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THE MEYEROWITZ - Press Conference - EV - Cannes 2017
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- เผยแพร่เมื่อ 20 พ.ค. 2017
- Press conference THE MEYEROWITZ STORIES : Noah Baumbach, Emma Thompson , Dustin Hoffman, Ben Stiller, Adam Sandler, Ted Sarandos
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Love how enthusiastic Adam Sandler is, especially in laughing with the other actors' comments.
The Sandman is back
its about time Adam gets some love. as a fan it makes me happy and I cant wait to see this film.
Adam and Emma are so loving and humble
Emma is just a genius. God I love her
Sandler is the nicest guy
I just love Adam ❤️
Adam Sandler is so pure
I feel a strange sense of sympathy for/with Adam Sandler who I have most times felt extremely (if that's possible) indifferent towards.
I love Baumbach. Greenberg is a really special film to me.
21:17, classic dustin. this interview is great fun
28:23 lmao
Is Daustin still acting as harold meyerowitz? just asking xD
3:25 the interviewer packs quite a punch
This is actually a pretty incredible film, the screenplay just hits the mark! But in most interviews and press, Noah comes across as a pretentious prick, he is also quite rude to the interviewers/journalists. I don't know if it's intellectual snobbery or social anxiety.
Why is Dustin Hoffman is not smiling much anymore
he{s just getting older.
Sexual assault allegations
I feel so bad for the people, the country is about to be ruined by macron
This is a terrible TV movie, and it is a disgrace and insult to the Cannes audience that Cannes Festival accepted this piece of junk to the competition. The only reason they picked this movie for the competition is because it is an American film, it has big name actors and somewhat known (Baumbach actually made a few good films that would deserve to be in Cannes competition but definitely not this one) director, and they think this movie is an easy watch -yet it is dull and tedious. Cannes Festival has been transforming in a very bad way in the recent years: They fear and don't accept any film that would intellectually challenge the audience and isn't just an easy watch unless it is made by an already proven big name director. Cannes Festival is so powerful that it has the power to transform world arthouse cinema as it transform itself, however unfortunately their new approach to competition picks and favouring easy, hip and popular movies has been already messing up the world arthouse cinema. Cannes Festival is betraying itself and what created it; in other words, the actual art films. Cannes Festival is gradually damaging its reputation among intellectuals and will end up damaging itself acutely if they do not alter their this new Oscars-like approach. I am afraid intellectual filmmakers and film goers will have to find/create an alternative festival to Cannes, because a real and top arthouse film festival is essential for the survival of the arthouse filmmakers and art films. P.S. I am not an angry filmmaker who submitted a film and got rejected; I am just a person who appreciates good art films.
I agree with your general point on Cannes but, I think, you are not seeing forest behind trees. You are ignoring economic structure (capitalist economy) that pushing all culture into commerce. Culture and Art have already been turned into commodity that must be profitable. Cannes festival is forced to invite Hollywood celebs and give more spots for mediocre movies stuffed with famous actors because of capitalist economy we live in. Everything must bring profits otherwise it must be excluded from circulation. That's why Cannes also invites actors as Jury to create hype and attention that will give relevance for Cannes.
I don't think that filmmakers who make art films would be able to create festival like Cannes nowadays. We are witnessing regression of humanity on grand scale. If today we celebrate comic books as Art (?) and put escapist entertainment industry product like Star Wars on equal level with Tarkovski films or Rubens, then we def fucked.
@@robertwill23 Actually I do see the forest behind, but I see it differently. The value Cannes has which is being the most formidable art film festival in the world, moreover being the only powerful enough festival that can single handedly mold it to a degree and assist it survive, is invaluable softpower for France if we are talking capitalism and yes we do. However, that 'one' festival cannot have that value unless they actually back-up actual art films, the audience it reaches is not that gullible. The art film world needs a one a year global marketing for well selected actual art films, it is vital where the entire world kind of cares for a week or so and be informed, and whichever festival and nation can reach to that 'one' will win big time I think. They are quite different cases but just think about Nobel Prize and Sweden. France surely has the potential to pull it off right way and they really shouldn't mess it up.
Also need to remind: Prose fiction is dying, it will become a nich. Film seems like it will be the only artistic, intellectual (However you want to call it) fiction form that will be capable to reach a significant quantity of global middle/above-middle classes. It is for one sit, two to three hours, can be enjoyed solely or socially both home interiors and theaters, and it is something people rather feel good about consuming and helps a little statuswise. Also local metropolitan art film festivals create great buzz and hype in the cities.