By Ray Pride Pride@moviecitynews.com

“I worked out with critic Jessica Kiang that it is possible to do five things per day at Cannes, including eat, with some degree of competence. Beyond that, however, things can get dicey. So you could watch two films, have a late lunch, then write two reviews, and retire for the night with your sanity intact. Try to squeeze in dinner, though, and your psyche starts to fragment. Adding to the fun this year is a new screening regime which means critics won’t generally be able to weigh in on a film until after its premiere. The idea, sound in theory, is to spare directors and stars the indignity of trudging up the Palais steps in the knowledge that the trailblazing passion project they’re about to unveil, which has consumed their every waking thought for the last five years, is polling 15 per cent on Rotten Tomatoes. But in practice – or at least last year, when a similar system was trialled – it meant critics weren’t able to see some Palme d’Or contenders until the day after they first screened.”

“I worked out with critic Jessica Kiang that it is possible to do five things per day at Cannes, including eat, with some degree of competence. Beyond that, however, things can get dicey. So you could watch two films, have a late lunch, then write two reviews, and retire for the night with your sanity intact. Try to squeeze in dinner, though, and your psyche starts to fragment. Adding to the fun this year is a new screening regime which means critics won’t generally be able to weigh in on a film until after its premiere. The idea, sound in theory, is to spare directors and stars the indignity of trudging up the Palais steps in the knowledge that the trailblazing passion project they’re about to unveil, which has consumed their every waking thought for the last five years, is polling 15 per cent on Rotten Tomatoes. But in practice – or at least last year, when a similar system was trialled – it meant critics weren’t able to see some Palme d’Or contenders until the day after they first screened.”

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott