An agent could have lucky to have one or two competition titles in Cannes. But the partner of UTA, Rich Klubeck, is at the festival with the filmmakers behind three feature films: Wes Anderson (The Phoenician Program), Kelly Reichardt (The brain) and Oliver Hermanus (The history of sound), as well as Ethan Coen (Chérie is not!), Screening of the competition.
He also has the first package out of the Mikey Madison client’s door after his career race with the Palme d’Or- and Oscar Aor. The package centered on a dental hygienist who falls in love with a mermaid is from the director Alejandro Landes and also Kirsten Dunst at Star.
How do you manage what each customer needs when you have so much at the festival?
Each filmmaker has his own unique personality, and my role as an agent is quite precise at festivals. You are there for various reasons, but you are also there with a distributor, you are there with publicists, you are there with the producers. When you are on the ground, you help, but you also share the experience.
When you are a filmmaker with a film at the festival, everyone wants to meet you because you are constantly interesting as a filmmaker at the festival. So there are other filmmakers, there are producers, there are actors, there are studio leaders. In some cases, it really makes sense, because a way you have a producer based in the United Kingdom cannot see a filmmaker based in the United States. So Cannes Perfect Opportunity. Others just want to meet because it looks like: “Hey, it’s nice to meet someone who is at the heart of the festival festival.” Partly curiosity, partially boasting of rights.
Kelly Reichardt is loved, but also seems quite discreet and sometimes perplexed by the passion of people to see her screen a film. How do you think it takes it?
Well, she goes to festivals, she obtains retrospectives. She is a relatively young woman. So having retrospectives of your work would be confusing for almost anyone. She has a great job and I think she is loved because she is a real artist, and she is faithful to her vision, and she builds a super unique work. You cannot ignore it if you like the film.
You are reassessing Mikey Madison’s first project since you won an Oscar, and it is a dental hygienist seduced by a mermaid. It is not the typical game of “Let’s All Get A Franchise Movie Payday”. What types of Aor Are follow-ups looking for?
You try to find a big role and you try to find the right employees, which is essential. A filmmaker whose vision you can really believe. There is one thing announced, but a little time is going on. But it was sort of the guide. I think that most actors want a range of things to do, exercise different muscles, play different roles and collaborate with different people. But employees must be interesting. They must be convincing.
From your filmmakers to the Fest, Oliver Hermanus is the name that people can be less familiar. But History of sound Stars Josh O’Connor and Paul Mescal as amateurs in the summer of 1919 and are a title that people are intrigued to see.
One of the great things you could say about Oliver is its tenacity – beyond talent. Tenacity to obtain History of sound do. And this is a story that will become much better known as the press on the film. But it was not an easy -to -make film. But we are all happy that it is done and it is something that people will see.
Everyone talks about prices. Does the market feel different this year?
The market is not fundamentally different from what has been in the past. If you have incredible talent and convincing equipment on a budget that makes sense, the market is good. People need films, and there has been very little front wind in the discourse on prices.
What are you looking for when you sit in a theater for one of your filmmakers in Cannes? What were memorable moments for you?
No country for old people It was a really interesting year in Cannes. Zodiac was here at the same time. I think it was the year of 4 months (3 weeks and 2 days), The film Cristian Mungiu. To show (No country), people have been knocked out by this. It is a very different film from the sisters. Although he did not win a price, we knew we had a big film there.
I can’t think of Cannes without thinking The substance. This is one of the most breathtaking experiences, because you didn’t really know what to expect from the public’s reaction. We knew that the film was inspired. But that (the reaction) was unknowable – and it is rare. You usually have a fairly good sense of what a reaction will be. It was unknowable that people would buy fully, if some people would be alienated, and in the end, we realized that everyone had bought.
