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.