From finding Harvey Weinstein to generating 'heat' when the only females in your film are 'of a certain age', they'll give the inside scoop on everything you don't learn in film school.
Meanwhile, here's the latest instalment of Trevor's 'Gigolog':
It’s hard to know where the work ends and the partying begins. Everywhere you go, you end up talking film.
But then, we’ve been going to a lot of film parties. Working the yachts, still hoping to bump into Weinstein. We think he’s been looking for us as well. That’s probably why we haven’t met. We went to the premiere party of Penelope Cruz’s new film, Volver, in a huge tent on the beach. How? We waited till the security guard went to the lav. But she wasn’t there either. Maybe it was the seafood…
We were just relaxing when we met the team from the Los Angeles Film Festival, where we premiered in November. They love the film, so pitched it on our behalf to a big New York distributor. Hollywood people pitching a Brit film about gigolos to New Yorkers. It makes no sense at all, which in Cannes means it’s the most logical thing in the world.
This is when the hard work kicks in. We had the first screening of The Gigolos on Sunday. We had no choice in the screening time: you just take what you’re given. And pray.
Lots of people came, even though our hangovers told us most of Cannes would be in bed or trying to stop the throbbing pain behind their sunglasses. Some buyers stayed for the whole screening, others came and went. We’re told this is quite normal in Cannes. Buyers turn up half way through, then tell you they’re not buying it because they don’t understand the plot.
We’re not sure if people wear sunglasses to hide their eyes glazing over at the mention of tax breaks, or just because everybody else wears them. At the moment, it’s cloudy and the wind is so strong they’ve got bulldozers on the beach replacing the sand.
It’s not good weather for pitching the movie – how can we close the deal on the back of a napkin if the napkin just flies away? We may have lost millions.