Cast and crew members joined special invited guests for the film's LA Premiere on February 26, 2002 at the beautiful Paramount Theater at Paramount Pictures Studio. The Premiere, described as "Cannes Comes to Hollywood," saw members of Hollywood's old guard mingling with young up-and-comers.
"Festival in Cannes" is a biting romantic comedy Henry Jaglom-style, a spontaneously erupting trio of love stories covering three generations that unfolds amidst the free-for-all atmosphere of moviedom's biggest party. With his 13th film, Jaglom plunges directly into the mad heart of the film universe to bring back this funny and fearless tale about what happens to real people caught up in a dizzying realm of fantasy where art battles commerce and deals are built on fragile personal dreams.
Zack Norman and director Henry Jaglom on the set of "Festival in Cannes."
Photo ©2002 Paramount Classics
HENRY JAGLOM (Writer/Director)
Are you a hopeless romantic?
I am definitely a hopeless romantic, yes.
How does that affect your filmmaking?
I make films about people whose lives are romantic. I believe that life is about romance; it's about finding people and hoping to be able to connect. It's all about connecting which is the ultimate romantic feeling, and the search, the constant search to feel that you are able to connect with somebody. That's what films are all about for me, that's what love is about, that's what romance is about, and so, for that reason, that's what I work with in my movies.
What were the difficulties of filming during the Cannes International Film Festival?
None, it was the easiest filming I ever had to do. Everybody there thinks that you are doing a documentary because there are so many people walking around, doing documentaries. Nobody pays attention so you really sneak in and get all the good stuff.
Did you have to get permits for filming in Cannes?
I've never used a permit in my life and certainly not there. No, because then you've got an artificial look of people pretending to be what they are. I don't use extras, I use real people. It's much more effective.
And you used natural lighting?
I didn't use one light in this film, not one light. Cannes takes place outdoors, it takes place in the cafes, it takes place on the avenues, on the boulevards, in cabanas - so I thought, “ Why shoot it indoors, show the real Cannes.”
Ron Silver and Greta Scacchi in director Henry Jaglom's "Festival in Cannes."
Photo ©2002 Paramount Classics
RON SILVER (Rick Yorkin)
Can you tell me about your character in "Festival in Cannes?"
It all depends on what's in it (at the Premiere) tonight (laughing). You know it changes all the time.
My character's a movie producer who works for a studio and does a lot of big films - big budget films with all the big budget stars. He's trying to put a deal together at Cannes and there's a lot of stuff going on that may be an obstacle to him completing the deal. He's trying to manipulate and maneuver a lot of people into place so he can close this deal at the Cannes Festival. You get a good sense of what someone like him tries to accomplish at the Festival. There are six or seven major characters who all have different agendas and you see them all trying to work to gain what they need.
And the dialogue is all improvised?
That's Henry. He tells you what the character basically is, what the scene is, and you start to improvise it. It's tremendous fun and a unique way of working.
Is it scary?
Not at all. It's very liberating.
How did you like filming in Cannes?
That was a lot of fun too because all the stuff was going on around you while you were doing it so you don't have to supply the reality in a way - the reality is there already. It was a great deal of fun.
Jenny Gabrielle and Alex Craig Mann in director Henry Jaglom's "Festival in Cannes."
Photo ©2002 Paramount Classics
JENNY GABRIELLE (Blue)
You play the wide-eyed starlet in this film. What was it like playing that character?
It was just about as overwhelming as how I'm feeling right now (at the Premiere). My character was real, honest, raw, and vulnerable.
Was your part totally improvisational?
Some of it was scripted. We had the idea of the scenes down but sometimes he'd (the writer/director, Henry Jaglom) throw new dialogue or situations at us, especially during the party scenes. It would be like he'd get these ideas off of the top of his head and he'd just tell you to go in there and go for it.
Did you enjoy filming in Cannes?
It was so beautiful. You had the sea, and the old Hollywood feel - and we were with old Hollywood - Maximilian Schell and Anouk Aimee. It was like a dream.
What's next for you?
I'm in another of Henry's films, “Shopping.” Now I want lots of great and interesting and artistic directors to gobble me up and make me wonderful.
In the film there's the dilemma of having a smart part in a major film, or a large part in a tiny film? Do you personally think about that at all when you consider a role?
I don't think it matters; what matters is the passion. I really like a director who writes what they do, or works with the conception of the film because that means that their heart is in it. I don't think it matters what kind of a film it is or how much money is behind it, but what matters is that the people involved have integrity.
Alex Craig Mann at the Premiere of director Henry Jaglom's "Festival in Cannes."
Photo © Rebecca Murray. All Rights Reserved.
ALEX CRAIG MANN (Barry)
Can you tell us about your character in “Festival in Cannes?”
Did you ever hear of a character named Sammy Glick from “What Makes Sammy Run?” It's a Budd Schulberg novel and in the book, Sammy is a young, Jewish guy who is extremely ambitious and hungry, and will do whatever it takes to succeed. And that's basically what I play in this film. I'm Ron Silver's character's personal assistant - Executive Assistant - and my interest in Jenny Gabrielle's character grows as I see my chance at stardom, you might say, in becoming a big producer.
Anyone who reads this online - if they know the Sammy Glick character - would know that's exactly what this is. It's basically that my character is a young guy who is ambitious and looking for any chance he can get to get to the top.
The film touches on the issue of a small, important role in a big-budget film versus a major, leading role in a tiny, indie film. Personally, do you consider that when looking at a role?
Well I hope to have that problem! Honestly, no. I really admire actors who just get out there and whether it's a lead role or a small role in a quality film, if it's something that's in it for them in terms of the story or if it's personal, that that's what they do. Like Kevin Bacon - he'll do a starring role or he'll do a supporting character if it's something juicy that he can really sink his teeth into. If I could emulate someone, it would be someone like him.
What was it like filming in Cannes?
Fantastic! I happen to have an affinity for France. I love the culture and the language, so a chance to go back there… I flew there with the hopes of having a line in the film, honestly. I originally flew myself there and it turned out that they covered everything, which was fantastic. It turned into a dream come true. Filming in France was great because I got to practice my French. The first day I was there, I was hanging out with Zack (Norman) who brought me into the picture. We're having lunch on the French Riviera, with Henry Jaglom, and how could I complain? As a young actor, it really can't get much better.
Rachel Bailit at the Premiere of director Henry Jaglom's "Festival in Cannes."
Photo © Rebecca Murray. All Rights Reserved.
RACHEL BAILIT (Nikki)
What is your role in this film?
I play the role of Nikki and Nikki goes with the Greta Scacchi character, Alice Palmer, to the film festival. She's the naïve one really; she's the one that believes everything that everybody says - which is pretty much true to my nature, not in terms of being naïve, but I like to believe in the best, that any opportunity could turn into something, that you never know. And so I really had fun. Henry pretty much said to me, “I want you to play yourself.” I said, “What about character preparation?” And he said, “Nope, just go there and be yourself. I don't want you to know a lot.”
So your part was mostly ad-libbed?
It was all improvisational. He (Jaglom) has an idea of what he wants for the script. You go off with about a four page treatment and when you arrive there, he'll say, “This is the scene we're at and here's your Day 1 wardrobe.” You just sort of let it fly - whatever happens. It's unusual and yet it's very freeing. Something that you can just say on the top of your head, all of the sudden is movie history.
Is that a little frightening?
It is scary. It's scary and it's freeing. It's scary because you don't know how many takes you're going to get and so you wonder were you spontaneous enough in the five minutes that you had. That's a little frightening. You can't really do it over so what you have is what you get. I think the best thing is to have a good time. All the things you learn in Acting 101 about listening and working off of each other are really important in this type of situation.
