Z
MCN Blogs
Ray Pride

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 »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

Z Z