Cannes Originals Archive for May, 2012

CANNES 65: A Wrap

The question was never “if” Michael Haneke was going to win something—the question was always “what.”

Read the full article » 2 Comments »

UN CERTAIN REGARD 2012 AWARDS

Un Certain Regard 2012 presented 20 films directed by 26 directors hailing from 17 different countries. Four of the works were first films. Presided over by Tim ROTH (actor, director), the Jury was comprised of Leïla BEKHTI (actress), Sylvie PRAS (head of cinema – Centre Pompidou Paris, artistic director – La Rochelle Festival), Tonie MARSHALL…

Read the full article »

Cannes Competition review: Cosmopolis

Packer travels by stretch limousine, an inconvenient method of transportation in a busy metropolis like Manhattan, but it symbolizes power and importance in a way no other vehicle can. It’s a status thing. When his day is upended by riots in a city filled with economic unrest, the rest of his adventure becomes an odyssey that is better left seen than described.

Read the full article » 1 Comment »

FSLC Sneak-Peeks DP/30 With Wes Anderson And Beasts Of The Southern Wild

FSLC Sneak-Peeks DP/30 With Wes Anderson And Beasts Of The Southern Wild

Read the full article »

Django Unchained on the Croisette

The 10-minute “Django Unchained” trailer that screened for select press in Cannes – obviously not a final cut – opened on a typical Western backdrop, with slaves walking across a dusty cliff. But hey, I will tell you what you want to know…

Read the full article » 2 Comments »

Cannes: After Lucia (Despues de Lucia)

I still can’t quite catch my breath. It is the ultimate nightmare of a parent – even of a 2 year old – to think they will be victims, victimizers, or perhaps worse, silent witnesses to the abuse of others when standing up for honor is only dangerous as a social abstraction.

Read the full article » 2 Comments »

“The Hunt” Hits The Bullseye At Cannes

Thomas Vinterberg made what is still my favorite of the Dogma 95 movies, The Celebration. The film combined 50s style kitchen sink drama with a modern tone of brutal, brutal honesty. The Hunt is not quite as shocking a film experience. In an odd way, the two films are connected at child abuse. In the…

Read the full article » 1 Comment »

Cannes Competition review: Reality

There are comparisons to be made between “Reality” and “Bellissima” – they both heavily involve Cinecitta Studios, for example – but it feels somewhat unfair to pigeonhole “Reality” as simply a recreation of Visconti.

Read the full article » 3 Comments »

Cannes Competition Review: Rust and Bone

Cinema math doesn’t always work out, as putting a group of talented people together on a film set doesn’t guarantee success. However, something about Rust and Bone felt extremely promising from the very beginning.

Read the full article »

Cannes iPhone Review: Rust & Bone

Yeah… you’ve seen this logline before. In fact, the awards season looks to be clogged with some of this. But you have never seen it done through Jacques Audiard’s pitiless, demanding, unrelenting eyes. The pair at the center of this journey are an impulsive muscle-head with no money with a 5-year-old he’s taken from his…

Read the full article » 11 Comments »

Cannes iPhone Review: Moonrise Kingdom

A horse is a horse, of course, of course, and no one can talk to a horse, of course. That is, of course, unless the horse is the famous Wes Anderson. Wes Anderson’s natural state as an artist is artificial… and yet, somehow, intimate.

Read the full article » 45 Comments »

Cannes Competition Review: Moonrise Kingdom

Make no mistake—the true stars of this film are Jared Gilman and Kara Hayward, and should be seen because of them. These newcomers are very talented and extremely photogenic (Hayward in particular looks strikingly like a younger Emma Watson), and hopefully Moonrise Kingdom’s trajectory bestows upon these kids a brilliant acting career.

Read the full article »

Countdown to Cannes: Garrone, Seidl, Vinterberg

The ninth (and last) in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Countdown to Cannes: Audiard, Carax, Reygadas

The eighth in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Countdown To Cannes: Nichols, Daniels, Dominik

The seventh in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article » 3 Comments »

Countdown To Cannes: Salles, Loach

The sixth in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Countdown To Cannes: Im Sang-soo, Hong Sang-soo

The fifth in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article » 1 Comment »

Countdown to Cannes: Loznitsa, Mungiu

The fourth in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Countdown To Cannes: Kiarostami, Nasrallah

The third in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Countdown to Cannes: Resnais, Haneke

The second in a series of snapshots of the twenty-two filmmakers in Competition for the Palme d’Or at the sixty-fifth Festival de Cannes.

Read the full article »

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon