MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Prepping For Cannes

God, this makes my head hurt.

I guess it would be more fun to shoot from the hip if it wasn’t so damned expensive. But I am beginning to count up the friendlies who are able to offer me suggestions. And I finally got to dig into the press package of utterly unfamiliar publicists (and a couple very familiar ones) today. So at least it feels like I am getting stabilized. Even ordered a sim card for the cracked iPhone 4. And because I’ve heard that some people like to complain, I’m bringing my own mi-fi!

After Cannes, it’s Seattle, then LAFF, then Edinburgh. Full summer.

Hoping for a joyous experience… though I have a bad feeling that I’ll hear a lot of, “We’ll get it done in L.A.”

One Response to “Prepping For Cannes”

  1. Joe Leydon says:

    At the risk of sounding presumptuous — or, if you prefer, condescending — find someone you trust and ask him/her to walk you through the festival for the first day or so. Seriously: That is what the late, great Sid Adilman did for me the first year I attended Cannes. The dear man literally walked me up and down La Croisette, introducing me to the publicists I absolutely needed to know, where I could get a good & cheap lunch quickly, where the market screenings were being held, how to maneuver through the main fest HQ –in short, everything. I passed this gesture on years later to a couple people — but I doubt I did it as well as Sid, a great friend I miss very much.

    Also: Yes, you will get a lot of “We’ll do the interview later in the States.” (Things likely have changed during the many years since I attended, but the emphasis used to be meeting and greeting international press.) This often was very frustrating for me — and wound up being the main reason why The Houston Post stopped sending me to Cannes. (To be more precise, I was asked to choose between Cannes and Toronto — a no-brainer.) If you haven’t read them already, there are two great albeit somewhat dated books about the Cannes experience you might want to check out: Roger Ebert’s “Two Weeks in the Midday Sun: A Cannes Notebook” and Henri Behar and Cari Beauchamp’s “Hollywood on the Riviera.”

    Anyone else with other suggestions?

Leave a Reply

The Hot Blog

Quote Unquotesee all »

 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook