During these trying and uncertain times, we hope to be able to spread a little bit of love and movie magic by showcasing some of the wonderful exhibitors that we work with.
Gérald Duchaussoy talks about his earliest cinema memories, the vital importance of the big screen experience and more.
Tell us a little more about you and your cinema
My name's Gérald Duchaussoy and I've been in charge of Cannes Classics at the Festival de Cannes on behalf of General Manager Thierry Frémaux for seven years.
We program world premiere restorations, documentaries about cinema, events, Red Carpets and also the Cinéma de la Plage—movies on the beach open to everyone who's in Cannes during the Festival.
Cannes Classics was created by Thierry in 2004 to give some exposure to heritage cinema in an event such as the Festival de Cannes. We welcome artists, directors, persons in charge of the restorations who introduce the screening. Every screening is an event in itself and there's often much passion and emotion on stage. Rediscovering golden treasures is always a pleasure for the professionals, the journalists and the cinephiles at Cannes and at Cannes Classics in particular, which is always lively, energetic and varied.
We like to balance all kinds of films, durations, topics and eras and love showcasing films which were selected at Cannes in the past. Cannes Classics contains both films and documentaries. As such we follow the same pattern as the Festival de Cannes, and so this is why the section is part of the Official Selection.
Can you tell us your earliest cinematic memory?
My parents often tell me that we went to see The Rescuers by Wolfgang Reitherman, John Lounsbery and Art Stevens in 1977 and that I cried all the way through the film for ice cream! Which is rather funny since I do not eat between meals, I'm rather quiet and enjoy silence at the movies so that's the opposite of me in a way.
I remember vividly going to see Superman by Richard Donner in 1979 when it was released in France. I was four and I was impressed by the John Ford landscapes of America, the nice, adoptive parents, Marlon Brando and his noisy voice, the shy Clark Kent and the wonderful, energetic, chain-smoking Margot Kidder.
Then Star Wars: Episode V – The Empire Strikes Back by Irvin Kershner was such an experience in 1980. We waited for hours in Paris, outside of a big movie theater, to get in. The film made a big impression on me as well – especially Yoda and his funny way of talking, his calmness and his movements.
We bought a VHS video recorder with a leasing option in 1981 and the film which was in the machine was My Name Is Nobody by Tonino Valerii. A wonderful, wonderful main theme which I had on a 45 rpm vinyl disc. I would go with my grandfather to the video store to rent kung fu movies, action films and Clint Eastwood films. He was God to us.
Other cinematic highlights were going to the movie theatres to see The Party by Claude Pinoteau in 1980 and its sequel in 1982, the Alain Delon, Jean-Paul Belmondo or the James Bond films.
Superman
Why do you think the collective cinema experience is so important for audiences?
Going to the movies makes you leave your comfort zone, leave your house and be with strangers, in the dark, sharing a common experience and absorbing films in such a strong way. Nothing can replace that. Nothing. You don't talk, you don't get out or take a break, you follow a journey and every film's a journey.
What do you take into consideration when programming for Cannes Classics?
Many factors are taken into consideration: the quality of the film, its impact on the history of cinema, its impact on us, the fact that you'd like it to be seen, to be discovered, to be rediscovered, the quality of the restoration, the reputation of the organisation submitting the films to us as they are most of the time those who are setting the bar—and the level at Festival de Cannes needs to be high even though we will consider anybody who submits a film.
We also think about the audience and the potential journey of the films which absolutely need to have a life after Cannes. We're here to showcase but we like to think that we're far more than a one-shot screening.
The films need to be seen. Everywhere, anywhere. On a big screen first. With artists, with an audience. That's why we are here.
Cannes Film Festival
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