Let's start with movie talk.
'Holy Motors' (Leos Carax, 2012)
A day in the life of Monsieur Oscar, who changes lives with the ease – and resources – of an expert actor. But where are the cameras?
This one requires a playful willingness to wonder just what the hell is going on (I'm talking to you, 'Donnie Darko' fans). But if you can muster that, you might well enjoy the intriguing premise, strong performance(s) by the lead actor, and strangely compelling, unconnected scenes. It sort of borders on the edge of making sense, and unlike most of the other serious movies I've seen here, there's plenty of comic relief to be had. Also, come on -- doesn't "Holy Motors" sound like the kind of thing Robin would shout in a 1940s comic book?
'7 Días en la Habana' [7 Days in Havana] (Benicio del Toro, Pablo Trapero, Julio Medern, Elia Suleiman, Juan Carlos Tabio, Gaspar Noé, Laurent Cantet, 2012)
Follows seven consecutive days in Havana, each through the eyes of various people, Cubans and non-Cubans alike. Each ‘day’ is directed by a different director.
It's an interesting premise - 7 days, 7 directors - but as such, it's a pretty mixed bag. Basically, you've got seven almost totally unrelated short films about Havana grouped together, and I'd say there are three-ish good ones... the rest are variously bluntly written, bizarre and plotless (there's a bathing ritual... that's all I got), or just uninteresting. My advice is to watch the first and second ones and whichever one Elia Suleiman directs and stars in.
'The Paperboy' (Lee Daniels, 2012)
In the 1960s, Miami reporter Ward James and his posh black associate return to a small town to investigate the unjust trial of a convict with the help of Ward’s aimless brother, who falls hard for the barbaric convict’s devoted girlfriend.
Heads-up: this is from the director who brought us 'Precious', so expect no pulled punches on issues that run the gamut from racism to domestic abuse and reckless (to put it mildly) sexual proclivities. That said, though, I enjoyed this movie -- a compelling plot (even if it's taken from a novel), several strong performances (favorites include Nicole Kidman, an against-type John Cusack, and a hilariously delightful Macy Gray, known for her recent work in 'The Help'). I would also like to point out that 'The Paperboy' gets my vote for the best film editing I've seen at Cannes this year.
'Jaws' (Steven Spielberg, 1975)
A huge, territorial great white starts eating unsuspecting swimmers in a New England town, but the concerned, hydrophobic sheriff’s efforts to close the beaches and hunt the beast meet with opposition from the image- and money-obsessed mayor.
This was another showing in the 'Cannes Classics' category, and to sweeten the deal, they showed it the night I saw it on the beach with lounge chairs and a big projector. I mean, come on -- where better to watch 'Jaws' for the first time? Anyway, as for the movie itself, the suspense in the first 20-ish minutes had to be my favorite part... I loved how they play with your expectations, and once they go out to sea, it got less interesting (I didn't like the two-dimensional fisherman character). But I definitely enjoyed hating the mayor, I always like Richard Dreyfuss, and the shark looked pretty darn good for 1975. It's also so interesting to me to think that this is what a summer blockbuster used to look like... nowadays, it would be a sleeper hit among horror fans, maybe noted for a good line or three and some decent setpieces.
'Cosmopolis' (David Cronenberg, 2012)
As anti-capitalist riots threaten and a presidential visit blocks traffic, young finance genius Eric Packer journeys across New York in his sleek limo to get a haircut. As the day progresses, he ruminates with associates over his sexless new marriage, the nature of finance, and the rising value of the Yuan… which he has bet against with all his fortune.
The sad truth is that I can go on as long as I like about great production design that creates a sleek, clinically calm professional world, how Robert Pattinson's deadpan actually makes him a nice fit for it, how fascinating the movie's philosophy discussions are, and even the thematic tie-ins with the rest of David Cronenberg's filmography... but the fact is, the dialogue in this movie is unbelievably dense. And while it does pose interesting questions and serve to cement the world of the movie, it's very slow, intentionally unnatural, and relentlessly serious... there's virtually zero break in that style for this entire two-hour movie light on plot, and that makes it very difficult to sit through, even if I'm sure Cronenberg took most of the dialogue from Don DeLillo's novel. Cronenberg and DeLillo fans: it's worth a try. Everyone else: you have been warned.
'On the Road' (Walter Salles, 2012)
Eager to write and gain new experiences, Sal Paradise joins his new, reckless friend Dean Moriarty and his free-spirited, promiscuous wife Marylou on a road trip around the country.
This was a very well-made movie, but the whole beat generation thing probably just isn't for me. I didn’t like the terse drum-patter soundtrack, and the color palette – while appropriate – was so bleak I felt nauseous. I didn’t mind the lack of plot, but at almost two and a half hours, some trimming was in order. For what it’s worth, though, I am now curious about Kerouac’s novel. Also, Kristen Stewart really can’t act. And Garrett Hedlund (played Moriarty, and who I dismissed after 'Tron: Legacy') really, really can.
'Elefante Blanco' (Pablo Trapero, 2012)
When he receives a terminal diagnosis, a priest working in an impoverished Brazilian community calls a close colleague to help him… but with gang wars raging and construction money drying up, even two priests might not be enough to save the community.
This was another one in a language I don’t speak with French subtitles, so I couldn’t really follow who was who, what side they were on, or who they were up against. But it was well done, and I think the location really brought out stronger performances in the actors. I felt like I was watching real people in real, sympathy-evoking situations (I didn’t realize until the credits that the new priest was French star actor Jeremy Renier). Several long traveling takes were also interesting. Bottom line: I doubt I’ll watch it again, but I don't regret having given it a try.
