Lynn Hendee, president of Los Angeles-based Chartoff Productions (Rocky, Raging Bull), says she’s piecing together two movie projects already attached to Hollywood studios — Wolfgang Petersen’s Ender’s Game and Julia Taylor-Stanley’s Nothing But the Blues.

‘And the pieces are here,’ Hendee said confidently Monday while attending the second annual International Financing Forum at TIFF, organized by the Ontario Media Development Corporation.

She will make follow-up calls after initial meetings in Toronto. Possible financing leads came as Hendee completed brokered meetings with Canadian and foreign producers, international sales agents, distributors and funders during an all-day event at the Sutton Place Hotel.

She wasn’t alone among producers who are eyeing varied forms of film financing at IFF.

Toronto-based producer Victor Solnicki (Black Christmas) said a significant minority of players conducting 15-minute meetings at IFF included venture capital and hedge fund players.

‘We didn’t see bare-naked dollars floating around. But they’re looking to do movie deals,’ he said.

Other new players at IFF included Mark Gill’s Film Department, Maximum Films International led by Charlotte Mickie, and New York-based 120 dB Films.

Kate Ogborn, a producer with London-based The Bureau, said the one-day conference helped her assess changing trends in an increasingly global film industry.

‘It’s useful in seeing who shares similar tastes in projects, and where the [industry] interest is coming from,’ she explained.

Mike Souther, with Toronto-based Amaze Film + Television, similarly hasn’t just been courting traditional distributors in the lobby of the Sutton Place this week. He attended IFF in the hotel’s penthouse conference room with his hand out for third-party money that is sloshing around the film industry these days.

‘There’s financiers and Australian, U.K. or U.S. producers with strong contacts with the studios looking to partner at the early stage of financing,’ he said, surveying the room.

Souther said Amaze has a film project set in the rolling hills of Scotland, and he met with one British producer who recommended shooting on the Isle of Man, via a Canada/U.K. coproduction.

‘If something makes sense as a coproduction, there’s always that advantage,’ for countries like Canada and Britain, he insisted.