Access Atlanta > Movies > Blog > Archives > Cannes category
Who is Jon Roy?
A writer and independent filmmaker from Atlanta who has written, produced and directed several short films. He is currently developing a feature film...
Cannes
Au revoir from Cannes…
The Atlanta Journal-Constitution
Another festival has come and gone in one exhausting flash, but…
I did get some great interviews. I did meet some fabulous people. I did get to see a lot of my friends from all over the world. I did restrain from partying too much.
All and all this year’s festival turned out to be really great. I actually couldn’t have asked for more.
This weekend featured a reprise of all the Un Certain Regard films and also all of the films in competition�so you can see something if you missed it earlier. For me, it’s a second viewing of “Broken Flowers,� and a first look at “Three Times,� by Hou Hsiao Hsien.
After today, it’s time for thousands of cinema fanatics, journalists, and filmmakers to pack up and head back to reality�hopefully avoiding the post-Cannes syndrome (AKA: Ninety to nothing.) The trick to avoiding this ailment is to stay busy and always learn from your mistakes at this festival to better prepare for the next. Voila.
As always it was a pleasure to cover Cannes, and I send my most sincere gratitude to those who have followed my Cannes Notebook, version 1.0, for ajc.com. As the French say, “a la prochaine,” or “until the next time.”
Permalink | | Categories: Cannes
And the winner is…
The Atlanta Journal-Constitution
This evening it was time to find out the winners of the festival’s prizes…I only made one unofficial prediction (see: “More Cannes secrets revealed…�) throughout the festival, and that was Tommy Lee Jones as Best Actor for “The Three Burials of Melquiades Estrada,� and that was dead on the money. Jones’ film also won for Best Screenplay, which was penned by Guillermo Arriaga.
The “Grand Prix,� which is kind of a misnomer since it is like a silver medal, went to Jim Jarmusch’s “Broken Flowers.� This was kind of funny because Jarmusch had just told me how that he thought prizes for pieces of expression are kind of ridiculous. But they love Jarmusch in Cannes, and undoubtedly, without his successes here, he would have a much harder time making movies.
“I’m speechless, exclaimed Jarmusch. It’s a great honor to accept this prize on behalf of all those who worked on this film. When making a film, all the cast and crew are on equal footing. Thanks to all who made this film possible, especially Bill Murray. Without him, the scenario would never have been written. And I thank this very strange Jury and the Festival who have also welcomed my work here throughout the years, to Thierry Frémaux, and Gilles Jacob who is one of the great gentlemen on the planet.”
He added, “I would also like to say quickly that I do not believe in competition for artistic works. It’s already an honor to be selected in the competition and to be here next such great directors as Atom Egoyan, David Cronenberg, Amos Gitaï, Lars Von Trier, Gus Van Sant, Johnnie To and Mr. Hou Hsiao-Hsien as I am one of his students, Wim Wenders who has been so generous with me when I began making movies 20 years ago and Robert Rodriguez. I accept this award in the name of all filmmakers who follow their heart and make films that interpret their vision. We are part of the same family and it’s an honor to be included in this family.”
The festival’s top prize, the Palme d’Or (or Golden Palm,) went the Dardenne brothers, Jean-Pierre and Luc, for their film “L’Enfant,� (“The Child.�) This didn’t really come as a surprise to many people, considering that the brothers had scored the top prize in 1999 for “Rosetta.� Nevertheless, there were quite a few former Palme d’Or winners in competition.
Permalink | | Categories: Cannes
Party all the time…
The Atlanta Journal-Constitution
The Cannes film festival is what you make of it. If you come here with a business plan, trying to buy or sell, you can do it. If you come here to see all of the films, interview famous people and write articles, you can do it. If you just want to party your brains out�that too is quite a feasible option. For me, this year was all about the work. Work, work, work. Though some people laugh at the idea of hanging out with celebrities on the Cote d’Azur and watching movies all day, and hardly consider this real work…it is in actually quite tiring.
Cannes is a vacuum of the senses�ten days of maddening exhilaration and non-stop moving. As one of my colleagues told me during a typical quick lunch the other day, “We have the strangest job in the world.� While I can fathom much more odd professions for one to have, I still concur with the general thrust of this statement. In this whirlpool of cinema it’s either sink or swim.
Last night was the night when everyone could finally blow off some steam. Though rather hesitantly at first, I gave in and was swept away in one of those nights that you don’t want to end. First off I went to the Kodak pavilion on the beach behind the Palais. My friends had invitations and I didn’t. We tried talking to the guy and the door�but no dice. I decided to walk down the Croisette to the Noga Beach where I knew my friend Michelle could get me in. I saw her at the gate and she used her French powers of persuasion to get me inside. Voila.
Though the DJ was lousy and the food was mediocre, everything was free (including the drinks.) I met up with a bunch of my friends and just as we started to dance, the party shut down on us and we were all shooed outside. Only 2 AM, which is relatively early in party terms, we decided to head back down to the SIC party at the Kodak pavilion. Michelle advanced and made her way inside while me and my new date followed directly behind. When we got to the gate, I spoke broken English and explained that we had went to the bathroom in the Palais. “D’accord,� he said, meaning “I understand.� Score. We went inside the smoke filled room and were swept up by the pounding, pounding beats of the (much better) music.
