#TIFF24✨ Salma Hayek Pinault gets emotional when talking about Angelina Jolie's film #WithoutBlood.
"More than asking the question, 'Who's right and who's wrong?' the question should become, 'How do we heal?' [...] For me, this movie was life-changing."
Angelina Jolie returns to the Toronto International Film Festival this year with a new film that she has directed, “Without Blood,” and the actress and filmmaker told TheWrap the film stands as a trilogy-capper of sorts to her films about war and conflict.
“Without Blood,” based on the novel of the same name by Alessandro Baricco, continues Jolie’s focus on the toll of war, which she explored in earlier films “In the Land of Blood and Honey” and “First They Killed My Father.” In this new film Salma Hayek Pinault plays Nina, a woman who has been impacted by war, who finds Tito (Demián Bichir), a lottery seller. At first their conversation seems innocuous, but soon harsh truths emerge as to the true intent of their interaction and the film largely plays out as a conversation between the two characters.
Jolie, Hayek Pinault and Bichir spoke with TheWrap’s Joe McGovern about the tricky adaptation at TheWrap’s 2024 TIFF Studio sponsored by Moët & Chandon and Boss Design.
“Certain pieces you find you at different times in your life,” Jolie said. “Most of the films I’ve directed deal with war and conflict and in a way, this is a final chapter to that. This is post-conflict, and what I loved is that, as I was reading it, I thought I believed one thing, I thought I wanted something, and then, as it changed, I realized it was correcting my points of view. It was helping me to understand something that I hadn’t anticipated. I don’t find that often. It’s not easy. I think it’s accurate to a lot of the post-conflict situations.”
And the unusual structure of the film, with much of it being a conversation between Nina and Tito, didn’t frighten Hayek Pinault. Not that she didn’t have other concerns. “I was not afraid of the dialogue. I was more afraid of the fact that I had to do an entire movie where every day I went to set, I had to go so deep into torture, and that I had to go through the entire day of work, and this couldn’t come out,” Hayek Pinault said. “I had to visit like places where trauma lies and hides and chokes you and makes you feel the most intense pain emotionally that anyone can feel, but you cannot let it out, because that was the character. That’s what she wanted. I was afraid to go there.”
Star says she wanted to make her Oscar-contending film “First They Killed My Father” not about Cambodia, but with Cambodia
Steve Pond | Last Updated: November 20, 2017 @ 12:56 PM
This story about Angelina Jolie and “First They Killed My Father” first appeared in the special foreign-language issue of TheWrap’s Oscar magazine.
Angelina Jolie is not the only director
in the Oscar foreign-language race who was not born in the country her
film is representing, but she’s certainly the most famous one. An
American who was granted Cambodian citizenship more than a decade ago
for her humanitarian work in the country, Jolie returned there to make
“First They Killed My Father,” a brutal but beautiful film that recounts
the story of Loung Ung, who was five years old when her family was
expelled from Phnom Penh in 1975.
Driven into work camps in the countryside
by Pol Pot’s murderous Khmer Rouge regime, Ung endured four years of
horrific treatment and watched as her parents and friends became victims
of a genocide ostensibly aimed at creating a society without Western
influence.
Ung survived and wrote her memoir, which is subtitled “A Daughter of
Cambodia Remembers,” in 2000. Jolie enlisted Ung to co-write the
screenplay, and then brought in Rithy Panh, the Cambodian director of
the remarkable, Oscar-nominated 2013 film “The Missing Picture,” to
produce the film. Shot in Cambodia using Cambodian actors, the film
screened at the Telluride and Toronto Film Festivals before going to
Netflix. Jolie, Ung and Panh spoke to TheWrap in Toronto about “First They Killed My Father” and its resonance in today’s world.
Angelina, what led you to tell this story? ANGELINA JOLIE Cambodia
is a country that changed my life when I traveled there 16 years ago. I
realized then how little I knew about the world. It humbled me and got
me more engaged. I found a paperback copy of Loung’s memoir, and I loved
that she wrote it through a child’s eyes. That was a way to connect
with the audience, so that’s how we made the film. And now I have a son who’s 16, and he’s Cambodian,
and I wanted to make this film with him and for him. But above all for
Cambodia, because I feel that it’s time to really talk about it. And I
wanted to make it not about the country but with the country.
Loung, this is basically your experience as a child, and your family’s experience. Was it painful to revisit those experiences? LOUNG UNG
It was painful. However, I felt that it wasn’t just my story I wanted
to tell, it was the story of my siblings and my parents and many other
Cambodians who went through similar experiences from 1975 to 1979. In
the span of four years — or three years, eight months and 20 days — of
the Khmer’s genocide, 1.7 to 2 million Cambodians died.
I wanted to honor their lives and their
spirits and their resilience and their humanity. And also, I wanted the
descendants of my parents, their grandkids and great grandkids, who
never got the chance to meet them, to have an opportunity to know what
fighters, what survivors, what loving parents they were. That was
important to me.
Did you ever imagine that it would become a film? UNG
It was a dream. And I always thought that if it was going to happen one
day, it had to happen with the right team, the right people, who had
great integrity and decency and kindness. And this is absolutely my
dream team. Angie and Rithy and their families, we’re all very close.
This is beyond anything I imagined. But you know, when you dream, dream
big, and sometimes it happens.
Rithy, you made a very personal
movie about the genocide a few years ago, “The Missing Picture.” What
made you believe that a filmmaker who didn’t live through that
experience could do it justice? RITHY PANHAngelina
came to visit me when she went to Cambodia, and I know her from her
films, you know? But what is more important, she made the film with us.
We do not want to be seen just as survivors. We needed a human being of
imagination to make the film. We needed to bring us back our
imagination.
The genocide is not only killing, it also
destroys your identity, your imagination. And you have to learn it
again, until you are capable of imagination, of poetry.
Somebody wrote some time ago that after Auschwitz,
poetry is not possible anymore. I think that after Auschwitz, we need
more poetry, we need more cinema, we need more books to explain to
people, what is this? What has happened to us that can happen to you?
History repeats all the time, and we need this kind of film to explain
to the next generation, what is the value of the human being?
This is a beautifully shot film, but what’s
happening on screen is horrifying. Angelina, was it tricky to figure out
how much an audience can take, and how much you should show? JOLIE
Yes, but I never really thought about the audience. I thought about
being true to the story, true to the experience. Because the film is
shot from her point of view, what’s interesting is you take as much as
she can take, when she can take it.
So when she’s younger, she looks away,
often, from things she’s not ready to take. And in a way, her point of
view matures and grows. I think by the end the audience is more ready,
like she’s ready, to really look at it and face it. So that was helpful.
I don’t enjoy bad language and violence and blood.
And because I don’t enjoy it, I use it only when it’s necessary. And I
think it can be more effective if you’re careful with it and you use it
in a way that’s real, and you use it only when it’s needed. And this was
certainly needed when we used it.
Loung, what was it like to watch this film and see your own experiences on the screen? UNG
It was a beautiful experience. Like many other journeys, there were
bumps. For me, personally, there were sad moments and happy moments and
moments of redemption and healing. And the important thing in watching
it was having the experience that I’m not alone.
Going through the war when I was young, even when we were living with
my parents, and then they were taken away and when we were living in
communal villages with other people, you were always alone. It was
dangerous to be with other people. It was dangerous to be emotional, to
be in love, to be an individual, to be seen, to be heard. And so you
find yourself really curving inward and trying to disappear. To survive,
I had to become deaf, dumb, mute, blind, invisible.
But here I was making a film with my friends and my family. I was
seen, I was heard and we were able to be together. So for me, that was
the most deeply moving experience, that I was not alone and I never had
to be alone again.
Rithy, you mentioned history repeating itself. Why is it important to tell a story like this in today’s world? PANHWhen
you see what happened in Charlottesville, you ask, “Did we do
everything that we could have done? What is possible today?” As an
artist you are also a citizen, and you have a duty to work to open the
mind of people. You say, “I cannot give you a real answer, but maybe I
can help you to make a choice.”
You have the choice to live together or to live alone. The failure of democracy can hurt a lot of people in the world.
JOLIEI
agree with him. The failure of democracy — or weak democracy, when
strong democracies are not leading and do not have a strong voice — that
weakens other democracies or potential democracies around the world.
I grew up thinking, if we knew about Bosnia we would
have done something. If we knew about Auschwitz, if we knew about
Cambodia… We know so much today. We see what’s happening, we see video.
As Rithy said, we see so much hate and so many people using hate
language that builds this horrible ideology that ends up dividing
people. We know where it ends.
This is very serious. This is the balance of our world — it’s what
people live for, it’s human nature, it’s how we respect each other’s
human rights. It is why we push for democracy and tolerance, because it
is the difference between people living and dying.
