UK Pavilion, Cannes, Tuesday, 11am
Found time for a quick dip in the hotel pool this morning before heading into Cannes. Missed the train in so had to get the bus instead – demonstrating the value of picking accommodation close to multiple travel options.
Our first meeting was a no-show.

Le Chateau des Artistes, Ranguin, nr. Cannes, midnight
The end of another day. As a filmmaker, eventually all this sitting around talking about making films but not actually making any films becomes annoying.
Went to a talk about co-productions. What is a co-production? Well, if you have a script about British people going on holiday to Spain and you shoot it in Spain then it’s not a co-production, it’s just a British movie shooting on location. But if the script deals with Spanish issues or characters, or some key cast and crew members are Spanish, then you could legitimately set up a British-Spanish co-production. The benefit is that, providing you jump through certain hoops, you can theoretically access the public funding and/or tax incentives of both countries.
Co-production has been a major theme of our meetings this year. What’s quite unique about Dark Side in this regard is that it would be shot mostly on stage, so we can choose any country we like to shoot it in, based solely on the incentives and resources that country has to offer, without having to worry about whether it has suitable locations.
Carl and I had dinner at a cheap Chinese place he introduced me to last year, Delices Yang. Probably loaded with MSG, but very tasty. No-one knew of any good parties going on, so we decided to go see one of the films. (I don’t have a good track record of actually seeing films at festivals.) We picked what turned out to be a documentary about a bunch of young people digging up some old punk rocker and having long conversations with him about the changing music scene, intercut with archive footage. We left halfway through and found the Cinema sur la Plage screening of an old Titanic film (possibly A Night to Remember) much more entertaining. Imagine Cameron’s Titanic in black and white with locked-off cameras, without all the screaming and panicking, and people with very clipped accents saying “Let’s have a nice cup of tea” while the ship sinks and you’re pretty much there.

Riviera Building, Cannes, Monday, 10:30am
Free breakfast this morning courtesy of the Mandarin Hotel Group. Benefits to me: pain au chocolat, bread, cheese, fruit, yoghurt, OJ, coffee. Benefits to Mandarin Hotel Group: Er… well, they got mentioned on this blog.
The UK Pavillion hosted a talk on 3D. As you all know by now, I hate 3D. Increasingly this opinion is making me feel like a freak and a luddite. When I say I want to shoot a fantasy film on 35mm and in 2D, they look at me like I want to throw out my flush toilet and started crapping in an outhouse.
Anyway, here are some interesting things I learnt from the talk:
1. Because kids’ eyes are closer together than adults, the depth in 3D films appears greater to them, unpleasantly so in some cases.
2. It can take 45 minutes to changes lenses on a 3D shoot.
3. 3D adds 30-35% to your budget.
4. 3D technology that does not require glasses will likely be a reality in cinemas in about 12 months.
5. An associated sea-change in the industry that is just starting to appear is shooting higher frame rates. The Hobbit will be the first film distributed at 48fps, with Avatar 2 following.
One of the speakers argued that if you don’t like 3D, you should wear an eye patch, since real life is in 3D. My response is that interlaced video has more life-like motion than 24P, but very few people would argue that the former looks nicer.
One thing that’s worrying about 3D is how it encourages other traditions to be undermined. Shooting celluloid in stereo is prohibitively expensive, so 3D means shooting digitally. But that’s not the end of it. Take set building. Imagine a scene in a room that has a window. If shot on a set, unless what’s outside the window has to move or is important to the scene, on a 2D film you would typically put a painted backdrop out there. But in 3D you can’t do that, because it would have no depth. The only real choice is to bung up a greenscreen outside the window and put the backdrop in digitally. So now all those fantastically talented scenic artists are out of jobs. This is not cool.
Okay, enough about 3D for today. Gerard told me yesterday that he saw the Soul Searcher poster in the Riviera building, so I went in to have a look and, sure enough, it’s up on York Entertainment’s stand (the US sales agent). Sadly it’s the same crappy artwork as the US DVD release, with a random hooded guy and a disgustingly misleading splatter of blood.

Palais du Festivals, Cannes, 6:15pm
Had lunch with Gerard and co. Mostly we talked about how much 3D sucks.
Had a meeting that involved talking about sets, and the large shopping list thereof. Got shown a photo of a soundstage in Hungary bigger than Pinewood’s 007 stage. That will do nicely.
Wandered around the town for ages looking for shops selling postcards, then at last three came along at once. As I was sitting by a fountain eating a delicious brownie ice-cream I got a text from Carl containing excellent news of a significant person who has just jumped aboard the good ship Dark Side.
Bumped into Richard Cambridge, who was cast as the lead character Joe in Soul Searcher when it was due to be shot in 2002. He’s now running a company hosting indie films online.

Bus station, Cannes, 8:40pm
Went briefly to a low-rent party, then to a much swankier one. Carl unplugged the fridge so I could plug in my laptop and show someone the pilot. Then we went for pizza with Elliot Grove of Raindance, amongst others. Someone (possibly Elliot himself) made a remark about Elliot, then someone else joked I should put it in my blog. But I can’t remember what it was now. This is his seventeenth Cannes. That’s a lot of bullshit and canapes.
It was brought to my attention that there is no Kodak pavillion any more. A sad symbol of the decline of celluloid.

Luton Airport, Sunday, 6:10am BST
I’m experiencing that peculiar sensation, that unique feeling-like-utter-crap that you can only feel on an international journey. I haven’t even flown yet. Perhaps it’s something they put in the air conditioning at the airports. Perhaps it’s in the shampoo dispensed from the box on the wall in the hotel bathroom. It can’t just be lack of sleep, because I don’t feel like this if I don’t get a full night’s kip at home. I feel like my ears need to pop but can’t. Like I haven’t showered in days. Like I want to take my eyeballs out for a bit to give the sockets a rest. Ughhhh.
Does anyone else think those rolly suitcases that have four tiny wheels on so you don’t have to tilt them back are against nature?
Small triumph: got my empty flask through security despite the signs saying no containers over 100ml were allowed. Funny how putting stuff inside your bag hides it from the security guys. Even though they have DIRTY GREAT X-RAY MACHINES. Maybe x-rays don’t really exist. It’s a con. They tell us they exist so you don’t think you can hide stuff from them, but really they’re just watching the football at that little monitor and they can’t see into your bag at all.
My gate just opened. Time to go.

Le Chateau des Artistes, Ranguin, nr. Cannes, Sunday, 8:00pm BST
The journey was smooth and uneventful. I got to Cannes at about 11:30am local time, collected my lovely free festival pass and soon went into a series of meetings Carl had set up with various international folks. I had forgotten how busy Cannes gets, and how knackering it is to slog up and down the Croisette in the hot sun with a heavy Powerbook in your backpack.
My one observation so far about how Dark Side is being received this year versus last is that the involvement of Benedict Cumberbatch is much more exciting for people now that he is on the brink of stardom. Ah, the industry is so fickle.
I bumped into Gerard Giorgi-Coll, lenser of many of this site’s behind-the-scenes videos. He and his friends had come to experience their first Cannes and were just as shocked by the cynical commercialism of the market as I was on my first visit. You can find out all about Gerard and co’s own film projects on their website, www.fascinationpictures.co.uk
My hotel is a considerable improvement on last year’s dive, being much quieter and cleaner (though still a bit manky in the corridors) and blessed with a swimming pool. Hope I get time for a dip this week….

UK Pavillion, Cannes Film Festival, 8am BST
Finally got onto the internet so I can upload blogs and vlogs! Yay!

At the weekend I received some private investment towards the development of Dark Side, which will enable me to go to Cannes. I immediately started trawling the internet to book my flight and accommodation.
In previous years it has cost me around a grand to attend Cannes, but this year, even with the investment, I can only afford to spend UKP600. As you know from a previous post, I already slashed UKP260 off my costs by getting free festival accreditation instead of stupidly paying for a market badge like I used to, but how could I save another UKP140, especially when booking relatively late?
The first task was to find a flight, and I was surprised to see that the prices hadn’t changed since I looked at them around Christmas. There’s a temptation to just book the cheapest one, but you have to consider all the ramifications to make sure you’re not falling into a false economy trap. For example, last year I was lured in by a cheap flight and arrived a full day before the festival started, but that was probably cancelled out by the cost of an extra night in the hotel. The flight was also late in the day, which is risky because you have to think about how you’re getting from Nice airport to your hotel at the other end. If you read my blog last year, you’ll know that I ended up having to get an expensive taxi to my hotel after my flight was delayed and the train was cancelled.
So this year, before booking the flight, I worked through all the consequences that the flight would have for the cost of airport transfers at both ends. You can actually fly to Nice from Bristol, which is much closer to Hereford than the London airports, but the slightly reduced cost of getting to the airport is outweighed by the higher cost of the flights. In the end I plumped for an Easyjet 7am departure from Luton on the morning of Sunday May 15th. “Aha!” you’re thinking. “That was stupid. How are you going to get to the airport at that time in the morning?” Well, my plan was to get the last train from Hereford on the Saturday night, which (after multiple changes) would get me to the airport for 1:30am. I could then try to get a few hours’ kip in a chair before check-in opened at 5am. At the other end of the flight, I would arrive at a very reasonable time in the morning and have no trouble getting in to Cannes.
In the past I’ve paid at least UKP90+ for my plane fare, but this flight was just UKP76, so my budget-cutting was going almost as well as George Osborne’s, and with considerably fewer protests.
Next it was time to book a hotel. The closer to Cannes you stay, the more your hotel costs. I quickly found that, at this late stage in the game, there was no availability anywhere less than three miles from the town within my price range. Again, you have to beware of false economies. A cheap hotel a long way from Cannes may seem attractive, but when you miss the last bus back at night and have to fork out for an over-priced taxi, you suddenly realise it wasn’t such a great saving after all.
Last year I stayed about two miles west of Cannes in La Bocca, conveniently situated on the Ligne 1 bus route and a railway line running both to Cannes and Nice. I was keen to have easy access to both those transportation lines this year as well; I knew their timetables; I knew their costs. Using hotels.com, I found Les Residences du Soleil (Le Chateau des Artistes), a few stops further out along the Ligne 1 and railway line. At UKP288 for four nights, it was considerably cheaper than last year’s hotel. I’m very lucky that such a good deal was still available with less than two months to go until the festival. It even has one more star than 2010’s Hotel Neptune. And hopefully won’t have sounds of people listening to porn seeping through the walls. At three miles from Cannes, it’s further out than I’d ideally like, but it’s still walkable if I really have to.
Again, I carefully checked the transport options before booking, particularly how I was going to get from the hotel to Nice airport for my homeward flight departing at 11:25am. Fortunately the trains start running early in France, and with Ranguin Station a few minutes’ walk from Les Residences du Soleil I shouldn’t have any problems.
Totting up the money spent so far, and estimating how much I would spend whilst in France, I realised I had saved so much cash that I could afford to stay at the glamorous Luton Ibis the night before my outbound flight, thus removing the need to kip on some airport seats. Sweet.
So, to recap, the costs were: UKP76 for the flight, UKP288 for the French hotel and UKP28 for the Luton hotel, making a total of UKP392 so far.