A minute later, I got a call from my friend explaining that they were stuck outside and couldn’t come in. I made my way to the door and put on my most serious facial expression. I started talking to the doorman in English, and he quickly responded, “En Francais.� So I mustered up my best French accent and let fly. I basically said that I was a film director with a film in the market and that the six people waiting outside for me were my crew. Voila. Everybody was ushered politely inside. “Merci, monsieur,� I told the doorman. Score, again.
Now with all of my friends at the party�we could dance until dawn�almost literally. We shut this party down as well and made our separate ways home. A fabulous evening that yielded much of the typical Cannes wackiness and many photographs fit for blackmailing everyone.
After a good morning’s sleep I began composing myself as best as I could…I headed back to work…shooting video and taking pictures.
Permalink | | Categories: Cannes
More Cannes secrets revealed…
The Atlanta Journal-Constitution
One of the terrible parts about the Cannes experience is that all the good things seem to happen at the same time. It’s almost like you have to pick what you miss…
The secret/private screening I went to last night was “The Three Burials of Melquiades Estrada,â€? and the mystery man sitting behind me with his wife was none other than Tommy Lee Jones. Once he muttered a single phrase in that distinct voice—I knew it was him. I shifted down in my seat so that I wouldn’t block his view. Only later did I come to realize that the screenwriter and actress from the film were also in attendance.
The film was originally in competition for the Camera d’Or, the prize given for best directorial debut. Earlier this week, “Three Burials,� was disqualified from competition in that category because of a previous project that Jones had directed.
“The Three Burials of Melquiades Estrada� stars Tommy Lee Jones, Dwight Yoakam, Barry Pepper, and January Jones. In the story, Melquiades Estrada is found murdered and partially buried in the desert. The local police do nothing to investigate the crime and bury him in a pauper’s grave. It is left to his best friend, played by Jones, to track down the murderer and give him the proper burial he had wanted.
My expectations for the film were not so high so I was ultimately surprised at how well it comes off. Jones was smart enough to not overload the film with famous celebrity friends (a la “Ocean’s Twelve,�) that might take away from the story. I knew Jones was a smart man, but I was still impressed with his attention to detail especially concerning the image. In the production notes for the film, he went in depth about his visual influences that he relayed to cinematographer Chris Menges. “My sense of color comes from Mexico, Mondrian, Matisse, Jean-Luc Godard, Akira Kurosawa…that’s just the way I look at color.�
Though it could’ve easily taken home the Camera d’Or if it wasn’t disqualified�I’m sure the film will be successful and might even garner Jones a Best Actor Award.
Permalink | | Categories: Cannes
Lars, Bill Murray, and a few more secrets, part 2
The Atlanta Journal-Constitution
Bill Murray was as great a guy as I had heard he was�down to earth, no fancy clothes, and no pretension�a real straight shooter. He doesn’t even have a publicist.
First, the topic of his late friend Hunter S. Thompson came up. Murray was extremely serious when talking about what a deteriorated condition Thompson was in physically before his suicide. He confirmed that there is still a send-off planned for later in the year where they will blast Thompson’s ashes out of a giant cannon.
Murray then segued in to a short rant about the journalists and how it’s like with anyone else�there are some people you can’t stand (as he looked at this annoying British lady,) these people he regards as “savage jerks,� and other people you can take (as he looked at yours truly.)
In talking about the production of “Broken Flowers,� Murray explained that as always he “starts with the body,� and refers to his body as an instrument. The role was a perfect vehicle for all the subtle nuances that Murray as become a master of. His character in the film, Don Johnston, looks up old girlfriends in the film to find out if one has mothered his child. Murray explained that he had a personal connection to the role and that he had looked up former loves in his life.
At this point Murray snatched up my lighter to fire up his rolled cigarette and started gesturing with it.
Murray elaborated on the fact that director Jim Jarmusch had given him a lot of leeway in the development of the character, but he decided to stick to the conception Jarmusch had down on paper, while still “being present in the moment.�
Murray’s explanations only made me want to watch “Broken Flowers� a second time. Which I will take the opportunity to do this Sunday�when the festival re-plays all of the films in competition.
When our time elapsed, Bill Murray offered me another cigarette. I asked him to see my lighter again and he remembered he still had it.
“Don’t worry about it…keep it,� I said.
“Thanks,� he muttered.
I shook his hand. “Break a leg,� he said.
After the interview, I had to rush back to the Palais to attend my second secret screening of the festival. I made it just on time and rushed inside the small theater in the film market to take a good seat. I heard a deep voice behind me that I recognized. It was only a minute later that I realized that the director of the secret film was sitting in the seat behind me. The film was better than I expected it to be and the company was top notch.
Find out later what the secret film was…
Permalink | Comments (1) | Categories: Cannes
Lars, Bill Murray, and a few more secrets…
The Atlanta Journal-Constitution
Under a white tent with a serene view of the Mediterranean behind him, Danish film director Lars von Trier sat and explained his new film “Manderlay.�
“Manderlay,� starring Bryce Dallas Howard (taking Nicole Kidman’s place as “Grace,�) Isaach de Bankolé, Danny Glover, and Willem Dafoe�is a story of a plantation in Alabama, circa 1933. Grace discovers this place and is appalled to find slavery still in effect. The film deals with her trying to remedy the situation she encounters at the plantation.
Not one for light subject matter, von Trier continues his tradition of dark and melancholic cinema, with what he refers to as “stupid characters.� Besides the obvious racist overtones implied with the subject matter, the film has also been interpreted as a political metaphor for the US involvement in Iraq, with Grace being a metaphor for George Bush. Whatever the case, actor Danny Glover said in a press conference that he believes no matter the perspective of the film, he hopes it will start positive dialogues between people.
Von Trier, who self-admittedly is too hard on himself, let on to a number of his personal weaknesses in the interview. Because of his claustrophobia he rides for three days in a specially outfitted motor home from Copenhagen to Cannes, rather than flying. During a rather somber moment, he confessed that he found out from his mother on her deathbed that the man he regarded as his father was not his father at all. Willem Dafoe, who takes James Caan’s place as Grace’s father in this film, is absent from her life for most of the film after a conflict.
When he came to Cannes with the first film in his “USA�Land of Opportunities� trilogy, “Dogville,� he was writing and preparing to shoot “Manderlay.� But this time around, von Trier has just scrapped his script for “Washington,� the final installment of the trilogy. “Washington� was scheduled to shoot this spring, but Lars just wasn’t satisfied with the script. There are doubts as to whether the trilogy will be completed at all now.
Because of extreme exhaustion, von Trier is moving on to a different project this summer. “I’m going to make a Danish Dogme film with Danish actors…but I’m going to cheat,� von Tried revealed. Dogme 95 was a cinematic revolution that von Trier helped develop where a list of rules dictated purist techniques for production (google Dogme!) The English translation of the title is “The Director of It All,� but von Trier warns the title doesn’t mean anything.
After the interview, my colleague Christian (from Hamburg) and I took the bus back to the station in Antibes, but unfortunately we missed the last train that would be going to Cannes for two hours, which is ridiculous since it is only a 12 minute train ride. We ended up having to wait for a bus and we both had to cancel appointments. I didn’t care as long as I made it back to Cannes for my sit down with the one and only Bill Murray. And I made it just on time.
Bill Murray showed up at the table. “Hi guys.�
“Hi, Bill Murray.�
“Anybody want a drink or something…’cause if you’re not drunk by the time you got here…� as he trails off.
We wait and wait and wait. I can see him talking to some lady. Finally, he comes back. “What do you smoke there?� some guy asked him.
“You know what, I like this black tobacco, but the Englishman I was working with insisted I try this rotgut from his country,� Murray said. “So anyone wanna roll their own cigarette?�
I raised my hand.
“Want one?�
“Yeah.�
“Here,� as he tossed me the pouch.
“You got any papers, Bill Murray?� I asked.
“Yeah, there’s a few in there…help yourself.�
And then the fun started…
Permalink | | Categories: Cannes
Talking with Lars von Trier…
The Atlanta Journal-Constitution
After my first good night’s sleep in, oh, about two weeks, I was ready for action today. On the agenda…interviews with Lars von Trier and Bill Murray.
First things first…I shoveled down a ham sandwich and got my first and most important dosage of caffeine of the day. Then, it was off to Cap d’Antibes and the Hotel du Cap-Eden Rock, pretty much the most prestigious hotel around here (maybe one of the most exclusive in Europe.) At least the weather was idyllic today.
Two years ago when I came to the Hotel du Cap to interview Lars I walked in the gate only to see an Arnold Schwarzenegger getting out of a car surrounded by men in dark suits with sunglasses. They immediately rushed me like my 145 pound self was some kind of threat to the big guy. I didn’t care he was there, I was just trying to find the cabana because that’s where the interviews were going down.
This time around, it was pretty much the same thing, minus Arnold. I was confused, lost, and late. Luckily, I made it on time, or rather, Lars was conveniently late. Either way, everything worked out fine.
Lars’ new film “Manderlay� is a real bag of touchy subjects all mashed up. The form is difficult to deal with and the subject matter is loaded whether interpreted literally or metaphorically. Sexual, racial, and political taboos…all in one film. It’s almost like Lars bit off a bit more than he could chew with this second film in the planned “USA�Land of Opportunities� trilogy. I couldn’t wait to hear what he had to say since he was rather tight-lipped at the press conference.
Lars popped his head into the white tent set up overlooking the water and everyone greeted him. He admitted he felt a bit threatened by the combative nature of many of the journalists he had to deal with. But it wasn’t going to be that kind of day…he was wearied and by this point in the festival, most of us are. Cannes is what you make of it�work hard or play hard, and try to recover for the next festival.
He carried on passionately about his motives (or lack there of) for making the film as well as diving into a few personal issues that captivated us. Last time I met with him, I was shocked by his candor as he spoke of not being able to leave his room and popping anti-depressants like tic-tacs before he made “Dogville.� And this went even deeper…
To be continued in “Lars, Bill Murray, and a few more secrets…�
Permalink | | Categories: Cannes
David Cronenberg and another day in paradise
The Atlanta Journal-Constitution
So back at the flat, I’m getting all my gear together for my interview with director David Cronenberg. It would take about 15-20 minutes to walk down to the Martinez beach along the Croisette, so I planned according. Video camera, tape recorder, microphone—check.
Only ten seconds out of the flat, I hear a crash of thunder so loud that it made my stomach churn. Looking up to the sky, I saw the most vicious death-black-looking clouds I’ve even seen. As it started to sprinkle, I felt lucky I had stuffed my umbrella in my bag. Little did I know that only a minute later a monsoon would consume Cannes. After five minutes of this tempestuous storm, my pant legs, shoes and socks were all soaked.
“Great,” I thought. “My first soaken wet interview.”
I made it down the Martinez beach where the interview was supposed to take place, however, thanks to the ominous weather, it was moved inside of the hotel. Like ducks in a row, we crossed the road. I played the gentleman and let a fellow journalist take cover under my umbrella.
Once upstairs I prepared and waited for David Cronenberg. Luckily I was able to dry off a bit before I was ushered in to meet him. He rose from his seat to give me the glad hand. Formal introductions out of the way…our twenty minutes began. And the clock was ticking away furiously.
I went ahead and got the kissing up out of the way first thing so that we could carry on a normal conversation. Lesson 1: A good interview consists of making the subject feel comfortable and merely guiding the discussion, yet still allowing the subject to talk about what he wants to. And this time, it worked.
David Cronenberg is a fit man with ghost white hair that sticks straight up. He talked intelligently about his intentions for his film and how he continues to face difficulties in getting the films produced, despite all his successes, to this day. I found it hard to believe…but as I was later reminded by a friend, Clint Eastwood had the same problem with “Million Dollar Baby.” It is a vicious business.
As the interview ended, I still had a million things I wanted to say to him, and even more that I wanted to ask him. He was so tired from the 12 hours of interviews a day, that I took pity on him and held back. However, I did have to drop in a “Videodrome” reference and exclaim proudly, “Long live the New Flesh!”
He kindly agreed to do a short spot for ajc.com, introducing himself and his film “A History of Violence,” one of the Palme d’Or frontrunners. A great movie and an incredible man—a real class-act.
Permalink | | Categories: Cannes
Send me some “Broken Flowers”
The Atlanta Journal-Constitution
This morning was the screening of one of my most highly anticipated films of the festival, “Broken Flowers,” directed by Jim Jarmusch and starring Bill Murray.
I drank a large coffee as fast as I could get it down on the way to the Palais, and went inside. I was a bit late and seats were scarce, but I managed to find a preferred seat in the center balcony. It’s always easier to find one seat than two or three together this close to showtime.
Out of habit, I looked around for my usual screening partner Maurice, forgetting that he had just returned to Paris. I’d have to swing this one solo.
The film, which I consider Jarmusch’s first real feature film since 1999’s “Ghost Dog,” (since “Coffee and Cigarettes” was a collection of short films,) is about an aging Don Juan who receives an anonymous letter explaining that he has a son. With some prodding from a friend, he takes off to find the mother from a list of his former girlfriends.
Though a bit slow starting off, “Broken Flowers” was well paced and intriguing, and the best thing Jarmusch has done since “Dead Man” with Johnny Depp. It’s poignant and subtle—allowing Murray to take classic form. Murray was indeed in form for the press conference following the film, where he got just as many laughs as he did in the movie. His sarcasm and wit helped balance out some of the more philosophical ponderings of some of the others on the panel. When asked about his minimalist style of acting, Murray playfully responded, “I think in my case it comes from an erosion of skills.”
Murray and Jarmusch had previously worked together on the “Delirium” sequence for “Coffee and Cigarettes,” where Murray teamed with hip-hoppers the Rza and the Gza from the Wu Tang Clan.
After the press conference, the journalists surrounded the panel, snapping pics on digital cameras and unprofessionally screaming for autographs and pushing helpless colleagues out of the way. I was lucky enough to escape this madness unscathed. Ducking to the sidelines, I saw my colleague Robbert from Amsterdam. We decided to have lunch together, since I owed him from last time.
After a filling lunch (mmmmm, Subway…) it was time to go back to the Palais and get back to work. I found my way on to a computer and took care of a bit of research and writing. All of a sudden, I get a call from the “Broken Flowers” press attache, inviting me for an interview with Bill Murray, Tilda Swinton, and Jim Jarmusch. Score! I had all but ruled out the possibility of this interview since the PR folks hadn’t answered my emails. Oh well…all’s well that ends well. So that’s what we can look forward to in the next couple days: the “Broken Flowers” team, plus Lars von Trier, and maybe even Tommy Lee Jones.
After hearing the good news, I finished up my business and heading back to the flat.
Permalink | | Categories: Cannes
Secrets Revealed…
The Atlanta Journal-Constitution
Yesterday, I ran into my friend Sergio from Brazil who I hadn’t seen since Cannes last year. We caught up over an espresso and headed to the Salle Debussy for the evening screening of the new David Cronenberg film “A History of Violence.� And that brings us back to the big secret from two days ago…
So “A History of Violence� was the secret film that I saw on Saturday afternoon at the Olympia, a five minute walk away from the Palais. And yes, I did go see it a second time (if that gives any indication how much I liked it.) I wanted to love the film before the first frame flew by because of my respect for David Cronenberg (“Scanners,� “The Dead Zone,� “The Fly.�)
I still don’t completely understand the intricacies of the contract that I signed or why I had to sign it�but all I know is that I can talk about the movie now.
The screening was an interesting one, with reactions from the crowd ranging from absolute love to pure hatred. There was no consensus on this flick. People were confused whether they should laugh or take it seriously�as Cronenberg walks a thin line yet again with “The History of Violence.� There was loud applause, laughs, jeers, and boos all sprinkled throughout the film, which equals one thing�an engaging cinematic experience.
At the press conference today, Cronenberg surprised the press by coming out armed with a Nikon camera and repeated snapping pictures of the journalists gathered around to photograph him. He was joined on the panel by film stars William Hurt, Ashton Holmes, Viggo Mortensen, Maria Bello, as well as producer Chris Bender and screenwriter Josh Olson.
As other journalists were yelling things like, “David, look at me,� I took the opportunity to intone one of my favorite lines from his film “Videodrome.� In my best James Woods, I proclaimed, “Long live the new flesh!� Then the press conference began.
The film stars Mortensen as Tom Stall, a middle American family man caught up in a case of mistaken identity with a bunch of gangsters. Cronenberg utilized the mythology of classic westerns to tale this modern day tale.
The press conference was inundated with questions about violence (which the movie has a bit of�hence the title) and Cronenberg explained that although the film was set in America, that it was a universal story because as he said “every country was founded on violence.�
More to come on “A History of Violence,� including a one-on-one interview with director David Cronenberg.
Permalink | | Categories: Cannes
‘Star Wars’ continue from the Red Carpet to the Beach
The Atlanta Journal-Constitution
After the Brazilian films, I headed to the Salle de Press (press room) to check my emails. There was a long waiting list to get on a computer so I stepped out onto the balcony overlooking the red carpet entrance to the Grand Lumiere. To my utter amazement, the Croisette was packed with more people than I’d ever seen for a premiere. But then again, this was the long-awaited last installment of “Star Wars.�
The crowds had started gathering over an hour ahead of time and showed no signs of diminishing any time soon. My colleagues from the press room and I laughed at the circus appearing before our very eyes. I looked out into the mass of people and saw a fan dressed like Boba Fett getting his picture snapped by a swarm of photographers (note: swarm is the proper term for any more than two press photographers in a group.)
Then over a loud speaker, the mechanized breathing of Darth Vader began, followed immediately by a thunderous cheer. The monotone breathing seemed to go on forever. It seemed like a clever novelty at first, but then dissipated into annoyance after the first fifteen minutes. Luckily the filmmakers had arranged for an orchestra along side the red carpet to play selections from the film during the celebrity entrances. When the orchestra began to play, a group of stormtroopers walked out onto the red carpet, doing drills and marching back and forth, before posing for pictures with the stars.
The live music was a nice touch considering the pre-recorded playback they usually have for film premieres. Also, it provided much needed relief from the Vader-breathing fiasco that went on for an eternity.
George Lucas popped out along side Natalie Portman (who was sporting a shaved head,) Samuel L. Jackson, a trimmed up Hayden Christensen and slew of others. A bit later, in what was the day’s most pathetic display of attempted cross promotion, actress Sharon Stone talked with the Cannes TV about wanting to lightsaber duel with her child. I was apathetic and it still made me feel awkward.
After the premiere there was a screening of “Star Wars: A New Hope� on the beach. Unfortunately, it was the 90s redux version with all the digital additions. I arrived late and there wasn’t a beach chair free so I had to find a place in the sand. The sea breeze was brutally cold when it seemed to cut right through me, especially considering the sweltering heat earlier in the day. So I bundled up and pulled my beanie down tight.
During the first ten minutes of the movie, this rowdy group of children were screaming and singing to the dismay of everyone in the audience. Luckily, a nice French lady told them to shut up or go away and this coupled with about fifty peoples’ cold, angry stares got the job done. There was no way that we could miss the classic Luc whining that’s crucial to setting up his character.
It was a surreal experience with the waves crashing up under the platform where the projection screen was situated. Watching “Star Wars: Episode IV” in the context of “Episode III” that I’d seen in the morning, with actual stars overhead was almost transcendental. It was young people and old from all over the world, from the public and from the film business…all knowing where we were heading, but just sitting back and enjoying the ride.
After the film ended—Cannes was treated to top class fireworks display over the water that could’ve woken the dead. Even the most bitter passers-by couldn’t help but stopping to take in the light show.
Permalink | | Categories: Cannes
Catch up…
The Atlanta Journal-Constitution
So yesterday afternoon I decided to take a break from the Force. I headed down to the beach, grabbed a panini (sandwich) and then stopped by the American Pavilion to pick up my courtesy membership and sign up for yet another mailbox for my movie-spam.
Then it was time to check out a bit of Brazilian cinema, “Cidade Baixa� (a.k.a., “Lower City.�) The film was a good come down from all the “Star Wars� hoopla, but in the end played like a modern Brazilian take on the French classic “Jules and Jim.� Unfortunately this scenario has been played to death and we find out that “three� is not so magic a number when it comes to relationships (though it has made for interesting cinema.) But we all know what’s going to happen�someone’s always going to end up on the losing end and a happy ending is out of the question.
The club scenes in the film were really impressive though since usually party/rave/club scenes usually come off looking stupid or staged or both. (I’ll have to observe the real thing tomorrow night when I check out Carl Cox spinning some hard house at a beach party.)
“Lower City� was directed by Sergio Machado and produced by Walter Salles (director of “The Motorcycle Diaries�) who seems like he’s produced every Brazilian picture since he’s become famous. I interviewed Salles at Cannes last year�he’s good looking, fluent in French, English, Portuguese, and Spanish, and is at least trying to do things for the cinema in Brazil. But “Lower City� isn’t exactly breaking down any cinematic barriers.
I met a nice Spanish journalist at the screening named Miguel. “Encantada,� I said, remembering a touch of Spanish 101. “Igualmente,� he responded. We spoke to each other about languages, cinema, etc. There is nowhere like Cannes for a nice sampling of people and languages from all over the world. One can hear ten languages in the course of a short walk down a corridor, although French and English are the most prominent.
Permalink | | Categories: Cannes
A bittersweet end to the ‘Star Wars’ saga…
The Atlanta Journal-Constitution
“Star Wars: Episode Three—Revenge of the Sith,” was so high on my priority list that I skipped the parties last night to make to sure that I was well rested for the 8:30 AM press screening this morning. I’m not a “Star Wars” junky by any stretch of the imagination, but this was the world premiere. A certain kind of anticipation builds after you wait for something for so long.
It was a little chilly outside and I was expecting to see more people out and about dressed like Darth Vader prowling around for invitations to the screening. But just like when the clock struck midnight on Y2K, I expected to see things different. But just as it was with the millenium, nothing really was different than any other day.
In the press queue, tempers sored when we were forced to wait longer than expected and invitees went inside before us (keep in mind that this was a press screening.) But as always, I maintained composure and hid my frustrations behind a charming smile. And soon after—we were inside.
Taking seats, center aisle in the balcony, with my friends Jessie and Maurice, we talked away the waning moments before the film started. The digital 2k projection was state of the art and this was the perfect movie for the treatment. With “Sith,” Lucas has blurred the line between film and digital video more than ever.
Anyone who’s vaguely familiar with “Star Wars” mythology probably already has a pretty good idea of how the story unfolds in this last installment of the saga. Basically, Anakin Skywalker (Hayden Christensen) gives in to the dark side of the force. But after 28 years of waiting—moviegoers get to learn the ever-important “how?” and “why?”
The movie starts out in the middle of this huge battle that reminded me of the sensory overload I had experienced when watching “Matrix Reloaded” here two years ago. Too much of everything. Wow. Why have ten cruisers when we can have 200? I guess since George Lucas feels that he CAN do all this stuff, he SHOULD do it. Maybe I’m being too hard on the guy. I mean, he has pioneered a lot of the computer generated graphics technology and special effects that has become integrated into modern cinema. And this film blows “Lord of the Rings” out of the water with effects shots numbering over 2,000.
So Hayden Christensen is actually not bad, Natalie Portman is tolerable, Ewan McGregor is about a million miles away from “Trainspotting,” but for me—Yoda steals the show. Leave it up to former muppeteer Frank Oz to come through with a stellar Yoda performance (kudos also to the digital artists who made the little fella look a bit more life-like this go-round.) Samuel L. Jackson got a bit more face time in this episode and a round of applause when his name popped up in the credits. Ian McDiarmid gives a strong performance as the creepy supreme Chancellor Palpatine.
The good points are that there is no Jar Jar Binks, even the bad acting is tolerable, and Lucas doesn’t shy away from the fact that this is supposed to be the darkest of all the “Star Wars” pictures.
In fact, it’s probably the best PG-13 movie I’ve seen in a while…the last that comes to mind was the suprisingly entertaining (and guilty pleasure) “School of Rock.” Based on the reactions I saw today, I’m pretty sure that it will appease “Star Wars” fans across the globe. It ties everything together with the first trilogy, if not too well. And I think the most important thing is that people have been waiting for this and they really want to get into it. Maybe it’s a connection back to childhood for some people or some kind of escapism factor—but I’ve got a feeling that Lucas’ empire will continue to prosper as fans flock to the screenings over and over and over. Tonight, the fun continues when they screen “Star Wars: Episode Four—A New Hope” on the beach. Until then, may the force be…oh, nevermind.
Permalink | | Categories: Cannes
Saturday and a Saucerful of Secrets…
The Atlanta Journal-Constitution
I don’t usually keep secrets. Life sometimes makes you do things you wouldn’t normally want to do though. Out of the blue today—I came face to face with the dark side of the force (sorry for the “Star Wars” pun but I’ve got “Revenge of the Sith” on the brain.) Vying for an opportunity, I was forced to accept a strange proposition. Even in writing. You see I don’t mean to be ambiguous, but it will all be worth it in two days. Of course two days is a long time and I’ve never been good at keeping secrets (except maybe a secret roomie.) Unusual as it may sound—I attended a screening today and although I’m not a lawyer—I’m pretty sure I signed some kind of a contract saying that I won’t talk about it for two days.
But it was totally worth it or at least will be in two days. And that’s the end of that gibberish. For now…
Onward to things that I can actually write about.
After this “screening” that I may or may not have attended, I decided for a bit of lighter material and headed to the Cannes Classics—a program within the festival where they show digitally restored films usually centered around a few different themes or filmmakers. The first time I came to Cannes, they presented a screwball comedy program where I treated myself to “His Girl Friday” with Cary Grant and Rosalind Russell, “Bringing Up Baby,” and a slew of Preston Sturges’ pictures.
