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Why So Many Cannes Auteurs Are Turning the Camera Back on Themselves
Why Paul Schrader other Cannes auteurs are turning the camera onto themselves.
After all, Federico Fellini’s “8 1/2,” essentially a story of a director with a serious case of writer’s block, was an official selection in 1963, François Truffaut’s “Day for Night,” an ode to a life spent on sets, opened the fest a decade later and Michel Hazanavicius’ “The Artist,” a big wet kiss to the silent film era, took Cannes by storm in 2011. “I started recording all of our conversations, then told him to shoot stuff and show me everything that he’s seen and experienced.” He added his own footage and worked with editor/producer Alice de Matha to create a fictionalized script from it all. Honoré’s “Marcello Mio” was sparked by his idea of making a movie about “an actress going through an identity crisis.” That led him to ask his longtime collaborator Chiara Mastroianni for permission to develop my film around her and her famous father.
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