'Antiviral' (Brandon Cronenberg, 2012)
Syd March works for the Lucas Clinic, where clients can be infected with their favorite celebrities’ diseases. But when Syd starts slipping in his black market moonlighting gig, he injects himself with a superstar’s newest bug… and starts suffering the deadly symptoms.
Brandon is David Cronenberg's son, and the grotesque apple doesn't fall far from the gory gree. I thought this was a fascinating premise (perhaps because of my background studying David Cronenberg), and it makes for an excellent, piercing commentary on the culture of celebrity obsession. Great, austere production design and some gripping, horrifying imagery. The whole thing is very grotesque, there's a lot of blood, and a lot to do with needles. I'm also not wild about the plotting... pacing droops for a while after the halfway mark, and the plot gets a bit muddled. This one is for a very specific taste.
. . .
So, tomorrow, Annie and I are going to see 'Mud', and maybe another (very serious) movie called 'The Hunt', starring Mads Mikkelsen, who played the villain in 'Casino Royale'. I will fill you in after I see it/them.
So, like I said, a lot of time goes to waiting in lines, but Annie and I have also gotten really good at begging for extra tickets. We have a 5-for-4 record, which is to say we've gotten so good that we get free tickets when we're not even trying. We were between screenings today when a cop flagged us down and gave us his two tickets to this Monday night's gala screening of whichever movie wins the Palme d'Or ('Golden Palm', equivalent of Best Picture). We're really rooting for 'De Rouille et d'Os' (Of Rust and Bone), a French movie with strong reviews and Marion Cotillard, just because we didn't get to see it. I'm fairly sure, though, that it will go to 'Amour' instead (about the old couple - I talked about it last time).
So, the festival has been pretty hectic... I'll be relieved to be out of such a crazy, people-packed setting, and hopefully I'll have the chance to see some less serious movies... but this has been a unique experience. I think the ticket begging will make up my favorite memories. And I haven't hobnobbed with too many more celebrities... Nanni Moretti, the notoriously cantankerous Jury President for this year, was at the 'Jaws' screening, and I do keep seeing Alexander Payne (wrote and directed 'The Descendants' and 'Sideways') all over the place. His new nickname is 'A-Payne'. The trouble with celebrity spotting around here is that, unless you stake out a spot near the red carpet hours in advance of a gala screening (before it gets fenced off), you're not likely to run into too many famous folks.
Tomorrow (Sunday, 27 May) is the last day of the festival. One last entry about that, and then I'm off to travel Germany, and then the UK and Norway by cruise liner.
We're almost done here.
-Andy
Sunday, May 27, 2012
Wednesday, May 23, 2012
Once Upon a Time in Cannes
Movies, movies, movies... so, I'm finding a formula for my days. Get up in the morning, go into town for incidental tickets for the film society (mostly for older, newly-restored movies), and go over to the Unicorn Theatre (actual name) for an evening screening of one of the films actually in the festival this year (specially hosted for the film society that gave me my badge).
So, here's what I've seen, with (Director, Year), a pitch (that's screenwriting talk for a short description meant to hook a reader), and a few quick thoughts that don't give (too) much away.
'After the Curfew' (Usmar Ismail, 1953)
When a freedom fighter in Indonesia returns home from an unsuccessful war, disillusioned and ill-suited to work, he teeters perilously on the edge of falling back into the corrupt old company of his fellow former soldiers.
A classic film in Indonesia, this had a good film noir feel to it. And while the plot was on the thin side, I thought the main character was a compelling 'lost character', and his deadbeat best friend was well-rendered and interesting to watch.
'Kalpana' [Imagination] (Uday Shankar, 1948)
The (largely autobiographical) life story of an influential dancer and artist who founds a cultural center to improve mental and spiritual life in the name of a stronger India. It is an elaborate musical exhibiting Shankar's trademark style of dance, and the influential dancer/choreographer's only film.
This is the grandfather of Bollywood as we know it. Shankar was incredible, moving with uncanny finesse, and the movie has its fair share of nice directorial touches. My only problem, though it is major, was that there wasn't enough of Shankar. He and his subtle technique step aside about halfway through to make room for an overwhelming climax overflowing with an ordinarily talented ensemble in whom we are not as invested.
'The Ring' (Alfred Hitchcock, 1927)
When a champion boxer hires a talented newcomer as his sparring partner, he also kindles the interests of the jealous young fighter's wife. Not to be confused with the 2002 horror film of the same title.
The love triangle is pretty banal; there's nothing to make the relationship between the young boxer and his wife ring true. But Hitchcock being Hitchcock, there are some great visual touches, and the dramatic tension keeps you interested through to the end. This is also the only full script that Hitchcock wrote himself. I should also note that the screening benefited tremendously from a live score played by a musician on keyboard, accordion, and piccolo.
'Mystery' (Ye Lou, 2012)
When two mothers with preschoolers in the same class discuss fears of their husbands' infidelity, unsettling truths come forward... and they may be related to a recent, fatal highway accident.
I saw this Mandarin Chinese film with French subtitles, so I was largely struggling to keep track of who was who and what was going on. But there were some solid performances, particularly from the male lead, who portrayed a less-than-likable man as a complex and bedeviled husband. There was also a nice cast of supporting characters for a varied emotional and thematic tone. Also, the thoroughly innocent and adorable children (who at one point sing 'Ode to Joy' in Mandarin) provide a striking counterpoint to the darker intrigue that ensues among the adults.
'Beasts of the Southern Wild' (Benh Zeitlin, 2012)
In 'The Bathtub,' a poor but surreally jovial Louisiana Delta community, a young girl named Hushpuppy fends against a fearsome storm and its aftermath, her father's mysterious illness, and the coming of newly awakened prehistoric creatures, all while searching for her lost mother.
Is a six-year-old allowed to win an Oscar? She is incredibly adorable and unbelievably capable at the ripe old age of six-or-so. The plot in this movie is not nearly so important as the relationship between her and her (at times) equally childlike father, Wink (played by the also-amazing Dwight Henry). Their tough-love relationship is incredibly nuanced, the supporting characters are delightfully fun, and the level of detail in this world immediately pulls you in. Also, the soundtrack is epic in the most satisfying way (especially around the credits). It's coming out in late June in the States, and I recommend you go see it.
'Beyond the Hills' (Cristian Mungiu, 2012)
Alina, a lonely young woman, reunites with Voichita, her close childhood friend from their orphanage. But Voichita now resides in a secluded orthodox convent, and her beloved faith, along with the convent's strict priest, will make it all but impossible for Alina to convince Voichita to run off with her.
This may be the most boring movie I have ever seen (and that includes 'The Straight Story', which is about a man riding a tractor across Iowa). It just never takes off; they repeat what is essentially the same two or three situations again and again without very much variation or raising the stakes. The contents of the ending are horrifying and nihilistic in theory, but the movie doesn't earn that horror... there is not a sufficient build, either through the plot or the characters. This is supposedly one of the big contenders for awards this year, and that makes me sad.
'Lawless' (John Hillcoat, 2012)
In Prohibition-era rural Virginia, the three Bondurant brothers and their renowned bootlegging ring are shaken by the arrival of a corrupt, merciless federal agent who wants a cut of their profits.
Plot-wise, it's nothing revolutionary, but beautiful scenery, great production values, and outstanding performances abound. Tom Hardy plays a fascinatingly understated and thoughtful bear of a man (perhaps an alter-ego of this summer's Bane in 'The Dark Knight Rises'), Gary Oldman plays a gloriously pinstriped rum-runner, and Guy Pearce is a simply terrifying villain. Even Shia LaBoeuf does a decent job. Despite the rather intense violence, this movie demonstrates a wide emotional range, including sincere romance and plenty of terrific humor.
'For Love's Sake' (Takashi Miike, 2012)
The high school aged daughter of an influential family encounters a thug with authority issues who saved her life when they were children, and she decides to rehabilitate him... by getting him transferred to her elite prep school.
The premise is relatively sound. Then they start singing. And dancing. And fighting. And blowing things up. This movie is equal parts high school anime, Quentin Tarantino, and 'Glee', with an over-the-top campy script and production design that, I would argue, make it as ripe for ritualistic midnight screenings as 'The Rocky Horror Picture Show'. Not for the faint of heart... or sense of humor.
'Killing Them Softly' (Andrew Dominik, 2012)
Jackie Cogan, an easygoing mob enforcer, must investigate and handle the delicate situation surrounding the recent robbery of a mob poker game.
There's a neat thematic payoff at the end of this movie, but that's not the sort of endorsement you want to hear about a mob flick starring Brad Pitt (also including James Gandolfini, Ray Liotta, and others). It's pretty darn violent, full of explicit dialogue, and just plain gritty. Not a judgment, although I was underwhelmed because I think it gets lost in its own grittiness... I didn't think they let you get close enough to the characters (or plot) to make it as compelling as it could have been.
'Amour' (Michael Haneke, 2012)
The love between an elderly intellectual Parisian couple is put to the test when the wife shows the first signs of a debilitating neurological disease.
This is the golden child of the festival so far, likely to win at least a few awards. And I can see why. The performances and directing are top-tier; when the action of your movie barely leaves a single (gorgeous) apartment, the whole affair needs strong characters to drive it. Many scenes might affirm France's reputation for slow (and sometimes depressing) movies, but it fits the pacing of these elderly characters' lives. This movie is hard to watch of course, but if you're in the right mood for it, I think it can be very moving.
. . . Last, but far from least . . .
'Once Upon a Time in America' (Sergio Leone, 1983)
David 'Noodles' Aaronson, a Jewish former gangster, returns to New York on a mysterious summons after hiding out for thirty years. Noodles revisits bittersweet memories, from childhood on the streets through big-time bootlegging to figure out who has found him, why... and who made off with the gang's cash holdings from so many years ago.
This is one of my personal favorites... nonlinear storytelling, great acting, gorgeous production design, directing that makes a four-hour movie glide by, and what might be my favorite movie soundtrack ever. That's the short version of why I like it. I was thrilled when I learned that they were screening it at the festival this year as part of the 'Cannes Classics' category, for newly restored prints of older films (like 'Kalpana', 'After the Curfew', etc.). Even more exciting: the addition of 20-25 minutes of never-before-seen footage from cuts Sergio Leone didn't want to make. This is supposed to be as close as we can reasonably come to Leone's original vision (and, for a movie that's been as butchered as this one has over its many releases, that means a lot).
So, I'm really glad I got into this screening -- not only because I found the lost footage offered a few more gems of moments, but because Annie and I watched this movie in the company of Robert DeNiro, James Woods, Elizabeth McGovern, Jennifer Connelly, Sergio Leone's children ('Once Upon a Time' was Sergio's last movie), and composer Ennio Morricone. (Also in attendance were Salma Hayek and Alexander Payne, a Cannes Jury member this year, and Oscar-winning writer/director of 'The Descendants'.)
So, yes, the star power was fun, but it also occurred to me during this movie's many swelling emotional tides that these (great) actors were probably experiencing this together for the first time in almost 30 years. I could only imagine what that was like for them, but I thought it was cool that I was - however tangentially - sharing in that experience.
. . .
And that's just the first half of the Festival. More on daily routine (HA! Right.) around here next time. As well as more movie talk.
-Andy
So, here's what I've seen, with (Director, Year), a pitch (that's screenwriting talk for a short description meant to hook a reader), and a few quick thoughts that don't give (too) much away.
'After the Curfew' (Usmar Ismail, 1953)
When a freedom fighter in Indonesia returns home from an unsuccessful war, disillusioned and ill-suited to work, he teeters perilously on the edge of falling back into the corrupt old company of his fellow former soldiers.
A classic film in Indonesia, this had a good film noir feel to it. And while the plot was on the thin side, I thought the main character was a compelling 'lost character', and his deadbeat best friend was well-rendered and interesting to watch.
'Kalpana' [Imagination] (Uday Shankar, 1948)
The (largely autobiographical) life story of an influential dancer and artist who founds a cultural center to improve mental and spiritual life in the name of a stronger India. It is an elaborate musical exhibiting Shankar's trademark style of dance, and the influential dancer/choreographer's only film.
This is the grandfather of Bollywood as we know it. Shankar was incredible, moving with uncanny finesse, and the movie has its fair share of nice directorial touches. My only problem, though it is major, was that there wasn't enough of Shankar. He and his subtle technique step aside about halfway through to make room for an overwhelming climax overflowing with an ordinarily talented ensemble in whom we are not as invested.
'The Ring' (Alfred Hitchcock, 1927)
When a champion boxer hires a talented newcomer as his sparring partner, he also kindles the interests of the jealous young fighter's wife. Not to be confused with the 2002 horror film of the same title.
The love triangle is pretty banal; there's nothing to make the relationship between the young boxer and his wife ring true. But Hitchcock being Hitchcock, there are some great visual touches, and the dramatic tension keeps you interested through to the end. This is also the only full script that Hitchcock wrote himself. I should also note that the screening benefited tremendously from a live score played by a musician on keyboard, accordion, and piccolo.
'Mystery' (Ye Lou, 2012)
When two mothers with preschoolers in the same class discuss fears of their husbands' infidelity, unsettling truths come forward... and they may be related to a recent, fatal highway accident.
I saw this Mandarin Chinese film with French subtitles, so I was largely struggling to keep track of who was who and what was going on. But there were some solid performances, particularly from the male lead, who portrayed a less-than-likable man as a complex and bedeviled husband. There was also a nice cast of supporting characters for a varied emotional and thematic tone. Also, the thoroughly innocent and adorable children (who at one point sing 'Ode to Joy' in Mandarin) provide a striking counterpoint to the darker intrigue that ensues among the adults.
'Beasts of the Southern Wild' (Benh Zeitlin, 2012)
In 'The Bathtub,' a poor but surreally jovial Louisiana Delta community, a young girl named Hushpuppy fends against a fearsome storm and its aftermath, her father's mysterious illness, and the coming of newly awakened prehistoric creatures, all while searching for her lost mother.
Is a six-year-old allowed to win an Oscar? She is incredibly adorable and unbelievably capable at the ripe old age of six-or-so. The plot in this movie is not nearly so important as the relationship between her and her (at times) equally childlike father, Wink (played by the also-amazing Dwight Henry). Their tough-love relationship is incredibly nuanced, the supporting characters are delightfully fun, and the level of detail in this world immediately pulls you in. Also, the soundtrack is epic in the most satisfying way (especially around the credits). It's coming out in late June in the States, and I recommend you go see it.
'Beyond the Hills' (Cristian Mungiu, 2012)
Alina, a lonely young woman, reunites with Voichita, her close childhood friend from their orphanage. But Voichita now resides in a secluded orthodox convent, and her beloved faith, along with the convent's strict priest, will make it all but impossible for Alina to convince Voichita to run off with her.
This may be the most boring movie I have ever seen (and that includes 'The Straight Story', which is about a man riding a tractor across Iowa). It just never takes off; they repeat what is essentially the same two or three situations again and again without very much variation or raising the stakes. The contents of the ending are horrifying and nihilistic in theory, but the movie doesn't earn that horror... there is not a sufficient build, either through the plot or the characters. This is supposedly one of the big contenders for awards this year, and that makes me sad.
'Lawless' (John Hillcoat, 2012)
In Prohibition-era rural Virginia, the three Bondurant brothers and their renowned bootlegging ring are shaken by the arrival of a corrupt, merciless federal agent who wants a cut of their profits.
Plot-wise, it's nothing revolutionary, but beautiful scenery, great production values, and outstanding performances abound. Tom Hardy plays a fascinatingly understated and thoughtful bear of a man (perhaps an alter-ego of this summer's Bane in 'The Dark Knight Rises'), Gary Oldman plays a gloriously pinstriped rum-runner, and Guy Pearce is a simply terrifying villain. Even Shia LaBoeuf does a decent job. Despite the rather intense violence, this movie demonstrates a wide emotional range, including sincere romance and plenty of terrific humor.
