In this week’s podcast, Deadline Awards Columnist Pete Hammond and host David Bloom assess the just-announced lineup for this year’s Cannes Film Festival, which competing films have serious Oscar hopes and which pics Pete can’t wait to see when he hits the Croisette for Deadline next month. Today also was the last day for would-be Emmy voters to make themselves eligible with the TV Academy, and Pete and David take a look at the Emmy campaigns that are heating up, while also grumpily acknowledging the first Oscar campaign of the 2015 season. Finally, Pete gives his take on the weekend’s notable movie debuts, including Wally Pfister’s directorial debut Transcendence, the Woody Allen-John Tuturro collaboration Fading Gigolo and faith-based hit-in-the-making Heaven Is For Real.
Cannes Film Festival: Could This Year’s Croisette Lineup Of Big Names And Academy Favorites Lead All The Way To Oscar?
So what does today’s announcement of the 2014 Cannes Film Festival lineup mean for Oscar?
Who knows except that out of competition entry How To Train Your Dragon 2 will almost certainly be nominated for Best Animated Feature. Other than that we will have to wait and see until we actually view the films in Cannes next month. But there are good omens in this lineup (which could still see one or two more titles added) if you look at the impressive group of actors represented in these films: Oscar winners Tommy Lee Jones (who directs the competition entry The Homesman), Meryl Streep, Juliette Binoche, Marion Cotillard, Nicole Kidman, and director Michel Hazanivicius are among the prominent names and past nominees like Julianne Moore, Annette Bening, Jessica Chastain, Hailee Steinfeld, Berenice Bejo, Ryan Gosling (who is making his directorial debut) are also represented.
My colleague Nancy Tartaglione did a great job predicting who would make — or not make — the cut and wrote an exhaustive overview earlier. Now it’s time to look at the awards implications outside of those that will be handed out May 24th at the Palais. I look at Cannes as a soft start to Hollywood’s awards season. There’s no question of its importance as the granddaddy of all film fests and as a key worldwide launch for a movie that has got the goods, but in the end the May date scares off some distributors who, by launching their fall Oscar hopefuls on the Croisette may feel it ultimately hurts their chances — and more importantly their momentum.
That’s no doubt a key reason Warner Bros chose to hold back past Cannes competitor and favorite Paul Thomas Anderson’s Inherent Vice and Fox Searchlight did the same with Alexander Gonzalez Inarritu’s Birdman even apart from the usual reasons that they may not “be ready.” Last year Paramount decided at the last minute to take Alexander Payne’s Nebraska to Cannes even though he initially favored more postproduction time. Payne had competed once before with About Schmidt, headed the Un Certain Regard jury, and served on the main competition jury so he was a favorite of Cannes’ chief programmer Thierry Fremaux. The film ended up winning Best Actor for Bruce Dern but after Cannes the director “tinkered” with it and made it tighter before hitting the Telluride Film Festival over Labor Day with his final cut. It went on to win six Academy Award nominations including Best Picture and Director and Actor after finally opening November 15 (it didn’t win any Oscars, though). It’s not the first time a filmmaker has made changes after their film was shown to the world’s press and reviewed in Cannes. The growing feeling among distributors is it is best to wait until the movie is really locked before risking exposure at this most visible of all festivals.
Canadian, French and European helmers dominate the Competition roster for the 67th Cannes Film Festival. And, in what could be a record, there are 15 female directors across the entire Official Selection which was unveiled this morning in Paris. In total, 50 movies out of 1,800 submissions make up the Official Selection that encompasses the Competition, Un Certain Regard and the special screenings sections. Directors’ Fortnight and Critics’ Week are announced next week. Many of the titles revealed today had been tipped, and there were no major surprises. But, as is Cannes chief Thierry Frémaux‘s habit, more films may be added before Grace Of Monaco kicks off the Riviera proceedings May 14.
Two movies that were highly anticipated from U.S. directors are in the mix: Tommy Lee Jones’ The Homesman and Bennett Miller’s Foxcatcher. Occupying the big Hollywood slot, DreamWorks Animation, as expected, will premiere How To Train Your Dragon 2 Out Of Competition. Frémaux, who first programmed DWA’s Shrek in Competition in 2001, said having the Dragon sequel in town was a way to “celebrate 20 years of DreamWorks” and a way “for us to thank them for the films they’ve given us over the years.”
Some movies that looked like long-shot possibilities coming in were indeed left out. There was no mention of Paul Thomas Anderson’s Inherent Vice today, despite what we’ve heard was a full-court press by Frémaux. He noted that neither Terrence Malick (with Knight Of Cups) nor Emir Kusturica (with On The Milky Road) were ready. When asked what had become of Abel Ferrara’s Welcome To New York, the controversial film inspired by the Dominique Strauss-Khan scandal and starring Gérard Depardieu, he said tradition held that we “only talk about the films that we’re showing, so I’m not going to talk about Ferrara’s film.” However, scuttlebutt in the UGC Normandie theater this morning was that the film may be a late addition to the Out Of Competition lineup.
Cannes Lineup: ‘Foxcatcher’, ‘Mr Turner’, ‘The Homesman’, ‘Maps To The Stars’ In Competition; Ryan Gosling, Wim Wenders In UCR; ‘The Rover’, ‘The Salvation’ At Midnight
Cannes Film Festival chief Thierry Frémaux is about to unveil the Official Selection lineup for the 67th running of the event which kicks off May 14 with Nicole Kidman in Grace Of Monaco. Folks are settled in at the UGC Normandie movie theater on the Champs-Elysées to get some clarity on the rampant speculation that annually precedes the daddy of all international festivals. Will Paul Thomas Anderson’s Inherent Vice be in the mix? Which of the myriad French movies made the cut? Has Cannes pinned down the Foxcatcher premiere? I’ll be updating the titles as they are revealed, so keep refreshing for the latest.
Winter Sleep, dir: Nuri Bilge Ceylan
Clouds Of Sils Maria, dir: Olivier Assayas
Saint Laurent, dir: Bertrand Bonello
Maps To The Stars, dir: David Cronenberg
Two Days, One Night, dirs: Jean-Pierre and Luc Dardenne
Mommy, dir: Xavier Dolan
The Captive, dir: Atom Egoyan
Goodbye To Language, dir: Jean-Luc Godard
The Search, dir: Michel Hazanavicius
Jimmy’s Hall, dir: Ken Loach
The Homesman, dir: Tommy Lee Jones
Futatsume No Mado, dir: Naomi Kawase
Mr Turner, dir: Mike Leigh
Foxcatcher, dir: Bennett Miller
Leviathan, dir: Andrey Zvyaginstev
Wild Tales, dir: Damian Szifron
Le Meraviglie, dir: Alice Rohrwacher
Timbuktu, Abderrahmane Sissako
With less than 24 hours until the Official Selection lineup is announced, the Cannes Film Festival has today unveiled the titles in the Short Film and Cinéfondation sections. The selection committee received 3,450 shorts this year from 128 countries. Those were whittled down to 10 which will compete for the Short Film Palme d’Or. The Cinéfondation section includes 16 movies out of 1,631 submissions from film school students. The festival says this year marks a “very significant” broadening of scope, with 38% of the schools making the cut for the first time. This is also the first time a film from Egypt has been included, and more than half of the 16 competitors are by women. Following are the full lists for each category:
Our Blood, dir: Max Chan, (Hampshire College, U.S.)
Home Sweet Home, dirs: Pierre Clenet, Alejandro Diaz, Romain Mazevet, Stéphane Paccolat (Supinfocom Arles, France)
The Aftermath of the Inauguration Of The Public Toilet At Kilometer 375, dir: Omar El Zohairy (High Cinema Institute, Academy of Arts, Egypt)
Stone Cars, dir: Reinaldo Marcus Green (NYU Tisch School of the Arts, U.S.)
