Edited by Sarah Cooper
sarah.cooper@
emap.com For more tales from the Croisette, see
ScreenDaily.com/home/blogs DIARY Drive Now, the Danish director of
Bronson and the Pusher trilogy is even more chuffed. “I used to come to Cannes when I was a scout for my uncle’s company,” he says, “so it’s thrilling to return in the Competition.” Winding Refn knew something
The need for speed
BY JEREMY KAY Seven months ago, Drive star Ryan Gosling slotted in behind the wheel of a Nascar, zipping around the Saugus Speedway outside Los Angeles. Round and round he went, like
a blue and silver flash, while Nico- las Winding Refn — resembling a
Baring all
BYANDREAS WISEMAN US documentary multi-hyphen- ate Barry Avrich, known for his fascination with media moguls, is in town shopping doc Filthy Gorgeous: The Bob Guccione Story, about the legendary — and, according to Avrich, mis- understood — founder of Pent- house magazine, who died last year. “People see the one dimension.
But he’s so much more — he was an artist, a tortured soul,” says Avrich. “He was ahead of his time as a businessman, he was a master publisher and one of the great art collectors. People know Penthouse but not the story behind it.” Guccione also famously
pumped a small personal fortune into epic flop Caligula. Avrich spoke to Screen from the
Hotel Du Cap, where he had just sat at a table next to the subject of his previous doc, Harvey Wein- stein, who fixed him with a “cold, hard stare”. Moguls beware.
Tilda Swinton tries the collar on for size Top dogs take a bow
BY SARAH COOPER Don’t be surprised if you hear barking coming from the UK Film Centre tomorrow at 1pm. The Palm Dog Awards, hon-
ouring the hottest canine talent in film, will be celebrating its 11th birthday, with this year’s contenders including the Lab- rador in Out Of Bounds, the Jack Russell in The Artist, the pooch
in Directors’ Fortnight title The Fairy and the hound in Austral- ian true story Red Dog. While Swinton, seen here
modelling the trophy collar, won’t be at the award ceremony, organiser Toby Rose is calling her the ‘Palm Dog Pin-Up 2011’. “We feel the spirit of Tilda will be present at the ceremony this year,” he said.
Cannes from the inside out
BY NANCY TARTAGLIONE A new translation of Citizen Cannes, Cannes Festival president Gilles Jacob’s film buff must-read, has just been released by Phaidon in the UK. The book is less an autobiography,
Jacob told Screen, and instead “a collec- tion of a certain number of moments from my life — whether it be my own life or my life in relation to Cannes”.
n 6 Screen International at the Cannes Film Festival May 19, 2011 In the meantime, Jacob said he was bull-
ish on this year’s selection, noting that from year to year there can be a “see-saw effect”. But Jacob does not miss putting
together the actual selection — a task he handed over to Thierry Frémaux some 10 years ago. He says: “I gave myself lots of other things to do!”
Breathing
Pashtun with his jeans covered in a swatch of fabric as is his custom during shooting — looked on. Gosling took stunt-driving les-
sons for his role as a stunt driver who moonlights as a getaway wheelman and it seems he was a natural. Winding Refn declared himself excited by what he saw.
was in the air. He had consulted Alejandro Jodorowsky for a Tarot reading and the Chilean director had declared the young Dane his spiritual son and told him he would be travelling soon. Anticipation is high for the first
co-financed project between Bold Films and OddLot Entertain- ment, in association with Marc Platt Productions. Sierra/Affinity is handling international sales. The irony is that Winding Refn
himself can’t actually drive. “I’ve tried eight times to get a licence and I’ve been in three crashes,” he says. “Maybe I’m car-phobic.”
Meet the debutants KARL MARCOVICS, BREATHING
Today
Sunny, high 23°
Tomorrow
Sunny, high 25°
Karl Markovics
Austrian stage and screen actor Karl Markovics, best known for his role in Oscar winner The Counterfeiters, makes his directorial debut with Breathing (Atmen), about a young man trying to re-integrate into society after serving time in a juvenile detention centre for murder.
Where did the inspiration for this film come from? I’ve always made up stories and written scripts, but only for pleasure. I never had the courage to come out with them. This story came from a central idea about death and people whose job is associated with death. Then a guy appeared in my mind and it was like the play from Luigi Pirandello, Six Characters In Search Of An Author, in that this character appeared and wanted to be in the story and I had to deal with him, but I didn’t know how because it didn’t fit with my story. Are you nervous about being in Cannes? Have you been before? I’m not nervous now, but I will be when I arrive. I’ve never been before. I’m very excited but not getting carried away. The most important thing for me is that this movie exists. Of course it’s a great gift to be here, but it’s not bigger than the existence of the movie itself. What will you do in your spare time? I will try and watch some films but I’m afraid there won’t be much time.
I’ll be coming directly from Romania, where I’m shooting a Dutch-Belgian movie — Süskind — so I arrive just one day before the screening. What’s next? In Süskind, my character is called Aus der Fünten. He was a chief of police in the SS in Amsterdam, responsible for the deportation and transportation of Jews to concentration camps. He is the antagonist in the film who gets close to the protagonist, Walter Süskind, until he realises Süskind is using their relationship to save Jews. Not too many comedies for you, then? Comedies are surely one of the most difficult things to do in this job. There aren’t as many comedies out there because there aren’t enough Billy Wilders in the world. And it’s a tough job. I’m not sure I’d have the courage to try one, but it would be worth it. Will you direct again? Yes, I’m working on the script for my next movie. It will be shot in Austria with the same production team as Breathing, Epo Film. In Breathing, I explored the mother-son relationship, in the next one I might explore the father-son story. And then I hope my third film might have nothing to do with me or family.
Andreas Wiseman
Breathing (Atmen) screens in Directors’ Fortnight today
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