Hey folks, Harry here... Seems that Cannes this year has been a bit of a wash out from just about all reports. Every film that was in competition apparently is begrudgingly appreciated or reluctantly dismissed... with the noted exception of Vincent Gallo's BROWN BUNNY, which just about everyone seems to enjoy squeezing out a few sardonic shite-like comments with a gleeful smile on their face as they do it. Ebert's descriptions seem to be written with a genuine sense of... "I can't believe I saw the Hindenburg" sense of awe and tragedy. It really has been remarkable... But one of the overwhelming comments I've heard from just about all is the lack of upbeat or life affirming films, and I think... perhaps I'm wrong, that Art is supposed to reflect the feelings of the artists that make it, and right now... The times we're in, they ain't the most hopeful, cheery, gosh gee-whiz sort of moments in life. In fact there's a real funk in the air just about everywhere and an almost dismal sense of impending doom around the next corner. I'm fairly cheerful, but I live in Austin, and I like my life... but even I'm a tad on the morose side when I look at global events and outside my own citylimits. HOWEVER, that being said... I can't wait to see this trove of the downtrodden from Cannes. Here, with his last report is Treb...
Harry, Filmies,
Wonderful Days. No, of course I'm not talking about what has been described as one of the worst Cannes Festivals in recent years, I am of course talking about the hot South Korean Animation that just about kicks you in the face. Just like the first time you saw The Matrix. Just like the first time you asked the girl of your dreams out on a date and she said yes (but really that was a dream, but hey, it felt good anyway right?)
But really.. It's like the first time you cast your eyes upon Akira. That ole Manga chestnut.
Wonderful Days rocks. The animation is extraordinary and the artwork is.. Is probably one of, if not THE best I have ever seen in a movie of this type.
Wonderful Days. Remember it.
I wrote half of this report in my favorite haunt, The American Pavilion. It's sad to say, but you really don't receive the same welcome anywhere else, especially my own UK Pavilion. Inside there, it's all too clicky. Extremely snobby and - well, how about this for an example;
I stroll up to the door of the UK Pav and show my badge to the gimp at the door who thinks he's Weinstein or something. He stops me from going in. "You can't come in until later. There's a few drinks going on. A reception. It's to toast new talent and seek more. You know..?"
I curled my lip and tilted my head, like when Butch bought his pack of Red Apples and cast his eyes on Vega. "So who the hell am I then? The guy from the ice cream truck?"
The same people producing. The Same people writing. The same people directing. The same people acting. I argue the same thing over. It's stale. New talent. It's people with money and little talent. "It's like Four Weddings..." I hear all too often. "It's like The Full Monty.. It's Lock Stock.." C'mon, guys. Even Guy Ritchie only had ONE idea. "I know, I'll make Lock Stock again!"
There's a lot of money floating around the UK. Make different movies with different people.
A person who used to make films, Alan Parker, who now heads the so called British Film Council, pretty much said that if UK Screenwriters have talent, then why are they in Cannes? A huge debate has been aired on Brit TV about the state of our 'industry'. BBC and others are funding French films for goodness sake, what gives there? Parker? Did you ever feel you had a talent and found nobody to guide you? Nobody to find to share your passion for film? Or were you like a lot of other folks hanging out at the UK Pav who simply had little talent but already had a few quid in your pocket? Whatever, you're alright now, Jack.
My shoulder sharing American friends have been the most receptive here. We watched the final of American Idol, whooping and beering and generally having a laugh. I tend to forget how old these kids are. Most of em around nineteen or twenty.
I hooked up with a coupla great chicks and two nutball guys to strut the red carpet Saturday night to see Peter Greenaway's Tulse Luper Suitcases. Man, is Greenaway obcessed by the male genitals. Still, the movie, is meant to be the first of a trilogy (like most nowadays) and its tough to describe in 6 minutes of comp time. It's a little Baz Lurhman. I'd certainly recommend it, despite many walking out in the first 10 minutes, but hey, that was a testing time.
So, Elephant won, huh? Gus Van Sant. I lost my bet with myself. Does that mean I lose Die Hardest too? Whatever. I do know this. Cannes was depressing. Every film in competition was downbeat. No comedies. No light moments. No films that make you walk out feeling alive and spirited and discussing this and that.
No wonder Pulp Fiction won in '94. Something fresh and exciting. Something that captures the audience. Even a Van Damme flick woulda been something worthwhile.
I liked Mystic River. What a cast. Sean Penn never disappoints me. I liked Dogville too, but I'm not sure if it's because I REALLY like Nicole Kidman.
Damn those French. We're all stuck here forever. An air strike is taking place. They hate us and want our money. Well, Frenchies, you're just like every other damn country in the world.
I'm now back on home turf in London. Korea and the Ausies were on top form with their offerings in the market and a coupla Brit's working horror films, The Last Horror Movie, (in the vein of Man Bites Dog) and Darkhunters, starring Jeff Fahey and Dominique Pinon and a gangster picture, cringingly titled: 'Triads, Yardies and Onion Barjees'. Wait for the Korean flicks Taegukgi and Wild Card and another Brit flick entitled Spivs, starring Nick Moran, who does a mean Christopher Walken impression that could rival Spacey's.
Things to avoid: Alan Parker, The Brown Bunny.
Thanks to Harry for letting me write for the site and to Steven Spielberg. (Well, it can't harm, can it?)
Treb, Trebster, Trebilcook.