Of people being murdered. Of masses of people being erased. And we
see that today. We see it across the world. We have more people
displaced than ever, we have wars going on, we have more injustice. And
we really have to stand up very strong and pay attention. Go here for more from the special foreign-language issue of TheWrap’s Oscar magazine.
Updated Friday Let
the bubbly fun begin. By Golden Globes night, there will be more
champagne bottles than attendees chilling at the Beverly Hilton.
FRIDAY Hilarity for Charity, Vibiana, Downtown L.A.
While not technically Globes related, Seth Rogen and wife Lauren
Miller take advantage of the in-town talent to host an inaugural comedy
fundraiser long on Globes-esque star power. Jack Black, Ty Burrell, Aziz
Ansari, Bruno Mars, and even Jersey Shore’s DJ Pauly D. will fill the
cavernous cathedral to benefit the Alzheimer’s Association. CAA, Soho House, Friday night
Paramount’s Awards Season Celebration, Paramount Lot, Friday Night
In lieu of last year’s party at the Chateau, Paramount’s 2012 awards season celebration is a home game.
SATURDAY
BAFTA Annual Award Season Tea Party, Four Seasons, Saturday Afternoon
BAFTA’s annual afternoon tea is a hugely popular daytime destination
for film and TV talent. The roster is diverse: Pedro Almodovar, Kevin
McHale, Sir Ben Kingsley, Viola Davis, and crossover actress Ellie
Kemper will mingle with moguls. It’s what awards season would look like
in the movies.
Film Independent Spirit Awards Brunch, BOA Steakhouse Sunset, 11 a.m. Saturday Morning
This is a long lead pre-party. The Spirit Awards in Santa Monica are
six weeks to the day before this breakfast with nominees like Elizabeth
Olsen, Woody Harrelson, and Alexander Payne. As paparazzi haunt this
hotspot nightly, they may need to set an alarm clock to see expected
guest Nicole Kidman before noon.
William Morris Endeavor Golden Globes Dinner
It’s an early start to the night with cocktails and dinner at Craft in Century City beginning at 6 p.m. Showtime, Private Location, Saturday Night
Showtime CEO Matt Blank hosts a small dinner with the network’s talent.
SUNDAY
There are more bottles of champagne in the special refrigerated
truck behind the Beverly Hilton (1,500) than seated guests at the Golden
Globes show (1,300).
Even though Moet & Chandon will be pouring a special high-end
bubbly (Grand Vintage 2002), there’s no Hollywood pecking order within
the International Ballroom. The Clooney and Brangelina tables don’t get
anything more top shelf. “Everybody gets the same thing,” Moet’s
on-scene chief Paige Pedersen tells TheWrap.
After the show, up to 4,700 more guests will flood the Beverly Hilton for five after parties on site.
HBO, Aqua Star Pool
Look for the line heading downstairs. HBO always gives events a
theme that carries over from invitation to carpet to massive projected
visuals; they are always without sponsors. This is the event that proves
it’s both who you’re with, and where you’re at. With the most
nominations, the poolside bash anchors the post show festivities.
Weinstein Co., The Old Trader Vic’s
There could be Madonna. The Weinsteins will be celebrating “The Artist,” “The Iron Lady,” “My Week With Marilyn” and “W./E.,”
The Globes aren't till Sunday, but stars
have already begun celebrating. Among the dos: W Magazine's 'Best
Performances,' a BAFTA tea and a whole host awards day.
By Matt Donnelly, Los Angeles Times
January 13, 2012
The Golden Globes are famous for
inspiring the first real partying of the awards season, and it's
already well underway. Last Sunday, stars including Octavia Spencer, Zoe
Saldana, Julie Bowen, Mark Salling and Alexandra Breckenridge poured
into Cecconi's in West Hollywood for what is now the third year of a
traditional kickoff by hosts Audi and Martin Katz. So far, so good.
Here's our guide to the Globes' remaining pre- and post-show parties.
Friday:
W Magazine's "Best Performances":
The party is widely attended and always glamorous. W magazine's editor
at large Lynn Hirschberg will toast the Best Performances issue with
hotelier André Balazs in the penthouse of his Chateau Marmont. Dom
Perignon will flow in honor of stars highlighted in the issue, including
Rooney Mara, Tilda Swinton, Charlize Theron and Kirsten Dunst.
CAA pre-party: The power agency toasts its many nominees at the
Soho House. Last year, the members-only club saw Julia Roberts and Danny
Moder, a then-together Ashton Kutcher and Demi Moore, plus Colin Firth,
Eva Mendes and Jeremy Renner imbibing the signature Grey Goose Globes
cocktail, the golden goose (see our Destination: Cocktail).
Saturday:
BAFTA Tea: The Brits will serve an old-fashioned high tea in the
afternoon at the Four Seasons Beverly Hills, with Emily Watson, Evan
Rachel Wood, Shailene Woodley, Stephen Moyer, Max Minghella, Chloë Grace
Moretz, Ben Kingsley, Stephen Daldry and Pedro Almodóvar expected to
attend.
Instyle Beauty Lounge: All these prime-time events require some
aesthetic preparation, so InStyle will host its annual beauty lounge to
get folks glam all weekend. L'Oréal Paris will offer hair and makeup
services to such visiting talent as Malin Akerman and this year's Miss
Golden Globe, Rainey Qualley (daughter of Andie MacDowell).
Sunday
The Weinstein Co.: In the old Bar 210 space, Harvey
Weinstein will cheer his lineup of nominated films with cast and talent
from "The Artist," "My Week With Marilyn" and naturally, Madonna's
feature film "W.E." Expect Michelle Williams, Kenneth Branagh, Jean
Dujardin, a cameo from Quentin Tarantino and also grand dame Meryl
Streep, who stars in Weinstein's "The Iron Lady."
InStyle / Warner Bros: This lavish affair in the Oasis Courtyard
of the Hilton is the joint effort of the glossy magazine and the studio.
Celeb chef Giada De Laurentiis will personally design a menu for
nominees such as Leonardo DiCaprio for "J. Edgar."
HBO: Once again, the HBO folks will get down poolside (no
running, Kate Winslet) with casts from hits such as "Game of Thrones,"
"True Blood" and their applauded "Mildred Pierce" miniseries starring
Winslet, Evan Rachel Wood, Melissa Leo and Guy Pearce.
Sony: Expect countless home run metaphors if Brad Pitt takes home
the trophy for "Moneyball," as Sony celebrates at the top of the Hilton
in the Stardust Room. Pitt may swing by with his partner, Angelina
Jolie, to mingle with his costar and fellow nominee, Jonah Hill.
NBC Universal: Funny folks such as Tina Fey and Alec Baldwin of
"30 Rock" will pay homage to the peacock on the roof of the Hilton's
parking structure. Expect additional giggles from "Parks and Recreation"
stars Rashida Jones and Amy Poehler and husband Will Arnett, and
"Office" darlings Mindy Kaling and John Krasinski.
First-time writer/director Angelina Jolie gives war a face and soul in gripping ‘Land of Blood and Honey’
NEW YORK DAILY NEWS
Thursday, December 22 2011, 12:25 PM
The intimacy of war — how connected its enemies can feel, the emotional
impact each side has on the other — is difficult to portray. It’s the
inverse of the usual cinematic approach to battle, which involves
tactics and tanks instead of hearts and souls.
The accomplishment, then, of “In the Land of Blood and Honey,” Angelina Jolie’s
gripping debut as a writer and director, is not how it dramatizes the
division between Serbians and Bosnians once Yugoslavia succumbed to
tribal bloodshed after the fall of the Soviet Union. It is how the film
never loses sight of the closeness of the combatants, turning national
intimacy into a tragic casualty.
In 1992, Ajla (Zana Marjanovic), a Bosnian Muslim painter, leaves her sister and nephew to go to a nightclub, where she meets Danijel (Goran Kostic), a Serbian policeman and Aija’s potential lover.
As they start to flirt and dance, a bomb explodes outside, and the
division that has already engulfed Croatia erupts in Sarajevo.
Serb aggressors round up and shoot Bosnian men; the women are sent to camp.
Danijel, whose father (Rade Serbedzija)
is a general in the Serbian Army, becomes an officer at one of those
camps, where rape and demoralization are weapons of war. He at first
attempts to keep Ajla safe, though her fellow war prisoners suffer a
more cruel fate.
Later, after Alja escapes and is reunited with her sister, Danijel
hears of her whereabouts and sends a patrol to bring her back. He then
keeps her in his quarters, where she is able to paint and survive but,
also, live in fear of the sadistic soldiers — and of Danijel.
If Alja’s treatment reflects the war’s physical atrocities, Jolie’s
portrait of the ethically gray Danijel’s less-than-decent, morally
improvised intentions is one of “Blood and Honey’s” representations of
the war’s psychic toll.
This is not a love story torn asunder; it is, instead, about the soul of a people split apart.
Jolie’s actors, all from the former Yugoslavia and unknown in the West
except for the superb veteran character actor Serbedzija, give magnetic,
raw performances. Their commitment helps us through a movie that is
often harrowing, never less than intense but important, one unafraid of
moments too many have chosen to forget.
When actors decide to direct, it’s often a dicey proposition. Some are
naturals (Clint Eastwood) but others turn out films that are
unwatchable, self-indulgent hokum (anyone else sit through Nicholas
Cage’s “Sonny” in 2002?).
So how
does Angelina Jolie do with “In the Land of Blood and Honey,” which
marks her feature directing-screenwriting debut and landed her on the
cover of Newsweek? It’s a respectable first effort, longer on
earnestness than art, though much of that is due to her choice of topic
material.
“Blood and Honey” is a
drama set in Bosnia during and amidst the Bosnian War (1992-95). Jolie
is well known for her involvement in global humanitarian causes, and
here she takes on the notorious human-rights violations that occurred
during the conflict in the former Yugoslavia, including ethnic
cleansing, genocide and mass rapes.
She does so through the prism of a complicated love story, one that
begins in pre-war Sarajevo. That’s where Danijel (Goran Kostic), a
Serbian policeman, and Ajla (Zana Marjonovic), a Bosnian artist, strike
sparks while on a first date at a nightclub. As they dance cheek to
cheek, their budding romance is interrupted by a bombing, a harbinger of
the carnage to come. (The film is in Bosnian, with English subtitles,
though Jolie also shot an English-language version.)
Soon, war has broken out and Ajla is among a group of Bosnian women
taken prisoner and moved to a military barracks where Danijel is a
commander. The women have been brought there to serve as both servants
and forced sexual partners for the men.
Danijel takes Ajla under his protection, making clear to his men that
she’s off limits to them. The resulting relationship between the two is a
fraught mixture of passion and distrust, with neither ever quite sure
where the other stands emotionally. It would be impossible, given the
brutality and senseless violence going on all around them and their own
conflicted loyalties, for it to be otherwise.
More power to Jolie, both for taking on such a demanding subject and
for not trying to pretty it up or poeticize it. But the central conceit,
a wartime Romeo and Juliet story, around which she has built the movie
often seems an awkwardly manufactured device, one that is at odds with
the film’s almost documentary-like aspirations.
As a director, Jolie avoids showy angles or camera movements and
instead concentrates on telling a story. She displays a solid sense of
how to build narrative momentum, though she occasionally lets a scene to
stretch on too long to allow an actor an extended moment (a fault
shared by many other actors turned first-time directors).
Overall, Jolie has nothing to be embarrassed about and much of which to
be proud with this movie. Even in moments where the film doesn’t quite
work, she shows ample evidence of ambition and a discerning director’s
eye.
Photo: Producer Graham King, left, Brad Pitt and
producer Tim Headington arrive at the premiere of "In the Land of Blood
and Honey" held at ArcLight Cinemas on Dec. 8 in Hollywood. Credit:
Kevin Winter/Getty Images.
Producer Graham King has won an Oscar ("The Departed"), worked on any
number of critical and commercial hits ("The Town," "Traffic," "Rango")
and supports one of the better soccer teams in Barclays Premiere League
(Chelsea). But the feat he pulled off in Thursday's Golden Globe
nominations bears special mention, because King's productions were
nominated in three top categories: drama, animated movie and foreign
language film.
"It was quite a morning," King said. "It was surprising to have all
three — three filmmakers doing three totally different genres. I'm not
sure when it's been done before."
King financed "Hugo," which not only was nominated for dramatic
motion picture but also for director (Martin Scorsese) and score (Howard
Shore). King produced "Rango," nominated as best animated film, and
co-financed "In the Land of Blood and Honey," a foreign-language movie
directed and written by first-time filmmaker Angelina Jolie.
"It's so wonderful for Angie to get this recognition," King said of
Jolie, whose 2010 movie "The Tourist" was produced by King. "It's the
first time she's directed anything."
While "Hugo" is doing steady business at the box office and "Rango"
was a solid hit with global receipts of more than $245 million, "In the
Land of Blood and Honey" does not arrive theaters until Dec. 23. But the
film, shot largely in Hungary and set in the Bosnian war, did not
qualify for Academy Award foreign-language film consideration.
"This was a true collaboration and I am forever indebted to our cast
and crew, who experienced their own personal tragedies in the Bosnian
War and gave me an authentic perspective into the conflict," Jolie said
in a statement.
There are 2 famous hotels in the Cote d'Azur with very similar names. The one in the article is the Grand Hotel du Cap in Cap Ferrat, the other pictured left is the Hotel du Cap Eden Roc in Cap d'Antibes. The Pitts normally stay in Cap d'Antibes.
After Midnight in Cannes, Johnny Depp and Spike Jonze at the Bar du Cap
Published: May 14, 2011 @ 7:04 pm
By Sharon Waxman, The Wrap
After the red carpet and the wall of paparazzi, after the screaming crowds and the ocean of limousines, after the lights have gone down and come back up, after dinner is served and cleared and the high heels are held in one hand – after that, they’re all at the bar of the Hotel du Cap.
It’s after midnight on Saturday, and the fourth installment of “Pirates of the Caribbean” has premiered at the festival in Cannes. The moguls and stars gather a dozen miles down the coast at the famous Hotel du Cap. Producer Graham King stands grandly, drink in hand, to greet Johnny Depp in the lobby as the star triumphantly enters .
They smile and hug. Depp is ever the movie god, mysterious and beautiful. I remind him that we met for an interview when he was just starting out, when he gave the distinct impression that he could walk away from Hollywood at any moment.
“I still could,” he said with a grin.
King added: “Me too.”
Deep is leaving to London in a day to start shooting King’s next movie, “Dark Shadows,” directed by Tim Burton.
But first: Pirates!
“We got a standing ovation,” beams producer Jerry Bruckheimer (he actually tweeted this news), as Disney Studios chief Rich Ross wanders in a happy daze, his tie undone, his tuxedo askew (on his first Cannes tour, we wonder?). This is not insignificant; Cannes crowds are notorious for their brutal candor. A few years ago they booed the “Da Vinci Code.”
In the corner huddles the two-fisted punch of Hollywood gossip – Roger Friedman with publicist Peggy Siegal.
Bellinis all around. Harvey Weinstein is slapping backs as Antonio Banderas and a very-skinny Melanie Griffith find a table among the velvet suits and strapless gowns. UTA is present in force with Jim Berkus, Stacey Jacobs, Jeremy Barber, Theresa Peters talking shop. (Where is CAA, we wonder?)
After 2 am, a posse of young Hollywoodians comes wandering through the front door, just getting started: directors Jake Paltrowl (yes, brother of Gwynnie) and Max Winkler (yes, son of Henry and director of “Ceremony”) with producer Luke Silver-Greenberg. I’m told they’re staying on ‘the Spielberg yacht.’
That’s the big yacht parked down at the edge of the water. No, not that tanker-sized yacht, that would belong to oligarch Roman Abramovich. Lord knows why he’s at the Cannes festival.
Spike Jonze fends off admirers at the bar. Spike! Jonze! He has a slight beard.
Winkler, who wears that Wes Andersonish look of short trousers, corduroy and Keds, tells Jonze that he is often mistaken for him. In fact, he recounts an amazing story in which he met Dustin Hoffman and talked movie projects with him for 45 minutes. The entire time Hoffman thought he was talking to Jonze. Oh well.
Jonze finds this hilarious and admits that he is sometimes mistaken for Wes Anderson.
When someone tells him how much they enjoyed “The Royal Tenenbaums,” Jonze just smiles and says ‘thanks.’
It turns out that Jonze had a short in the festival that screened Saturday night, under the ‘Pirates’ radar. It’s a stop-motion piece, and Jonze’s name is nowhere to be found in the festival catalogue. How very like him.
More Bellinis. Talk of ‘How long are you staying?’and ‘How is your hotel?’ and this is the moment when the movie business is cooler than anything in the world.
It’s 3 am before they turn on the lights and send everyone home.
Let
the bubbly fun begin. By Golden Globes night, there will be more
champagne bottles than attendees chilling at the Beverly Hilton.
Even though Moet & Chandon will be pouring a special high-end
bubbly (Grand Vintage 2002), there’s no Hollywood pecking order within
the International Ballroom. The Clooney and Brangelina tables don’t get
anything more top shelf. “Everybody gets the same thing,” Moet’s
on-scene chief Paige Pedersen tells TheWrap.
