MCN Blogs

By Ray Pride Pride@moviecitynews.com

Dept. of Ouch: a festival's notice on a filmmaker

2054968274_d26aec4698_m.jpgOn Saturday at the Thessaloniki International Film Festival, the 48th edition, Diego Luna showed his directorial debut JC Chavez, a documentary about a Mexican boxer, and conducted an acting-directing-producing masterclass. After the departure of he and his producing partner (with Gael Garcia Bernal), Pablo Cruz, the festival issued a notice to journalists and also placed in public areas this notice, with bold red borders:
ANNOUNCEMENT:
CANCELLATION OF SCREENING OF THE FILM JC CHAVEZ, SATURDAY, NOVEMBER 24TH, 12.00, FRIDA LIAPPA
We regret to inform you that today’s (second) screening of the film JC CHAVEZ, directed by Diego Luna, is cancelled.
The responsibility for this regrettable decision lies with the film’s producer, Pablo Cruz, who attended this year’s Festival as a guest along with Diego Luna.
Mr. Cruz demanded to take the film print with him for a screening in London, despite the fact that he had been notified before the start of the Festival about the 2 screenings.
Despite the production company’s assurances that a BETA tape would be forwarded to us instead of the print, in order for the second screening to take place as programmed, the tape has not arrived in Thessaloniki at the moment of going to press. [Photo: Ray Pride.]

Leave a Reply

Movie City Indie

Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé