CAFE SOCIETY – Press conference – EV – Cannes 2016

you Autobody I too short a television say we're back live from the Canton vegetable to welcome in a few moments the first press conference that's going to take place at the Woody Allen's film the opening film of the 69 can comfortable Woody Allen and Andy actors are here they're going to be answering questions from the international press will be meeting to welcome a Christians doer Jesse Eisenberg Blake Lively and Corey Stoll we're going to look at more than a little extract from Cafe Society you this is just in case you had questions in French and if you don't send French but don't you sir right this is this will be from the other totally photographs effect so the photographers are busy taking their pictures you'll have just a couple of minutes and then we'll ask you to move away from the table so we can start the press conference basically photograph merci so thank you to the photographers please thank you both what hello please move away Madame Monsieur Bonjour à tous good morning ladies and gentlemen hello everyone we have near a confidence depressed welcome to the press conference that was the opening film Cafe Society Cafe Society is a resolution I'm going to introduce the people at the podium use everyone who's attending this panel with us today starting at your far right geographically at least he's had Oscars to fill a whole room for gobblers Apocalypse Now for Warren Beatty's read and he worked also with mr. Bartolucci extensively last emperor of china mister victorious raro sitting next to him this is the second time he works with today's director he played Hemingway in Midnight in Paris as been here as the chorus talk sitting next to me for most of us he was and will be forever Marzuki Berg in the secret Network he is what social social social and so ransom is called the secret never deaf time bite me I'm French as Bobby actor journalist playwright Jesse Eisenberg sitting next to mr. stall some of us did notice her and went mmm we need to keep an eye on this lady it was in Ben Affleck's the town here as Veronica miss Blake Lively sitting sitting next to Jesse Eisenberg she was in the panic room with Jodie Foster who has a film in competition this year she was also in into the wild directed by Sean Penn who also has a filming competition this year and she was not long ago in ourselves Maria direct by Olivier Assayas who has a film in competition this year on – glad you're not on the jury as vani miss Kristen Stewart sitting between the charming ladies the director opening the festival for the third time mr. Woody Allen and I think the first question will go to you mr. Alan and you mr. star Oh mr. Alan you've worked extensively and regularly with practically the same cinematographer Gordon Willis or Carlo De Palma this is the first time you work with Storaro how come and this is the first time you shoot digital how come this is a question to me yes sir and to mr. Ferraro oh well for me was an experience to work with and iconic film a cinematographer I've worked with the best cinematographers in the movies have worked with for years with Gordon Willis and Col de Palmer and Sven Nykvist and Vilmos Sigmund and Darius kanji and and my path has not crossed with Vittorio's very often but he was available and I was making the film and and I asked him if he wanted to do it and he said yes and of course I he's you know one of the absolute great cinematography geniuses so I had an opportunity to add another great great cinematographer to the list of people I've worked with mrs. Aurora well actually this is the third time they my selfie with the Ally are in into one movie into the same movie the first time I there was an episode movie New York story I was part of the Francis Coppola episode meanwhile Marty Scorsese with Nestor our Mendoza mr. Woody Allen with the Sven Nyquist we were in the same movie why two different episode them after we did with the France for our movie together it was the leading actor it was the cinematographer and finally now I had the opportunity to be directed by mr. Woody Allen after so many years that we practically cross each other let's say a without doubt cinematography as a as an art form there is the chance to really underline the story visually which is the most important thing in my opinion for us but because we have a chance really like the writer as the chance to use the word the to tell the story the musician as the note that we have the relationship between light and shadows in color but without a story without the director I do not assist so thanks to every dealer today they give me the chance to collaborate with their individual art form that is cinema they I had the chance to really learn how to live because in my opinion what we are doing in every professional is really with no non non knowing why we are trying to understand who we are we are try to understand the chance that we have to answer to our own questions to have this chance to see the meaning our life in more and more and more now I have to thank most mr. Woody Allen if I add another knowledge in my life Thank You woody the question still stands mr. Allen what convinced you to make the switch from film stock to digital Oh Tim you is exactly the same I mean the you know there's a camera and it has to be lit and it's the identical thing except instead of a celluloid you're working digitally but the process you know everything does has to be composed and you go through the exact same motions as if you were shooting with celluloid and if anything you have a few more options later because you're working digitally but if you're working with the master photographer the effect can be very very beautiful as you can see in the movie so to me it's the exact same thing there was no compromises no modifications or anything had to be different because it was digital thank you a devotee you said because I think is very very important for many many directors many cinematographer to understand the fact that we have to use the language of images you know problem digital is part of the language of progress something that we can speed up or slow down but we cannot stop it till now mr. Woody Allen myself made the most of all the bit all the picture in photochemically in films but I realized that recently the industry changes completely and we have to face it but the most important thing that we have to face it with knowledge I noticed the Meno I belong to the American Film Academy European Film Academy Italia from Academy so on most of the time I see many many film they look the same why because I think that digital camera today is so sensitive they actually you can record an image every in any location and that's was as mistake the many cinematographer many great are doing probably not to use a specific language of him of our vision Pacific alight specific choice to make that movie specifically according to the story so what the world Buddha says is very very important the fact that we didn't change the way we were thinking we were try to understand which could be the visual concept to tell the story into the general overall visual concept how we can visualize the Bronx in 1935 all about the 1937 know you're back to New York in the eye society back to Los Angeles moment this interchange of the energy following the leading character told to us the way that should be written visually this movie the usual light kind of followed that story this is a major major major thing to know today so each movie can look exactly according to the story according they enjoyed he's been directed question over here alright who has the mic high right here failure waiter Falacci America I had an interview very long time ago with Jesse he was just starting out he was 18 and he told me a story that he just wrote a script a lot of the young Budi Alan and I asked you about what you think about Fame and I told you that I would come back ten years later to ask you the very same question so it's been more than ten years and Here I am asking you the question and also the island what do you think about Fame and what put the onion thinks about your script about to the other I haven't gotten his notes yet but this isn't good this is this is this is not this is not something we've ever discussed so I appreciate you bringing it up here in public wait but I can answer the safer part of the question about Fame which is that it can be very useful and you know especially for like a career and the freelance arts fame is probably the most valuable currency for better or for worse so it's helpful in a lot of ways it's also uncomfortable obviously in a lot of ways you know cuz you lose you know a sense of privacy but yes the other part I hope to not bring up here and III could just say Brit ya know when I was 16 I like IRA I was so inspired by discovering Woody Allen at that age that I ya wrote a script that was based on like him and it got sent to agents cuz they thought it was funny and it got sent to ultimately his lawyers who didn't think it was funny and they sent me cease and desist letters and that was the end of that and it looks like no this might be the end of this there's nothing I can add I agree with Jessie about Fame there are great great upsides to it and great downsides to it in my own opinion after years in the spotlight is that the perks far outweigh the downside the celebrities often Kretsch about the lack of privacy and being bothered by paparazzi and things like that and these are not life-threatening problems and they get enormous advantages as they go through life so the the perks are you know are much much more advantageous than the downside as far as you know if this was years ago I would have played this part in the movie that Jessie is playing because he's perfect for this kind of character I would have played it much more narrowly myself because I'm a comedian not an actor and and so I would have given it one dimension Jessie is a fine actor and gave it much more complexity and much more much more interest but you know the fact that people think that he's like me or that the character is like me is you know all I can say is it's much deeper played by Jesse than anything I would have done with it question over here I would do Fonseca from TV group Brazil congratulations for the film mr. Woody Allen could you please tell a few words about the narration use it in the film and if you could please tell us something about your partnership with Santo la questa the production design yeah my what was the first thing about the fact that you play the narrator oh well this this movie was originally conceived on what I want to do is have the structure of a novel a book and I wanted it to be about a family that and you met the father and mother and you met the children and the brothers and sisters and then Jesse as the protagonist got involved with other characters with Christian Blake and Steve Carrell the uncle and it was I wanted to have the scope of a novel that took place over a period of time and and there were not one single incident in it but a number of different incidents and I felt it should like a novel have the voice of the author in it and since I was the author I did the narration otherwise I would have gotten somebody else to do it but I figured you know I may as well do it myself because you know I wrote it and and I could narrate and cheaper so I did it and but it was supposed to have a novel form form of a book the fact that you played the narrator mr. Allan did that sort of force Jesse Eisenberg to speak aloud Woody Allen I don't think I don't think he does you know the character of the fictional character in the story is really nothing like me I never went out to Hollywood to try and get a job I never got I don't have a relative who I met I didn't get involved with a woman out there or a woman in New York I was not involved in any of this so he just you know is hired to do the dialogue in the same sense that Steve Rell was hired to do the uncle's fast-talking name-dropping dialogue and and Cory and Blake and Kristen were were hired to do the appropriate dialogue for them you know I'm very happy to have the actors put it in their own words they're not obligated to use anything I wrote they can change the sentences and make them their own so you know I don't see an acute similarity I just see the similarity that's inevitably drawn when there's a character vaguely in the ballpark of something that one could believably say might remind them of me but otherwise you know III don't see it so so clearly as you do Jesse well I we didn't know that he was going to narrate it so there was no pressure on me to sound like that but no I mean I could understand what you're saying but I think it's just again like like he just put it kind of yes and the natural response to watching a movie with a male protagonist who vaguely resembles a protagonist that he would have played had he you know made it you know so years ago when he would have been age-appropriate but no there was no emphasis either from him or consciously for me to you know enact some kind of impression or something okay so my question was stupid okay okay let's eat thank you yeah a pitiful hoot German television I have a question to mr. Allen and there was one line one sentence in the film which struck me was it said um life is a comedy written by a sadistic comedy writer could you comment on that well yeah you know you can look at life as being amusing you see you know an example I gave us a husband is cheating on his wife and he's making all kinds of appointments to be secretive and have clandestine meetings and you watch this and it's funny it's amusing to the outside it's got a farcical element to it but it's also very sad if you penetrate it more deeply it becomes very sad because obviously the wife is being betrayed and the people are have empty lives and they're carrying on an affair and so it's you can look at it as musing but it's got a very sad element to it when you hear people say well what are you going to do I have to laugh at it because if I don't laugh I'll kill myself what they're really saying is that you know they're adopting a comic perspective to an existence that's fraught with peril and sadness and cruelty question over that hello um it's Jack movin from The Times here hi um this is a question for Jesse and Kristen and woody there's a line in the film where got a good laugh by the way saying the Hollywood it's boring nasty and dog-eat-dog and I was wondering if this reflected what your experiences of Hollywood is like I'm more interested in what they have to say I don't know yet do you well you grew up there yeah I've hmm I mean you know there's there's definitely a an undeniably opportunistic hungry insane fervor that occurs and it's really apparent who's that it's really apparent um when when people don't care about that kind of stuff and what drives you is sort of like you know the things that get you up in the morning like like the things that you know if you're actually an artist that wants to tell a story it's a compulsion it's not something that you do because you want entertain people or because you want to make a bunch of money and but but most people want to entertain people and make a bunch of money it's not a bad thing but uh but if but if it but if it also doesn't hold hands with like genuine just desire if no one was looking um yeah the nut sucks and that's pretty rampant um yeah Hollywood you know people are I think human beings are always like clawing at each other to get on top I think that's kind of in every walk there you know probably in most industries but Hollywood's pretty um it can have like a surface nature that that makes it more obvious you know the question actually could also go to quarry and to NTU like yeah I'm sorry go ahead sorry oh no no I'm not I'm nothing I'm ji just agree with Kristin D you know Hollywood in the 30s was dominated by the studios and just and it was a very dog-eat-dog cutthroat world with the the you sure you've read about all the film moguls and the studio heads and the terrible internation carnage that went on and backbiting and and if you've read the the Pat hobby stories by scott Fitzgerald you see what Hollywood was you know in those years and they say now I'm sure as Kristen says it was true of many businesses of big business of Wall Street of politics but it was very illuminated in Hollywood everything that was done in Hollywood from the film industry ethics to the love lives and divorce rates and things were always you know super covered and very hot news all over and more exciting news to the public and but they were II was a doggy-dog industry and full No and probably still is for all I know it's like the most gnarly popularity contest like in the worlds like you take high school and you just make it like in the real world and it just amplifies everything it's like pretty intense pretty well I think you know back in back in the 30s the the studios were probably a bit more dominating than they are now they owned actors and filmmakers where now I think it's more the media that is more dog-eat-dog and invasive and you access people have to knowledge the more they want to know it and if they don't have access to knowledge they'll just make it up so this is sort of the thing now that's probably more more challenging that's a good point most of the people I've worked with have been really nice just smile I mean I'm I don't engage in Hollywood in the same way that a lot of other people here and on the on the stage do so I've been incredibly fortunate to to to work with people were happy doing what they're doing and and this was this was deafening one of those experiences okay question here and question from TVs @ef mr. n two very short questions why I Oh films never in competition and that questions do you have any kin Richards Thank You mr. mee what I never in competition I I don't believe in competition for artistic things you know competition is great in sports where that's the object of it but you make a film look the jury will award a film you know they'll say call it the best film I may find it the most boring film at con as someone else finds my film boring someone else loves it it's all very subjective and you can't you can't determine is there a Rembrandt better than an El Greco is a is a Matisse better than a Picasso it's you can't you can say what your favorite is and that's fine you can say I came to Cana I saw 10 films and this is my favorite one and this is my favorite one you might get 10 different opinions but that's perfectly reasonable but for people any group and to come together and to judge the work of other people first of all is something I would never do and to make a judgment that this is the best with the implication that is in some platonic way it's the objective best is something I don't believe in so I don't want to participate in it I'm happy to come to Cana I love the atmosphere I love the enthusiasm of the crowds and the fact that everybody's here about movies and I run into people I know them you talk cinema and and that's a great atmosphere in the South of France is a beautiful place to be for a few days charming but to be in competition would be against you know my common sense her hello good morning my name is Camilla told several Norwegian newspaper dadada congratulations on the lovely movie I have a question for mr. Allen there are some romantic motifs that you keep returning to that are also found in this film the attraction between a younger woman and an older powerful man the lure of another woman when you're in a marriage why do you keep returning to these motifs and have your thoughts and feelings about them changed during the years do tell those kind of stories differently now from what he used to thank you what you say should I do it again I do it again no no it's it's a microphone you know I have hearing aids and I put the microphones over my hearing aids to give me a double kind of shot here it's still not working tonight just leaves why what'd you say how do you decide on your romantic motifs oh I had always thought of myself as romantic now this is not necessarily shared by the women in my life but I have always thought of myself as a very romantic character and and I think if you were to ask the women they some of them might say that they thought that I was but I think they're thinking of it in a different way they're not thinking of it as romantic in the sense you think of Clark Gable or Cary Grant romantic they're thinking more like a romantic fool and they think that I romanticized New York City that IRA mantis eyes the past that I romanticize relationships love relationships and I probably do and it probably is foolish but for some reason I was brought up on Hollywood movies and they had a indelible influence on me and so this is what I tend to do and so you know I think that I do do romances and I've tried to be romantic and and I try and make the movies romantic sometimes they're not when the story calls for it this was a romantic movie you know match-point was not a romantic movie other films I've done you know Zell it was not a romantic movie this one happens to be but I do tend to do a certain amount of romantic movies because it comes from my my upbringing my childhood mr. Ellen here over here thanks for your film I've got a question you're 18 now does become physically harder to direct a movie and what do you do to keep in shape on sets I'm 80 I can't believe it you know I'm so youthful agile nimble and spry you know mentally alert that it's astonishing now I don't know I eat well I exercise and but what it is is luck you know my parents were were old my father lived to slightly over a hundred and my mother lived to almost a hundred so if there's anything in heredity I'm you know I hit the jackpot it's great but I I don't feel I don't feel all I feel you know I feel youthful now I'm sure one day I'll wake up in the morning and you know I'll have a stroke or something and you know I'll be one of those people that you see in a wheelchair and they'll say remember him he was Woody Allen and he was always you know and now look he's doing this and he's you but until that happens I was gonna I was going to continue to make films as long as they people are foolish enough to put up the money to support me hello my name is Rodrigo Gonzalez from Reuters a newspaper Chile I have a question to mr. Allen why always in your films there's some character that is living the Judaism and convert into Christian or some kind of regions who have afterlife what about about some Jewish traits in your in the characters that you pretend sometimes the switch in religion yeah you know I write about what I know I grew up in a Jewish family you know interesting enough in this picture Cafe Society probably the the mother and father are the two people you know that are closest to anything in my life the brother that Corey played the character Blake and character Christian plays I wouldn't know from a hole in the world but but the mother and father who you know are constantly bickering and berating one another and and occasionally speaking in Yiddish is how I grew up and so I it's easy for me to write about it's just a just simple I can be authentic about it because because I lived through it we'll take two more questions just the lady and then the bread it's a question for mr. Allen you talked very eloquently about old age and romance and I wondered if you are ever going to make a series of films where 50 something women have affairs with twenty-something men for 50 year old women and 30-something men yeah I try and I wouldn't I wouldn't hesitate to do that if I had a good idea for a for a you know for a story with a fifty year old woman and a thirty a thirty year old man it's not a commonly seen thing and I don't have a lot of experience to draw on for material but it's it's a perfectly valid comic idea to have the the age difference between two people in that direction when I was thirty years old I was very much I had a big crush on a fifty year old woman who was great looking and and wonderful and but she was married and wouldn't go near me with a ten-foot pole but I but she was she was great these things happen all the time I you know the but I I just don't have a lot of experience I don't see it but but younger men do develop crushes on older women and older women crushes on younger men and I just don't have any material of it I don't know you know I don't have anything really to draw on but I wouldn't hesitate if I had a good story Brian Johnson from McClain's magazine in Canada and mr. Allen you were talking about how you like to let the actors do what with what they want with your script I'm I want to ask Kristen Stewart what did it feel like to be in that zone every actor who works with Woody Allen talks about how it's a very different kind of filmmaking it was that comfortable was that did you feel pressure and also if I can ask you mr. Allen why you cast Kristen Stewart what you saw in her that thought that you felt made her perfect for that room well let her go first you asked her question um uh you know if you listen to a song and you know that band and maybe you don't know that song you can kind of go oh I I recognize that I'm pretty sure I know that really okay I mean somebody sorry um okay so basically if I get some immediately recognizable if it's a familiar artist his movies have that they're just absolutely particular and um at first I was really uh really aware of that and and wondered if I was ever gonna fit into it I've always worked extremely or at least the the work that's I've really enjoyed and like I don't know my better at work it's it's um really impulsive and really spontaneous and I haven't really had to step outside of my natural default settings my personality my demeanor so in this case I was more I approached it in a way that I luckily abandoned almost immediately once we started filming but at first I thought that I was gonna have to learn every single line perfectly and we were gonna you know he doesn't rehearse or anything like that but I I felt as though I needed to prepare um I'm really bad at that and it didn't really work out and luckily once we got going that tonal quality that's so familiar and immediately recognizable it just happens intrinsically it just is sort of uh it just happen oh it just happens I mean who knows maybe I did maybe we didn't do it but I think we kind of nailed it and yeah was it was a it was really natural um once once we actually found the character and and once I actually got comfortable with that version of myself you know it's never like completely changing yourself but it's like finding things that are a little bit more buried and I think that's probably he probably saw something in me that I didn't and that's the best feeling in the world that's why I really like doing this um it's it's the best relationship you can have with the director is when they show you show you something about yourself you didn't know an answer to your second part she was a perfect person for the pot Julia Taylor my casting director and myself for speculating on who to who to cast and as soon as Christians name came up we both immediately figured she was the one I needed somebody who could play an adorable little secretary from Nebraska with little white socks on and little dresses and she could be the sweet little girl that you thought of hello just it's just as cute as a button and and you know you and you'd believe her and then later in the movie you could see her in furs and jewels and she would look just smashing and elegant and could play that character having transformed her life in a different way and we thought Kristin could do it that she would be perfectly believable as a sweet naive thing from Nebraska and she would be completely believable as a sophisticated beauty in cosmopolitan Manhattan so it was a no-brainer we called her up and then she was available we were lucky to get her and I auditioned for this part too I was like really I really had to prove myself because I don't know if that like liddie lovely little lady thing was necessarily something that he saw initially because I mean I definitely had to prove that no we see we sent her something to read and she read it and it confirmed our feelings that she you know she could do both sides of the counter I'm afraid our time is up thank you very much all of you for being here today the rhythm of your speech thank you very much you

35 thoughts on “CAFE SOCIETY – Press conference – EV – Cannes 2016

  • The press conference presenter is so awkward, he says unfunny jokes and aprópiate comments

  • 6:30 – This was not one of my favorite Woody Allen movies, but the cinematography was amazing I have to say … it was beautifully show … thanks to the Vittorio Storaro.  The visual were hypnotic and drew you right in.

  • 1:39 – the fucking bald guy second from the right. Corey Stoll, stabbed woody in the back by saying he would never work for him again due to the Mia Farrow thing, along with some other actors.  To me that is so uncalled for and low … no class.

  • Woody is such a crackup, he's the only celebrity that no one would make fun of for wearing that style of pants that goes up to his belly button!

  • se Laboratorio Lili .queda inscripto por ser nombre de objeto.¿lo tetico es la caja con nombre de fantasia
    (comercial…al ser dispersable se ingiere por la nariz o..

  • Who are they Gary Grant and Clark Cable? I guess, they've been dead for 100 years. Johnnie de Bangkok, toujors.

  • This is press conference is a FUCKING DISASTER! Everything is lost in translation.Too many old dude talking too much! The MC with ball cap has no control of the situation. What a waste of time… Bangkok-Johnny, again.

  • el psicologo de la actualidad se pregunta ¿me excomulgan? si la pildora de oro de la psiquiatria es la eterna

  • la voluntad de poderio en la Iglesia se veian unas veces compensados por la astrologia y la alquimia estas guardaron la esncia como guardo el sueño a la conciencia individual

  • I could listen to Woody Allen all day long. This hasn't changed for decades. As for the rest of the panel, I think the ones worth hearing were not asked questions, which is a shame. Instead we had to hear that Twilight star (am I wrong, or they didn't mention the movie in her intro? Not that I saw it, but that's all she is to me) stattering her chaotic thoughts. Oh my.

  • we boycott paedophile Polanski too bad for you!we do the same with paedophile Woody allen Money beforce moral sense. that's the media and Hollywood,…disgusting

  • ** I crush! I usually like Woody movies because there is almost always something creative and original in the script or because of sarcastic humor present in various sequences. The jokes about Jews are always funny and the performances of the actors normally exceed expectations. In the case of Café Society something went wrong in this formula. The actors, with rare exceptions, did not convince me, the jokes lost their grace and that something different, the letter of Rudolph Valentino, tastes like déjà vu, because we have seen similar scene with the mirror Shirley MacLaine in The Apartment. The disclosed blurb promises but does not fulfill the mission to please the spectators, nostalgic to review the old Hollywood, the 1930s Woody builds a warm story in which the protagonist would be an alter ego of the director / actor when young, but without the same grace to tell jokes. The truth is that nothing delighted me in this movie. I expected the ambition of the boy for a career in Hollywood, but his claims are very modest. Someone would trade the dream was cinema gold for Coffee Society? I Do not!

  • reallly…? mannn…. i get movies need to be made, but cumm'on, this is not a movie… this is a highly beautifull decorated filmset with a story board called "total waist of time" this is a true horror film pfffff, no matter how good the cast, it does not patch up the director cut nor the script…. moving on quily

  • Extraordinary film shows in detail the complexity of simplicity. I love the scene in the restaurant lobby when Vonnie is talking to Phil and Phil meets all the gentry of cinema. Cafe Society is very revealing of the time, I guess, it feels like

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