the festival, which this year is running five days instead of the usual four.
Trainor, who started at the festival as an assistant theater manager and is now the manager of the new Werner Herzog Theatre, a 650-seat venue that required the festival to hire nearly 100 additional staff members, says the experience is less like work and more like adult summer camp. It has all the familiar camp touchstones –- the fresh air, the excitement of being reunited with good friends, and even the mess-hall-style meals.
"The biggest perk is the landscape and then the movies," says Trainor, "I love the mountains. I don't usually get to see stars and hear such quiet."
Trainor also works as a projectionist at the Sundance Film Festival and the Traverse City Film Festival. But Telluride, she says, is special.
"Telluride is the one everyone wishes they could go to," she says. "It's about watching the films and talking about them. It's not about the parties; it's about having thoughtful discussions."
That tone was set back in 1973, when the town was just finding a new identity after its mining era had long passed and the ski resort was in its earliest days. James Card, head of the motion picture collection at Rochester, N.Y.'s George Eastman House, one of the world's oldest film archives, envisioned the festival after he got a look at the town's newly renovated Sheridan Opera House, owned for many years by Bill Pence, a partner in the foreign and classic movie distributor Janus Films, and his wife, Stella.
Card rallied the Pences and Tom Luddy, then program director of Berkeley's influential Pacific Film Archive, to join him in bringing films and filmmakers to Telluride. A tribute to Gloria Swanson opened the first festival, which began on Aug. 30, 1974.
Decades later, the festival still finds its home within the walls of a box canyon surrounded by the peaks of the San Juan Mountains. World premieres from recent festivals include "Slumdog Millionaire," "The King's Speech" and last year's "Argo," all Academy Award winners for best picture.
The festival also highlights foreign films, unique silent films and old favorites picked by a new guest director each year.