'For Love's Sake' (Takashi Miike, 2012)
The high school aged daughter of an influential family encounters a thug with authority issues who saved her life when they were children, and she decides to rehabilitate him... by getting him transferred to her elite prep school.
The premise is relatively sound. Then they start singing. And dancing. And fighting. And blowing things up. This movie is equal parts high school anime, Quentin Tarantino, and 'Glee', with an over-the-top campy script and production design that, I would argue, make it as ripe for ritualistic midnight screenings as 'The Rocky Horror Picture Show'. Not for the faint of heart... or sense of humor.
'Killing Them Softly' (Andrew Dominik, 2012)
Jackie Cogan, an easygoing mob enforcer, must investigate and handle the delicate situation surrounding the recent robbery of a mob poker game.
There's a neat thematic payoff at the end of this movie, but that's not the sort of endorsement you want to hear about a mob flick starring Brad Pitt (also including James Gandolfini, Ray Liotta, and others). It's pretty darn violent, full of explicit dialogue, and just plain gritty. Not a judgment, although I was underwhelmed because I think it gets lost in its own grittiness... I didn't think they let you get close enough to the characters (or plot) to make it as compelling as it could have been.
'Amour' (Michael Haneke, 2012)
The love between an elderly intellectual Parisian couple is put to the test when the wife shows the first signs of a debilitating neurological disease.
This is the golden child of the festival so far, likely to win at least a few awards. And I can see why. The performances and directing are top-tier; when the action of your movie barely leaves a single (gorgeous) apartment, the whole affair needs strong characters to drive it. Many scenes might affirm France's reputation for slow (and sometimes depressing) movies, but it fits the pacing of these elderly characters' lives. This movie is hard to watch of course, but if you're in the right mood for it, I think it can be very moving.
. . . Last, but far from least . . .
'Once Upon a Time in America' (Sergio Leone, 1983)
David 'Noodles' Aaronson, a Jewish former gangster, returns to New York on a mysterious summons after hiding out for thirty years. Noodles revisits bittersweet memories, from childhood on the streets through big-time bootlegging to figure out who has found him, why... and who made off with the gang's cash holdings from so many years ago.
This is one of my personal favorites... nonlinear storytelling, great acting, gorgeous production design, directing that makes a four-hour movie glide by, and what might be my favorite movie soundtrack ever. That's the short version of why I like it. I was thrilled when I learned that they were screening it at the festival this year as part of the 'Cannes Classics' category, for newly restored prints of older films (like 'Kalpana', 'After the Curfew', etc.). Even more exciting: the addition of 20-25 minutes of never-before-seen footage from cuts Sergio Leone didn't want to make. This is supposed to be as close as we can reasonably come to Leone's original vision (and, for a movie that's been as butchered as this one has over its many releases, that means a lot).
So, I'm really glad I got into this screening -- not only because I found the lost footage offered a few more gems of moments, but because Annie and I watched this movie in the company of Robert DeNiro, James Woods, Elizabeth McGovern, Jennifer Connelly, Sergio Leone's children ('Once Upon a Time' was Sergio's last movie), and composer Ennio Morricone. (Also in attendance were Salma Hayek and Alexander Payne, a Cannes Jury member this year, and Oscar-winning writer/director of 'The Descendants'.)
So, yes, the star power was fun, but it also occurred to me during this movie's many swelling emotional tides that these (great) actors were probably experiencing this together for the first time in almost 30 years. I could only imagine what that was like for them, but I thought it was cool that I was - however tangentially - sharing in that experience.
. . .
And that's just the first half of the Festival. More on daily routine (HA! Right.) around here next time. As well as more movie talk.
-Andy
Thursday, May 17, 2012
Cannes: Day One
I kinda' like this 'day after' format... My schedule, it seems, would strongly agree.
Let's talk about the badges you need for this festival. Badges, I'm told, make a world of difference between getting into the big screenings and not. Apparently, even if you're tenacious enough, creative enough, or just plain attractive enough to panhandle for tickets to the big screenings inside the Palais des Festivals, without some kind of badge you're dead in the water. The badges are all reserved for professionals - movie producers, distributors, agents, actors, technicians, directors, reporters, etc. (Notice, by the way, the proportion in that list to business-y jobs to "creative" jobs.) Badges are given only to those who have a bona fide professional justification to - as one of my least favorite teachers used to say - "run with the big dogs."
I have no such credentials. As of now, I'm just a guy with a few screenplays, fewer contacts, and not much direct experience with this business. I explain all of this to you so that, when I proclaim that I still got a badge (thanks to a local film society), you understand just how freaking long it's going to take me to count all my lucky stars.
Fortunately, that serves a writing purpose beyond telling you something you already know. It also helps set the tone. Cannes is now crawling with people wearing black lanyards with palm frond logos and names of festival sponsors. That's pretty crazy, but it's nothing compared to 6:15 PM.
That's when the guests to the opening ceremony show up. Star light, star bright. Minus the "star light" part. The red carpet was a pretty star-heavy affair. And fan-heavier. Between all the gawkers and the rerouted traffic for black cars to have room, you should never complain about another traffic jam again.
At any rate, since the opening ceremony was in the evening, there were no movies to catch in the afternoon and I didn't have anything on which to write my humble request for strangers' spare evening tickets. The opening film, by the way, was Wes Anderson's promising new comedy 'Moonrise Kingdom', whose stellar cast includes Edward Norton, Bruce Willis, Tilda Swinton, Frances McDormand, and Bill Murray). One of the theatres to which I know I have access (space permitting) will screen the movie on Friday night, though, and it's more out of the way. Which is good for me.
So, after the madness of... all that... I showed a Cannes newcomer around for a while. Lena is good friends with one of the assistants I was pals with this year (said assistant, Krisia, being the one who told me most of everything I know about this here festival). We walked around, scoped out screening spaces, and even found our way into the reception area of the Palais des Festivals, which I had heard might throw me and my less-official badge out if I even got close. They didn't... as a matter of fact, most of the security folks seem very friendly (even when they refuse you access to other areas).
We had dinner at one of my favorite restaurants, where one diner, an older French gentleman, got really, really upset because I was carrying a San Pellegrino bottle around (he would have much preferred that, being in a restaurant, I set it down on his table, at least). I didn't get the whole of his rant (neither did the sweet lady at the next table, with whom I traded chuckling glances). But the gist of it was that apparently that's a particularly unclassy, stupid-looking American thing to do. When I started smiling and thanking him for his kind words - because my earnest inquiry as to his concern was getting me nowhere - he decided all hope was lost for my generation.
But that's the film festival for you - you never know what'll happen next. You might even find an iPhone on the street.
Yeah. It was a 4S. I got it back to its owner, some manager-type lady for a business in Marseille (her business card says), who thanked me profusely and promised to put me on the list for a short film series screening next week she's helping to run. (It's apparently a minor competition of its own, whose jury apparently includes the director of 'The Lion King'). Sounds cool to me. I'm glad it worked out okay and that she could keep working (though not half as glad as she was), and I'm glad that after one day I made it onto a list for something I didn't have access to when I woke up that morning.
Networking is a strange, strange thing.
. . .
This morning, I got up early to go into town and wait with Annie (fellow former assistant and festival attendee) to get giveaway tickets from our film society. It's basically like TKTS in London and New York. You go get in line and you get to pick tickets from whatever screenings they have to offer. We had hoped there would be tickets to big-name, in-competition films, but there weren't. And Annie's schedule for the day didn't mesh very well with their offerings.
But (and here's the teaser for tomorrow's entry)... I like to look on the bright side:
Let's talk about the badges you need for this festival. Badges, I'm told, make a world of difference between getting into the big screenings and not. Apparently, even if you're tenacious enough, creative enough, or just plain attractive enough to panhandle for tickets to the big screenings inside the Palais des Festivals, without some kind of badge you're dead in the water. The badges are all reserved for professionals - movie producers, distributors, agents, actors, technicians, directors, reporters, etc. (Notice, by the way, the proportion in that list to business-y jobs to "creative" jobs.) Badges are given only to those who have a bona fide professional justification to - as one of my least favorite teachers used to say - "run with the big dogs."
I have no such credentials. As of now, I'm just a guy with a few screenplays, fewer contacts, and not much direct experience with this business. I explain all of this to you so that, when I proclaim that I still got a badge (thanks to a local film society), you understand just how freaking long it's going to take me to count all my lucky stars.
Fortunately, that serves a writing purpose beyond telling you something you already know. It also helps set the tone. Cannes is now crawling with people wearing black lanyards with palm frond logos and names of festival sponsors. That's pretty crazy, but it's nothing compared to 6:15 PM.
That's when the guests to the opening ceremony show up. Star light, star bright. Minus the "star light" part. The red carpet was a pretty star-heavy affair. And fan-heavier. Between all the gawkers and the rerouted traffic for black cars to have room, you should never complain about another traffic jam again.
At any rate, since the opening ceremony was in the evening, there were no movies to catch in the afternoon and I didn't have anything on which to write my humble request for strangers' spare evening tickets. The opening film, by the way, was Wes Anderson's promising new comedy 'Moonrise Kingdom', whose stellar cast includes Edward Norton, Bruce Willis, Tilda Swinton, Frances McDormand, and Bill Murray). One of the theatres to which I know I have access (space permitting) will screen the movie on Friday night, though, and it's more out of the way. Which is good for me.
So, after the madness of... all that... I showed a Cannes newcomer around for a while. Lena is good friends with one of the assistants I was pals with this year (said assistant, Krisia, being the one who told me most of everything I know about this here festival). We walked around, scoped out screening spaces, and even found our way into the reception area of the Palais des Festivals, which I had heard might throw me and my less-official badge out if I even got close. They didn't... as a matter of fact, most of the security folks seem very friendly (even when they refuse you access to other areas).
We had dinner at one of my favorite restaurants, where one diner, an older French gentleman, got really, really upset because I was carrying a San Pellegrino bottle around (he would have much preferred that, being in a restaurant, I set it down on his table, at least). I didn't get the whole of his rant (neither did the sweet lady at the next table, with whom I traded chuckling glances). But the gist of it was that apparently that's a particularly unclassy, stupid-looking American thing to do. When I started smiling and thanking him for his kind words - because my earnest inquiry as to his concern was getting me nowhere - he decided all hope was lost for my generation.
But that's the film festival for you - you never know what'll happen next. You might even find an iPhone on the street.
Yeah. It was a 4S. I got it back to its owner, some manager-type lady for a business in Marseille (her business card says), who thanked me profusely and promised to put me on the list for a short film series screening next week she's helping to run. (It's apparently a minor competition of its own, whose jury apparently includes the director of 'The Lion King'). Sounds cool to me. I'm glad it worked out okay and that she could keep working (though not half as glad as she was), and I'm glad that after one day I made it onto a list for something I didn't have access to when I woke up that morning.
Networking is a strange, strange thing.
. . .
This morning, I got up early to go into town and wait with Annie (fellow former assistant and festival attendee) to get giveaway tickets from our film society. It's basically like TKTS in London and New York. You go get in line and you get to pick tickets from whatever screenings they have to offer. We had hoped there would be tickets to big-name, in-competition films, but there weren't. And Annie's schedule for the day didn't mesh very well with their offerings.
But (and here's the teaser for tomorrow's entry)... I like to look on the bright side:
Wednesday, May 16, 2012
Cannes: Day Zero
Hi, folks-- just a quick note before I put on my nice shirt and shoes and walk down to get my pass at the Cannes Film Festival.
I have a list of screenings where I get priority access. The good news is that they're screening most of the movies in competition at the festival and for free. The bad news is that the subtitles at my screenings are in French, which might make non-English, non-French movies a bit of a struggle. The good news is that there's a strong showing of movies this year, including these ones that I'm most looking forward to:
Wes Anderson's 'Moonrise Kingdom':
http://www.youtube.com/watch?v=TtxhDIE6Qbs&feature=fvst
David Cronenberg's 'Cosmopolis' (based on the Don DeLillo novel):
http://www.youtube.com/watch?v=0WpEc-rJQ3s
John Hillcoat's 'Lawless':
http://www.youtube.com/watch?v=4Zl7S1LaPMU
...And many, many more. There will also be restored prints of 'Jaws' and one of my personal favorites, 'Once Upon a Time in America'. Each night, they show movies for free on the beach... this year will feature several James Bond movies, in honor of that franchise's 50th anniversary (speaking of that, is anybody else pumped for 'Skyfall', this year's Daniel Craig installment?).
I have heard rumors that extra tickets to showings in the big theatres (to which, alas, I don't have access) may become available from time to time, so I'm going to hope I can get my hands on those to fill in some of the gaps in my schedule's offerings.
Cannes has transformed noticeably in the last several days... billboard ads, posters for the festival all over, suits standing by every entrance that could possibly be mistaken for backstage access, and now lots of people with festival lanyards (soon to be followed by lots of people with lots of money and nice suits and dresses and adoring fans and... yeah, festival lanyards). Photos to follow.
Anyway, I'm off to see what's what. The festival starts tonight and runs through Sunday the 27th. I'm a bit nervous, but ready to get rolling.
And... action.
-Andy
I have a list of screenings where I get priority access. The good news is that they're screening most of the movies in competition at the festival and for free. The bad news is that the subtitles at my screenings are in French, which might make non-English, non-French movies a bit of a struggle. The good news is that there's a strong showing of movies this year, including these ones that I'm most looking forward to:
Wes Anderson's 'Moonrise Kingdom':
http://www.youtube.com/watch?v=TtxhDIE6Qbs&feature=fvst
David Cronenberg's 'Cosmopolis' (based on the Don DeLillo novel):
http://www.youtube.com/watch?v=0WpEc-rJQ3s
John Hillcoat's 'Lawless':
http://www.youtube.com/watch?v=4Zl7S1LaPMU
...And many, many more. There will also be restored prints of 'Jaws' and one of my personal favorites, 'Once Upon a Time in America'. Each night, they show movies for free on the beach... this year will feature several James Bond movies, in honor of that franchise's 50th anniversary (speaking of that, is anybody else pumped for 'Skyfall', this year's Daniel Craig installment?).
I have heard rumors that extra tickets to showings in the big theatres (to which, alas, I don't have access) may become available from time to time, so I'm going to hope I can get my hands on those to fill in some of the gaps in my schedule's offerings.
Cannes has transformed noticeably in the last several days... billboard ads, posters for the festival all over, suits standing by every entrance that could possibly be mistaken for backstage access, and now lots of people with festival lanyards (soon to be followed by lots of people with lots of money and nice suits and dresses and adoring fans and... yeah, festival lanyards). Photos to follow.
Anyway, I'm off to see what's what. The festival starts tonight and runs through Sunday the 27th. I'm a bit nervous, but ready to get rolling.
And... action.
-Andy
Tuesday, May 8, 2012
Coup de Grasse
It's over.
My last day of teaching was April 20th. I'm sorry that my entries have been rather few and far between recently, but I'm not sorry for all the day trips, dinners, vacations, lesson plans (had to mention those somewhere in here), and screenwriting sessions I've been too busy enjoying to write down. Here are links to a few photo albums, to help fill the gaps:
Krakow (My last spring break stop after Budapest, which was very un-cosmopolitan, very historic, and thus very cool. Also, incredibly reasonably priced and full of more good, hearty, meat-and-potatoes kind of food. Also, though you won't find the pictures in the album, I visited Auschwitz.)
Tende (A small town near the French/Italian border (check it out) reached by the aptly named Train des Merveilles ('Train of Marvels'). Erika and I did a day trip up here and found some terrific hikes, cool winding walkways in town, and a terrific lunch at the lovely husband-and-wife restaurant Le Gourmand.)
I also spent a whirlwind week showing my buddy David Adler around Paris and the Riviera. And I just got back from 4 days in Bologna, Italia, where I got to spend time with the wonderful Giulia Petruzzelli.
I would be lying if I said that the end of my teaching wasn't emotional, and I'd be a liar-liar-pants-on-fire (I wonder how you say that in French...) if I didn't mention the outpouring of affection I got from the kids and my fellow teachers. But first, a few general sound bytes to shamelessly build suspense.
Andy: "Do you like pizza?"
Kid: "I love you, pizza!"
Andy: "How are you?"
Other Kid: "I am hot and happy!"
I worked at three schools, and two of them gave me wonderful sendoffs... The first gave me a huge box of local specialty food products (first photo in this oddball album) and came pouring into one of the classes I was teaching to throw me a going-away party with Orangina, cookies, candy (including chocolates from favorite chain Jeff de Bruges), and a lot of adorable, tearful young children.
The other school finished off my unit on food in the best way possible. American breakfast for my three classes. And there were t-shirts. I can't describe them, and a photo won't do them justice. Ask me in person sometime, and if I can, I'll show you.
It was wonderful. Nice to know I'll be missed and that I did okay at the job that had be quaking in my sneakers last September. I'll take that as an exit from Grasse.
Oh, that's right... the teaching is over, but the blog is not. A few other things.
I'm living in Cannes now (for the month) because my folks are coming over to Europe at the end of May to do some quality traveling (there's a cruise... and fjords).
But until then, I'm just looking forward to attending the Cannes Film Festival. I was awarded a pass to attend screenings at a few of the theatres (not the big ones, since I'm not a professional, although word is you can beg tickets off people if you look good and they have extras). I'm pretty pumped about it... I get free access to lots of (hopefully great) movies and I'll be surrounded by film industry. Sweet. It runs from May 16-27.
I'll try to blog a bit about Cannes if I can (pun!), but I predict those days will be a bit hectic, and I'm not sure what internet will be like on the boat. So, for reference, I'm in Cannes until May 29, traveling until June 15th, and chilling in DC for two whole days before starting work at the 'Center for Talented Youth' at Johns Hopkins on June 18 (through August 7). No idea if they're gonna' renew my contract for next year, and -- hooray for France -- they're almost certainly not gonna' tell me before July. I'm not too worried, though.
I'm too busy thinking about movies.
-Andy
My last day of teaching was April 20th. I'm sorry that my entries have been rather few and far between recently, but I'm not sorry for all the day trips, dinners, vacations, lesson plans (had to mention those somewhere in here), and screenwriting sessions I've been too busy enjoying to write down. Here are links to a few photo albums, to help fill the gaps:
Krakow (My last spring break stop after Budapest, which was very un-cosmopolitan, very historic, and thus very cool. Also, incredibly reasonably priced and full of more good, hearty, meat-and-potatoes kind of food. Also, though you won't find the pictures in the album, I visited Auschwitz.)
Tende (A small town near the French/Italian border (check it out) reached by the aptly named Train des Merveilles ('Train of Marvels'). Erika and I did a day trip up here and found some terrific hikes, cool winding walkways in town, and a terrific lunch at the lovely husband-and-wife restaurant Le Gourmand.)
I also spent a whirlwind week showing my buddy David Adler around Paris and the Riviera. And I just got back from 4 days in Bologna, Italia, where I got to spend time with the wonderful Giulia Petruzzelli.
I would be lying if I said that the end of my teaching wasn't emotional, and I'd be a liar-liar-pants-on-fire (I wonder how you say that in French...) if I didn't mention the outpouring of affection I got from the kids and my fellow teachers. But first, a few general sound bytes to shamelessly build suspense.
Andy: "Do you like pizza?"
Kid: "I love you, pizza!"
Andy: "How are you?"
Other Kid: "I am hot and happy!"
I worked at three schools, and two of them gave me wonderful sendoffs... The first gave me a huge box of local specialty food products (first photo in this oddball album) and came pouring into one of the classes I was teaching to throw me a going-away party with Orangina, cookies, candy (including chocolates from favorite chain Jeff de Bruges), and a lot of adorable, tearful young children.
The other school finished off my unit on food in the best way possible. American breakfast for my three classes. And there were t-shirts. I can't describe them, and a photo won't do them justice. Ask me in person sometime, and if I can, I'll show you.
It was wonderful. Nice to know I'll be missed and that I did okay at the job that had be quaking in my sneakers last September. I'll take that as an exit from Grasse.
Oh, that's right... the teaching is over, but the blog is not. A few other things.
I'm living in Cannes now (for the month) because my folks are coming over to Europe at the end of May to do some quality traveling (there's a cruise... and fjords).
But until then, I'm just looking forward to attending the Cannes Film Festival. I was awarded a pass to attend screenings at a few of the theatres (not the big ones, since I'm not a professional, although word is you can beg tickets off people if you look good and they have extras). I'm pretty pumped about it... I get free access to lots of (hopefully great) movies and I'll be surrounded by film industry. Sweet. It runs from May 16-27.
I'll try to blog a bit about Cannes if I can (pun!), but I predict those days will be a bit hectic, and I'm not sure what internet will be like on the boat. So, for reference, I'm in Cannes until May 29, traveling until June 15th, and chilling in DC for two whole days before starting work at the 'Center for Talented Youth' at Johns Hopkins on June 18 (through August 7). No idea if they're gonna' renew my contract for next year, and -- hooray for France -- they're almost certainly not gonna' tell me before July. I'm not too worried, though.
I'm too busy thinking about movies.
-Andy
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