Last Trip Home, dir: Han Fengyu (Ngee Ann Polytechnic, Singapore)
A Radiant Life, dir: Meryll Hardy (Le Fresnoy, France)
Niagara, dir: Chie Hayakawa (ENBU Seminar, Japan)
Oh Lucy!, dir: Atsuko Hirayanagi (NYU Tisch School of the Arts Asia, Singapore)
The Visit, dir: Inbar Horesh (Minshar for Art, School and Center, Israel)
Moonless Summer, …
In this week’s podcast, Deadline International Editor Nancy Tartaglione and host David Bloom do the Cannes can, previewing this week’s announcements in Paris of the lineup for the Cannes Film Festival, including likely entries from usual suspects such as Atom Egoyan and DreamWorks Animation and less likely prospects for slow-to-arrive new projects from Terrence Malick and Paul Thomas Anderson. Nancy and David also wrap up news out of last week’s Mip-TV market in Cannes, led by Keshet’s fast-selling reality formats and two hot programs out of Turkey. They finish up with their weekly peek at news and trends in the international box office, dominated abroad and in the United States by the debut of Rio 2 and the continued strength of fellow sequel Captain America: The Winter Soldier. Meanwhile, Noah continues to sail along with another strong week.
On Thursday, Thierry Frémaux will unveil the lineup for the 67th running of the Cannes Film Festival. Speculation, comme d’habitude, has been rife for at least the past month as to which titles may make the trip to the Croisette. While one exec with movies in contention says, “It’s going to the wire this year,” some contenders are coming into sharper focus. Although nothing is confirmed until Frémaux says so, among the titles I hear consistently cited as near faits-accomplis are DreamWorks Animation‘s How To Train Your Dragon 2; the Dardenne brothers’ Two Days, One Night with Marion Cotillard; Bennett Miller’s Foxcatcher; Mike Leigh‘s Mr Turner; Tommy Lee Jones‘ The Homesman; and David Cronenberg‘s Maps To The Stars. There are many, many more required to fill the Competition, Out-of-Competition, Un Certain Regard, Special Screenings and other sections. Here’s a primer for what’s looking likely, and what isn’t, to make the cut in an official category on Thursday:
We know that Nicole Kidman-starrer Grace Of Monaco is the opening-night film. French distributor Gaumont is planning a classic Cannes soirée which will follow the official screening and dinner on May 14. In other certainties, French debut feature Party Girl is opening the Un Certain Regard sidebar; a less showy title than 2013’s Bling Ring, but one that fits with UCR jury president Pablo Trapero’s take on the section this year. Jane Campion, the only woman ever to win a Palme d’Or (for The Piano in 1993), is president of the Competition jury whose other members will be revealed shortly.
Among the high-profile Hollywood titles expected is DreamWorks Animation’s How To Train Your Dragon sequel, which I hear is getting a special screening. The studio isn’t commenting, but DWA and Cannes have a long history – going back to when Frémaux took over the selection in 2001 and caused a stir by putting Shrek in the Competition. We’ve heard that Frémaux has put a full-court press on Paul Thomas Anderson to get Inherent Vice (Warner Bros) to the festival. But with a release date at the end of 2014, this could be a long shot, and some I’ve spoken with believe it won’t be ready for next month. Some wonder if Clint Eastwood’s Jersey Boys could make the trip. Eastwood has been to Cannes several times before and is esteemed by Frémaux who gave him the inaugural Lumière Prize in 2009 at the October festival he oversees in Lyon with Bertrand Tavernier. Although I’m told Jersey Boys isn’t a typical Cannes film, I wouldn’t fully rule it out — it’s also got a timely June release.
With just about 48 hours to go until Cannes Film Festival chief Thierry Frémaux unveils the lineup for this year’s event, the fest has revealed its 2014 official poster. Hervé Chigioni and graphic designer Gilles Frappier based the design on a photogram of Marcello Mastroianni taken from Federico Fellini’s 8 1/2, which was an Official Selection title in 1963. In Mastroianni and Fellini, the festival says, “We celebrate a cinema that is free and open to the world, acknowledging once again the artistic importance of Italian and European cinema through one of its most stellar figures.” The poster is a source of pride for the festival, and has increasingly featured iconic images to help set the scene. In recent years, images of Joanne Woodward and Paul Newman, Marilyn Monroe, Faye Dunaway and Monica Vitti have graced the affiche officielle. The way Mastroianni “looks at us above his black glasses draws us right in to a promise of global cinematographic happiness… The happiness of experiencing the Festival de Cannes together,” Chigioni said today. Extra, extra happiness if attendees actually need sunglasses this year. The fest runs from May 14-25.
EXCLUSIVE: While there has been speculation that Fox Searchlight and director Alejandro Gonzalez Inarritu would race to make the Cannes Film Festival, Fox Searchlight co-president Stephen Gilula tells Deadline that the film will open Friday, October 17. It won’t complete post production until late May or early June, meaning that it will be eyeing fall festivals.
This is his first black comedy, but Inarritu’s past films have been magnets for festivals, and he should have several choices for a festival that is compatible with the opening of Birdman, which Searchlight made with New Regency and Worldview Entertainment. Searchlight controls worldwide distribution and will release it overseas in January. So start the jockeying, Toronto, Telluride and Venice.
Paolo Virzi’s thriller Human Capital will hit theaters in early 2015 after Film Movement acquired rights to the Italian pic that stars Valeria Bruni-Tedeschi, Valeria Golino, and Fabrizio Bentivoglio. It is having its North American premiere April 18 at the Tribeca Film Festival. The movie begins at the end: a cyclist is run off the road by a careening SUV the night before Christmas Eve. As details emerge of the events leading up to the accident, the lives of the well-to-do Bernaschi family, privileged and detached, will intertwine with the Rovellis, struggling to keep their comfortable middle-class life, in ways neither could have expected. The deal was negotiated by Film Movement co-president Adley Gartenstein and Gilles Sousa, Head of International Sales at BAC Films.
Specialty B.O. Preview: ‘The Railway Man’, ‘Only Lovers Left Alive’, ‘Joe’, ‘Hateship Loveship,’ ‘Cuban Fury’, ‘Dancing In Jaffa’, ‘A Fragile Trust’
The likes of Colin Firth, Nicole Kidman, Tilda Swinton, Nicolas Cage, Kristen Wiig, Guy Pearce and more have films joining the Specialties in theaters this weekend in what could possibly be a big draw at the box office — hopefully. TWC will bow The Railway Man, a period drama set against WWII, while SPC will open Jim Jarmusch’s vampire romance Only Lovers Left Alive. David Gordon Green returns to theaters with Joe from Roadside and Lionsgate, while IFC Films will bow Hateship Loveship. The distributor will also open doc Dancing In Jaffa. Also joining the pack in a fairly packed weekend is Entertainment One’s Cuban Fury, starring Nick Frost. Also opening is A Fragile Trust: Plagiarism, Power, And Jayson Blair At The New York Times, an ITVS backed doc that will have a self-distributed theatrical run ahead of its broadcast on PBS.
The Railway Man
Director: Jonathan Teplitzky
Writers: Frank Cottrell Boyce, Andy Paterson, Eric Lomax
Cast: Colin Firth, Nicole Kidman, Stellan Skarsgård, Jeremy Irvine, Michael MacKenzie, Jeffrey Daunton
Distributor: The Weinstein Company
With a high-profile cast, bio-drama The Railway Man centers on a former British Army officer who was tormented as a young prisoner of war at a Japanese labor camp during World War II. Later he discovers the man responsible for much of his treatment is still alive and sets out to confront him. “We’re big fans of …
French debut feature Party Girl, written and directed by the trio of Marie Amachoukeli, Claire Burger and Samuel Theis, has been selected as the opening night movie for the Cannes Film Festival‘s Un Certain Regard section. The title is a bit of a misnomer considering Party Girl is about a 60-year-old night club hostess who still loves men and enjoys partying. But as the senior member on staff, she begins to feel she has reached the end of the line and impulsively agrees to marry regular client, Michel. The film is a portrait of a free woman who has chosen to live on the margins of conventional society, and delves deep into a France that is often underrepresented, the festival says. Elzévir Films produced Party Girl which will be released locally by Pyramide Films. The co-directors are graduates of France’s national film school, La Fémis. They have previously collabroated on shorts Forbach, a Cinéfondation selection in 2008; C’est Gratuit Pour Les Filles, a Critics’ Week selection in 2009 and a César winner; and 2013′s Demolition Party. The UCR section is committed to discovering new talent and calls Party Girl, “innovative both in its form and its subject.” It also reflects the desire of recently appointed UCR jury president Pablo Trapero “to present a passionate selection of established masters, young talents and new forms of cinema.” Party Girl will open the section on May …
The judges are set for 13th annual edition of the event founded by Jane Rosenthal, Robert De Niro and Craig Hatkoff. The seven competition juries for the 2014 Tribeca Film Festival include 33 filmmakers, writers, producers, actors, journalists and entrepreneurs. The World Narrative Competition judges are Lake Bell, Steve Conrad, Bart Freundlich, Catherine Hardwicke and Ben Younger. Jurors for other categories include Toni Collette, Whoopi Goldberg, Jeff Goldblum, Alfonso Arau, Heather Graham, Anton Yelchin, HBO’s Sheila Nevins and Google’s Regina Dugan. The Nas rap docu Time Is Illmatic will open the fest, which runs April 16-27 in NYC. The recently re-retitled Begin Again closes it. Here is the full list of jurors and categories:
Pablo Trapero‘s last appearance at the Cannes Film Festival was with his Un Certain Regard title Elefante Blanco in 2012. He’ll now head up the jury for that section, which runs parallel to the Competition and includes 20 features to be unveiled on April 17. A festival circuit staple, the Argentinean writer, producer and director’s first feature, Mundo Grúa, received the Critics’ Award at the Venice Film Festival in 1999. His second, El Bonaerense, was selected at the 2002 Cannes festival in the UCR section and in 2008, his Leonera screened in Competition. Carancho was also in UCR in 2010. Trapero’s oeuvre is known for its quasi documentary style, that offers an uncompromising look at contemporary political issues. He also works with young Argentinean filmmakers via his production company, Matanza Cine. Today, he said, “I am very proud to serve as president of the jury for Un Certain Regard. Proud to take part in another way in the adventure in Cannes. Un Certain Regard, where I have presented three of my films, is always a very exciting selection. It brings us grand masters, promising young talent, new countries and new forms of cinema.” Trapero follows Thomas Vinterberg who was president last year and gave its top prize to Rithy Panh’s The Missing Picture, which went on to a Foreign Language Oscar nomination. This year’s winner …
Global Showbiz Briefs: Lambert Wilson Set As Master Of Ceremonies At Cannes Film Festival; Emily Dalton Upped At DSP
Lambert Wilson Set As Master Of Ceremonies At Cannes
French actor Lambert Wilson has been tapped to launch the 67th Cannes Film Festival on May 14. He also will welcome the president Jane Campion and her jury to the stage at the Palais des Festivals and host the prize ceremony on May 24. The versatile actor’s credits range from humour to thrillers and from art house to romcoms, and he has worked with such French film greats as André Téchiné, Benoît Jacquot, Bertrand Tavernier and Alain Resnais. Wilson made his first appearance in Cannes in 1985, with Téchiné’s Rendez-vous and has returned several times both as an actor and as president of the Un Certain Regard jury in 1999.
Darlow Smithson Productions Taps Emily Dalton As Managing Director
Endemol UK said Friday that Emily Dalton has been appointed Managing Director of factual producer DSP. Ben Bowie is stepping down from the post to pursue a new venture. Dalton also will continue her role as Creative Director. She joined DSP in January 2011 as Head of Development, stepping up to become Deputy Creative Director later that year before being appointed Creative Director in May 2013. Before DSP, she was Head of Development at factual indie Windfall Films and previously worked at Twenty Twenty and ITN Factual.
Specialty B.O. Preview: ‘Nymphomaniac: Vol. II’, ‘The Unknown Known’, ‘The Galapagos Affair: Satan Came To Eden’, ‘Afflicted’, ‘Alan Partridge’, ‘Ilo Ilo’, ‘Frankie & Alice’
This is a jam-packed weekend of new releases, many hoping to be the perfect counter-programming pick against Captain America: The Winter Soldier. Magnolia is opening Nymphomaniac: Vol II just weeks after releasing Vol. I in theaters. The film is the continuation of the much talked about Lars von Trier two-parter that has fascinated fans of the Danish filmmaker for well over a year. Documentaries are also on tap this weekend, including Errol Morris’ The Unknown Known and Zeitgeist’s The Galapagos Affair: Satan Came To Eden. CBS Films is bowing Afflicted, a title it became involved with early on, while Magnolia will open comedy Alan Partridge. Cannes Camera d’Or winner Ilo Ilo from Singapore is opening in limited release, while Codeblack/Lionsgate will launch Frankie & Alice in over 150 theaters. Other titles not profiled in depth but also among this weekend’s packed list of theatrical openers include Searchlight’s Dom Hemingway, Anchor Bay’s In The Blood and TWC’s On The Other Side Of The Tracks. And A24 will open Jonathan Glazer’s experimental sci-fi Under The Skin starring Scarlett Johansson in limited release.
Magnolia opened the first part of Lars von Trier’s Nymphomaniac duo theatrically March 21 (it was available via digital/VOD beginning March 6) and is now following up with the second part of the film, which follows the saga of sex addict Joe (she prefers the term ‘nymphomaniac,’ however). Charlotte Gainsbourg is featured more prominently in Vol. II, depicting the older Joe in the final installment of the film, following up Vol. I in which Stacy Martin is seen primarily as the younger Joe (porn stars are used for Joe’s sex scenes). Though both parts are currently available via digital/VOD (Vol. II launched on demand March 20), there will be some theaters that will screen both films for audiences preferring to see both parts back to back.
Global Showbiz Briefs: Shine International Brings Digital Business In-House; Miso Film Orders Crime Drama ‘Acquitted’; More
Shine International Taps Kerry Ball As SVP Digital Business Development
Shine International, the sales and distribution arm of Elisabeth Murdoch’s Shine Group, is bringing its digital business in-house. The indie has appointed Kerry Ball to the newly created post of SVP Digital Business Development. Ball will lead digital sales strategy and manage day-to-day sales to digital and home entertainment platforms for Shine International represented properties. Prior to Ball’s appointment, the business was managed on a consultancy basis by Gordon Synn, who brokered VOD deals of The Hour to Amazon, multi-title agreements with Netflix, library deals with Hulu and an output partnership with China’s Youku Tudou. Synn will hand over to Ball when she takes over later this month. Ball will be based in London. She joins from Canada’s Stingray Digital, where she was VP for Europe. Prior to Stingray, she spent eight years at NBCUniversal. Shine International properties include The Bridge, Broadchurch, The Face and MasterChef.
In this week’s podcast, Deadline International Editor Nancy Tartaglione and host David Bloom look at whether Russia is likely to go ahead with a threatened cap on Western films in the wake of the Crimea crisis, two more deals affecting indie TV producers, update from Johnny Depp’s China tour into Transcendence, and mark the naming of another female filmmaker as a jury president at the Cannes Film Festival.
We’ll also take our weekly look at the international box office, led by the all-time box office record set by Frozen, whether The Lego Movie can ever catch up and big international debuts for the sequels to Captain America and Rio.
The jury for the 53rd edition of the Semaine de la Critique, Critics’ Week, will be presided over by British filmmaker Andrea Arnold. Arnold’s first short, Milk, ran in the section in 1998. Since then, she’s become a Cannes Film Festival regular which is rare for a female director. In 2006, her thriller Red Road won the Jury Prize in the main competition. In 2009, Fish Tank, which starred Michael Fassbender, also scooped the Jury Prize. In 2011, she presented her adaptation of Wuthering Heights in competition at Venice. Earlier in her career, she won the Best Live Action Short Film Oscar for Wasp. Four other jury members will join Arnold to judge the seven feature films in the Critics’ Week competition this year which awards the Nespresso Grand Prize. Today, she said, “I was so excited when Milk screened in La Semaine de la Critique that I kept crashing into things. When I got home I counted 19 bruises. I am just as excited about being asked to be President of the Jury… I think it might be a good idea to put away the china. I see it as an adventure. I will go into it open. See what and who comes.” Last year’s Grand Prize winner was Fabio Grassadonia and Antonio Piazza’s Salvo. Critics’ Week is an important Cannes sidebar …