On the menu today was a bit of Michael Powell and Emeric Pressburger. First up was “Black Narcissus,” then it was “I Know Where I’m Going,” which I had never seen before even though it’s available on DVD in the states. “I Know Where I’m Going,” started off strong and never let up, and even though it was first released sixty years ago, still seemed incredibly modern in content and style. Coincidentally, the film had my favorite random phrase of the festival so far, with “a new chapter in falconry.” Can’t beat that with a stick.
I actually ended up seeing the next film in the same theater, which was more than a mouthful—the Shaw Brothers “Tian Xia Di Yi Quan,” or “King Boxer,” in a glorious Shaw-Scope widescreen presentation. The masters of early Kung Fu cinema, the Shaw Brothers were so good that Quentin Tarantino decided to mine this film for bits of music, sounds and camera moves for his “Kill Bill” movies. But there’s simply nothing like the original. Humor, plot, love, violence—everything that encompasses modern cinema is there, in striking form.
It’s been a long day with lots of movies and too many secrets. Time to shake off the last bits of jet lag and get a good night’s sleep—because tomorrow, “Star Wars” fever hits the Cote d’Azur.
Permalink | | Categories: Cannes
A ‘Kool Thing’—Last words on ‘Last Days’
The Atlanta Journal-Constitution
When my associate Frederic told me the other day who he had ran into, I couldn’t believe my ears. “Jon, I have met (drumroll) last night—Thurston Moore and Kim Gordon!” Wow. Rarely do I get starstruck, and even more rarely do I get jealous of other people getting starstruck—but this is Sonic Youth we’re talking about here.
I didn’t realize it at first but both Moore and Gordon were affiliated with the film “Last Days.” Kim Gordon plays a record executive in the film and Thurston Moore served as musical consultant for the film. They made a stylish appearance on the red carpet last night along side of the film’s stars and director.
Word around the campfire is that Sonic Youth is looking to take a new direction in the near future…
(Picture on the multimedia page courtesy of Frederic Guesne)
Permalink | | Categories: Cannes
“Last Days” on Friday the 13th, and other warming notions
The Atlanta Journal-Constitution
Today started off with a real bang and tapered off ever so gently. This morning, not only did I eat a breakfast, I ate the kind of breakfast that your mother forces you to eat when you’re a kid and you’ve got a really important day at school.
Then it was time to head off to the Grand Lumiere for the screening of Gus Van Sant’s new film, “Last Days.” The movie was inspired by the mystery behind the last few days of Kurt Cobain’s life—though the filmmakers are quick to point out that the key words are “inspired by” and their account is fictional. For those who don’t know, Nirvana frontman Cobain “allegedly” committed suicide in 1994.
I arrived only a few minutes before the movie began and was lucky enough to find a good seat in the middle—now, this is important. In the labyrinth known as the Grand Lumiere, one can easily get lost among the 4,000 seats, or worse—end up in a neck-breaking acoustical nightmare along the sides.
Expectations were high after Van Sant’s “Elephant,” though with “Elephant” the expectations were low because I really couldn’t make heads or tails out of “Gerry.” These three films are all esthetically linked and I would even venture to say that “Last Days” in the stylistic culmination of everything Van Sant learned from his previous two films.
Michael Pitt (from “The Dreamers” and “Hedwig and the Angry Inch”) plays Blake—a Cobain-esque rocker who’s basically spaced out of his mind, despressed and alone despite being surrounded by a bunch of moochers. It doesn’t take Nick Charles to figure out where this story’s heading…
Van Sant’s treatment of the subject is the real surprise though, since we basically know what the outcome will be (please refer to the title: “LAST DAYS”). He went into production with a 35 page screenplay, but had no problems from the producers at HBO films since his Palme d’Or winning “Elephant” had only a twenty page screenplay which was basically just a comprehensive shot list with sprinkles of dialogue. (Note: A normal Hollywood screenplay usually averages 120 pages.)
It’s got about as little dialogue as “Gerry” with some dolly shots straight out of “Elephant,” minus the bright colors, courtesy of cinematographer Harris Savides. The film is stripped down cinema—long takes, improvisation, minimal dialogues, and simple (but nice) compositions. Pitt’s performance is mesmorizing and even if it takes a few minutes to get into the movie, it’s worth it. As a huge Nirvana fan for the last fifteen years (has it been that long?) I can safely say that I thought the film was a poignant meditation on the emotional turmoil Cobain might have been dealing with during his “Last Days.”
I left the theater with shivers even under the blazing Mediterranean sun.
Permalink | | Categories: Cannes
Wallace & Gromit do Cannes …
The Atlanta Journal-Constitution
After the press conference, the journalists all swarmed to write up their takes on the film and Allen’s wit. I passed down the hallway with my hoodie pulled over my head and heard “There’s Jon Roy trying to be all incognito.” It was a friend of mine from a PR firm in Los Angeles who reminded me of the sneak peek of the “Wallace & Gromit” feature film that I had RSVP’d for while still in the states. Embarrassed that I forgot, I scooped up the press kit and shuffled in the back door.
“Wallace & Gromit” creator and director Nick Park and Aardman production company co-founders presented clips from the upcoming feature film “Wallace & Gromit—The Curse of the Were-Rabbit,” slated for nationwide release on October 7th.
The film was shot using plasticine models for characters (just as they did for “Chicken Run,”) and employing stop motion animation — in which a full day’s work yields about three seconds of screen time. The entire feature takes about two years to shoot. It was time well spent. The clips were hilarious. There’s nothing like a classically filmed chase sequence done claymation style.
After the screening, I was invited to a not-so-private private luncheon with the filmmakers at the American Pavilion on the beach. The full-scale sets from the film on display were so intricately detailed it was mind boggling. And I even got a Gromit t-shirt.
Permalink | Comments (1) | Categories: Cannes
Game…set…match
The Atlanta Journal-Constitution
The church bells rang six times and with the ominous resonance in the air I knew it was time for me to awaken from my two hour slumber and face the day. With my one open eye I panned over to my travel alarm clock to confirm, indeed, that it was 6 a.m. and time to rise. First thing on the agenda: Woody Allen’s new film, “Match Point,” playing at the illustrious Grand Lumiere theater.
The film, which stars Jonathan Rhys Meyers and Scarlett Johansson, seemed to me to be the best film Allen’s done since “Sweet and Lowdown,” in 1999. It plays almost like a Preston Sturges film (minus the slapstick) at first, then does a sort of “Double Indemnity” twist, and ends up somewhere in the realm of “Crimes and Misdemeanors,” although Allen himself doesn’t see the connection.
The story is about a young Irish lad in London who marries a girl for money and has a dangerous affair with tragic consequences.
At the press conference following the screening Allen proclaimed that it was actually “an extremely positive experience,” and that it “turned out pretty good,” which is rare for him to say. The film, shot in London with an almost entirely British cast and crew, was such a positive experience for Allen (who usually shoots in New York) that he is shooting his next film there this summer. He was first drawn to London because of a financing package with complete creative control and no interference from the producers.
Allen was joined at the press conference by the stars of the film Rhys Meyers, Johannson, and Emily Mortimer — who all expressed the endless delights of working with Allen.
Permalink | Comments (1) | Categories: Cannes
Cannes I see some movies now?
The Atlanta Journal-Constitution
CANNES — Looking out the plane when I was stirred to consciousness by the pilot’s monotonous droning on, “flight attendants cross checkâ€â€?we’re preparing for our descent into Nice,â€? all I could see was blue. And not just any blue, this was Riviera blue waters with little waves rippling about that looked like dolphins peaking their beaks out of the water. I let out an eager sigh of relief…almost there.
It had been a mere 22 hours since I left for Hartsfield-Jackson International airport, but it felt much longer. Even a stop into the meditation center during my layover at Schipol airport in Amsterdam couldn’t dampen the anticipation taking root in my tensed shoulders. Only seeing Cannes firsthand and stowing away all my luggage at the flat could help me relax. And oh boy did it ever.
So riding that kind of nervous adrenaline energy�I collected my accreditations at the Palais des Festivals (transliterated, the “Palace of Festivals�), where all the screenings for the Cannes Film Festival take place, saw some acquaintances from previous festivals, dished out a few “bonjours� myself, and made my way back to the flat nestled a comfortable five minute walk from the Palais.
And today, the madness begins. Cannes is not just a film festival, you see. Cannes is also the world’s largest film market where everyone and their mother have something to pitch, buy, or sell. It’s maddening intensity over the course of ten days leave many first-timers bewildered�heading back to the drawing board to better prepare for next festival. As an old hand jet-setter told me my first year in Cannes, “soon you’ll learn that you have to prepare months ahead of time with good rest and vitamins and Echinacea.� And that is scarcely an exaggeration.
Today I awoke well rested with cinema on the brain (which is the only way to be here since Cannes almost out-Hollywoods Hollywood during the festival). Dominik Moll’s “Lemming,� starring Charlotte Rampling was the festival opener. We, and by “we� I mean the some 4,000 members of the press and the thousands of onlookers gathered out front of the Palais, got our first looks at celebrities prancing up the red carpet during the opening ceremony.
The lineup for the festival this year is packed with past Palme d’or (or Golden Palm�the festival’s top prize) winners. David Cronenberg, Gus Van Sant, Lars von Trier, Jim Jarmusch, Atom Egoyan, and Tommy Lee Jones (with his directorial debut) all have films in competition. Out of competition there’s Woody Allen’s “Match Point,� “Kiss, Kiss, Bang, Bang,� with Val Kilmer and Robert Downey, Jr., and the highly anticipated final installment of “Star Wars,� making it’s world premiere here on Sunday.
Plenty to look forward to�so, let the games begin.
Permalink | | Categories: Cannes
Who is Jon Roy?
The Atlanta Journal-Constitution
A writer and independent filmmaker from Atlanta who has written, produced and directed several short films. He is currently developing a feature film production of his own screenplay and a documentary for public broadcasting sponsored by IMAGE Film and Video of Atlanta. He has covered the Cannes Film Festival for the AJC since 2001 and holds degrees from the University of Georgia and the San Francisco Art Institute.
Permalink | Comments (1) | Categories: Cannes
.JPG)
-1.JPG)
Services »
