Untitled

JURY CHIEF
SERGIO
MIMICA-GEZZAN
LOOKING
FORWARD
TO A BRIGHT
FUTURE FOR TV
F
ilm and television director Sergio Mimica-Gezzan is the
president of the 2011 Television Films jury. During a career
dating back to the late 60s, he has received three Director’s Guild
of America awards for his work as an assistant director, and is now
a regular lead director credited with directing episodes of series
such as Battlestar Galactica and Heroes, plus the recent television
adaptation of Ken Follett’s novel The Pillars of the Earth. He worked
with Steven Spielberg as an assistant director on eight feature films
including Saving Private Ryan and Schindler’s List.
“I was hired by Steven Spielberg when he was prepping Schindler’s
List because he wanted someone with experience of working in
Europe,” Mimica-Gezzan said. “It was a relatively low-budget film,
that was shot in Poland, and he wanted to avoid the Hollywood
model by keeping the crew as compact as possible. It was a very
enjoyable and intense experience because it was so personal for
everybody involved in it.”
Mimica-Gezzan also points to Saving Private Ryan as a highly
memorable and enjoyable shoot: “Like Schindler’s List it was an
intensely dramatic and emotionally-charged film,” he said. “But
re-creating those beach landings was a massive logistical task
of which I’m very proud.” He is also very grateful to Spielberg for
what he learned while acting as his assistant director: “Over those
eight films I experienced a lot of personal growth as a director. The
way that he works with actors is very interesting, he’s very open
to ideas. And once you’ve been in the presence of someone who
applies so much attention to detail to everything he does, it stays
with you,” he said. “But above and beyond any technical things I
might have learned, what has stayed with me most is a sense of
the atmosphere on set.”
Being jury president gives Mimica-Gezzan a chance to put himself
in the place of a typical film viewer: “It’s a great opportunity to just
sit down and enjoy films as a spectator, and to be exposed to films
from different cultures that I wouldn’t normally have the chance to
see,” he said. “It’s a wonderful indulgence.”
We are, he believes, in the middle of an important time for television
generally: “Networks are trying to re-define themselves through the
intensity of their offer, and indeed they have to because there are so
many other competing distractions, and as a consequence viewing
habits are changing,” he said. “People are stepping away from the
sort of habitual viewing that used to be the norm in favour of an
‘a la carte’ approach. They are getting used to the idea that they
can watch what they want, when they want, so in order to attract
viewers TV now has to be a real event all the time.”
Happily for the both viewers and TV executives, the medium is
increasingly attracting major talents: “We are seeing more and
more really inspired and creative writers, directors, producers and
actors which elevates the quality of productions and raises the bar
for everyone in the audiovisual industries,” he said. “Previously TV
was always regarded as having to compete with films, but these
days I think they are pretty much on the same level. And just like
great TV, feature films have to be a must-see event, and the people
making them have to think outside the box to make that happen.”
According to Mimica-Gezzan, we are witnessing the end of an era:
“The mass-production attitude, what I call the factory mentality in
TV production, has gone, replaced by much more creativity and
craft. The next thing I’d like to see happening across the global
audiovisual community, is for talent from countries other than
the usual suspects being given the tools and the opportunities to
shine. And, as with Pillars of Wisdom which was a multi-territory
co-production, I’d like to see more unorthodox financing which
gives directors the chance to take risks,” he said.
GS
3
JURY CHIEF
BARRY HANSON
“TV drama?
The more it
changes,
the more it
remains the
same.”
In a distinguished career covering 40 years, Barry Hanson
has worked with everyone from Stephen Frears to Sir Alan
Bates. Joely Richardson was his “Lady Chatterly,” opposite
Sean Bean. Now Hanson is heading a jury for the first time. “I
don’t know what that entails. But I’ve some friends who have
presided over juries so I’ve gleaned a couple of tips.”
He has few qualms about being referred to as a veteran producer.
“Call me what you like. Some people probably regard me as being
beyond retirement. Or, even beyond redemption! The point is, I
still have a few irons in the fire - and no, I’m not about to reveal
them here.” Known as Baz in the industry, he started at the BBC
at Pebble Mill, in Birmingham. His mission: hunting new writers for
BBC drama - then still known as plays. The Yorkshire born and
bred Hanson directed some of these TV plays. Plus stage plays at
theTheatre Uptairs at the Royal Court in Chelsea such as “Captain
Oates’ Left Sock,” by John Antrobus, a Godfather, alongside Spike
Milligan of British comedy from “The Goons’ to “Monty Python.”
“TV drama today? The more it changes, the more it remains the
same. Except, you don’t get the sensation of an individual voice
any more. There are some writers left who do it: Alain Bleasdale,
Jimmy McGovern. Ofter since the 80’s, the woman’s voice has
been more powerful. But when watching, you generally get the
sensation of a serrated bunch of executives in charge who are not
second guessing the audience but ultimately second guessing a
Dictator Boss who decides on the casting. Reality televison is their
revenge on everybody!”
In the 70s at the BBC, producers were paramount and Baz was a
winner because due to his Royal Court work he knew most of the
newer writers. Such contacts led him to his two magic classics one for Thames TV, one for the cinema.
“The Naked Civil Servant.” “I didn’t originally want to do
it. I’d seen a Granada documentary by the famed James Cameron
about the same man, Quentin Crisp. Philip Mackie’s script was
very, very good. But why do it again? Then, I read Quentin’s book.
That was very powerful. That decided me. “John Hurt was quickly
decided upon to play Quentin. But once there was a (half0 budget...
as long as Quentin Crisp was played by Danny La Rue!” [Britain’s
#1 drag artist].
“The Long Good Friday.” The problem Baz has with his 1980
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4
gangster classic, was not getting it made but getting it released.
“Lew Grade’s lot they hated it! His people weren’t good at reading
scripts, anyway. I remember attending the opening of “Raise The
Titanic” and telling them: ‘I’m here to see how you do it’!” “Titantic”
sank a second time, and “Good Friday” - Bob Hoskins, Helen
Mirren, Eddie Constantine and the debut of Pierce Brosnan- remains as good as ever. Eddie Constantine? Oui, the favourite
American tough guy of the French, was rapidly parachuted into
theMafia when Hollywood’s Anthony Franciosa “freaked out and
left because we increased his role!”
More recently, Baz Hanson has been responsible for “Resort To
Murder” and the horror film, “Creep” with Germany’s “Run, Lola,
Run” star, Franka Potente, on the run again in and below London.
He has also taught film at London University - and Cuba’s
International School of Film and Television of San Antonio de los
Baños. “That was the idea of Sandy Lieberson [producer of Ken
Russell, Michael Apted, Terry Gilliam, etc]. “I’ve known Sandy since
the 70s. He’s my idol because of “Performance” - the greatest
British film ever made! It’s also what led me into visual media - and
eventually to ‘The Long Good Friday’.”
“You always think that whatever you do is going to be better
than it may turn out. There have been many things that I’ve
enjoyed making but in terms of sheer teamwork, ‘The Long
Good Friday’ was the most creative, the most satisfying.” TC
OPENING FILM
“Our whole approach
was not to make a
drama-doc. The story
has been well covered
in documentary, this
was more about the
way these two guys
bump against each
other... We know the
concert took place but
with all the problems
they gave each other
you begin to wonder...
maybe it happened
the following year!”
“Harvey & Bob are capable of
taking people to the moon”
That is British film-maker Nicholas Renton on last night’s
opening film, “When Harvey Met Bob,” the behind-scenes
story of how the 1985 Live Aid concert came into fractious
being.
Renton had worked with executive producer Robert Cooper before
“when he producing a wonderful range of films as Head of Drama
at BBC Northern Ireland. We made ‘Murder in Eden,’ a three-part
comic tragedy in Donegal and we’d always kept in touch.”
He got the call and quickly accepted. “For the sheer challenge of
it,” laughs Renton. “On a much, much smaller scale, it was not
unlike what the music promoter Harvey Goldsmith had to deal
with. We didn’t haver a huge budget, having to make London in
Dublin, and shooting it in 16 days - and, by the way, we were
asked to do the Wembley concert, as well!
“Harvey is famous for saying: “But that’s stupid!” And then he goes
and does it. We did that, too! It workls!”
While working at the Edinburgh festival, the young Renton (son
of an opera conductor) met French mime Jacques Lecoq and his
Scottish wife. Renton was at a loose end before starting university
and went to Paris to study mime with Lecoq. “The most fascinating
six months of my life. An incredible training for a future director...
He took you down to the fundamentals of what an actor is, what
makes a scene. An amazing guy.”
After university, he joined the theatre - “started at the top and
worked my way down, from the Royal Shakespeare Company to
rep!” He was then among nine stage directors invited to join a BBC
Drama Directors Course. “They were looking for people who had
worked more with actors. It was intensive - like the Marines! We
came out shattered but clutching our films on VHS - and off we
went.” He found no difficulty in switching from stage to screen.
Paris had been his film school; Resnais, Truffaut, Godard, his
teachers. “I’d see two or three films a day in those small cinemas
off the Boul’ Mich’ .”
He’s worked in TV non-stop, a “broad mix” of 32 films, including his
takes of such movie legends as “Far From The Madding Crowd,”
and “A Room With A View.” Plus such films as “The Interrogation
of John - An Intense Study of a Serial Killer” (“before it became
6
fashionable to throw them into series”), “Wives and Daughters,”
his third collaboration with Michael Gambon, “Uncle Adolf” about
Hitler and his niece (Irish actress Elaine Cassidy, who also starred
in Renton’s Dublin comedy “Little White Lie”) and “The Russian
Bride,” a version of “Therese Raquin” written by Guy Hibbert - it
which won the F.I.P..A. Prix d’Or.
He also spent three years directing half of Robert Carlyle’s “Hamish
Macbeth” series. “We were at the very tip of Scotland, as near to
the Isle of Skye without falling in to the sea. We learned a lot about
light and weather - and everybody went a bit potty!”
When producers say “Get me Nick Renton,” they know they’re
going to get performances and truth. “I like the work actors
do [Francesca Annis, Sheila Hancock, John Hurt, Christopher
Plummer, Ken Stott, Lia Williams, Edward Woodward, etc.], I don’t
like glossing things up... I’m a kind of people person, interested in
how human beings are and get on together. That’s the fascination
of this film. We have two big names, legends, icons... Harvey and
Bob Geldof are capable of taking people to the moon!
“But underneath all that there are two blokes who really should not
have been in bed together! And yet Live Aid needed both Bob and
Harvey to get it to the Wemnley stage. To get it to the world. Look
what they achieved. Nothing before or since has been like it.”
As for Monaco’s big question this year - 3D or not 3D? - Renton
says: “Why not?” Then he adds: “It’s costly. But... Can you tell
Tony Crawley
better stories with it? Does it reach out...?”
?
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OPENING FILM
WHEN JOE
CAME TO MONACO
Joe Dunlop
Joe Dunlop, actor and writer of the hit biopic When Harvey Met
Bob, which was screened last night at the opening ceremony of
this year’s TV Festival, readily admits that being a script-writer
demands enormous amounts of patience and tenacity: “It has
taken 15 years to get this film made,” he said. “It started out
back then as a radio play called Remember Live Aid, that I wrote
for the BBC, and really it is mainly thanks to the enduring faith
of executive producer Robert Cooper that the film was made at
all. He kept re-acquiring the option every three years, and finally
it worked out thanks to funding from the BBC and Irish state
broadcaster RTE.”
Due to what Dunlop describes as ‘a very tight budget’, the
entirety of the movie was filmed in only 16 days: “The crew were
incredible, not only for the fact that time was very limited, but also
we were filming in Dublin, but of course the film is set in London,”
he said. “So we had to re-create Oxford Street and parts of Soho,
which was not easy but we managed. The most impressive thing
however, was the re-creation of Wembley Stadium.”
Both Goldsmith and Geldof were consulted about the accuracy
of their portrayals several weeks before filming started: “The only
thing that either of them objected to was when Goldsmith told me
that he would never have a dog as he does in the film, because
he is allergic to them,” Dunlop explained. “But when I told him
that the dog was there in order to support a joke about the dog
biting him because he was working so hard and never home, and
GS
the dog had forgotten who he was, he was fine about it.”
9
NEW STAR
© 2011 A&E Television Networks, LLC
The Breakout King
DIDJA
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Kne
Robert
s his
s
i
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Br
“Prison
ag
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charact third
in the
.
episode
After 72 hours, the odds of finding an escaped prisoner drop to
less than five percent. Knowing that there are few things more
dangerous than a convict on the run, and tired of outdated
methods of law enforcement, veteran U.S. Marshal Charlie
Duchamp (Laz Alonso, photo) leads a team of notorious convicts
who are drafted to be bounty hunters who catch fugitives in
the riveting dramatic series, “Breakout Kings.” created by Nick
Santora and Matt Olmstead - writers/producers of the hit series
“Prison Break.”
Ray Zancanelli (Domenick Lombardozzi) an ex-cop currently
on parole helps Charlie lead the team and together take an
unorthodox approach to their work: using former fugitives to
catch current ones.
Laz Alonso is well known as ‘Tsu’Tey’ in the highest grossing film
of all time, “Avatar.” He graduated from the prestigious Howard
University School of Business, earning a Bachelors Degree in
Business Administration with a concentration in marketing. After
college, he worked on Wall Street at an investment-banking
firm. He and two partners eventually started their own marketing
business, promoting mainstream products to the trend-setting
urban market. Owning and operating his own successful business
freed up Laz’s time to finally explore his passion for acting. Laz
began taking classes in the evening to hone his craft and it didn’t
take him long to begin landing roles in commercials and videos.
He then moved into such TV series as “Soul Food,” “The Practice”
and won the vital role of Corporal Hector Negron in Spike Lee’s
“Miracle at St. Anna.” His latest releaase is the rsuccessful
omantic comedy, “Jumping the Broom.”
Rencontre avec Marco Turco, réalisateur et juré
« Mieux vaut tard que jamais… »
C’est avec une bonne année
de retard que le réalisateur
et scénariste italien Marco
Turco va découvrir le
Festival de Monte-Carlo.
L’an dernier, à sa grande
surprise, sa mini-série «Il
était une fois la cité des
fous», produite par la RAI,
obtient la Nymphe d’Or de
la catégorie.
Retenu au Festival de
Shanghaï, il n’avait pu
faire le déplacement en
Principauté…
Qu’à cela ne tienne, il a
«sauté de joie» en étant
contacté en début d’année pour faire partie, pour la première
fois de sa carrière, d’un jury international, celui dédié aux Films
de Télévision. «Je m’en voulais tellement d’avoir manqué
cette consécration monégasque en live, tant le tournage
de cette œuvre autour de la maladie mentale avait été âpre,
confie cet ancien assistant réalisateur de Franco Giraldi,
Damiano Damiani et Gianni Amelio. Comme je voulais à tout
prix éviter le danger de la caricature, je me suis énormément
documenté sur la folie au travers d’interviews de psychiatres
et de malades aussi».
Loin de vivre cette année
l’angoisse du réalisateur en
compétition, Marco Turco
reste néanmoins concentré
sur son sujet. «Cette mission
de juré est très prenante. Je
l’assume avant tout avec
l’œil du téléspectateur, avant
de l’enrichir de critères plus
professionnels. Finalement
l’émotion reste le meilleur
des révélateurs».
A l’instar de ce qui se passe
en Italie, il se félicite de voir
la télévision s’emparer de
sujets de société qui ont fait
les belles heures du cinéma.
«Aujourd’hui, la tendance est inversée, du moins de ce côtéci des Alpes. Avant, le cinéma modelait l’opinion, maintenant
c’est la télévision qui touche le grand public. Pour des raisons
financières aussi, les producteurs italiens préfèrent la comédie
au drame…».
Marco Turco parle d’expérience, lui qui essaie de boucler un
projet cinéma sur un procès pour pédophilie, inspiré d’une
histoire vraie, tandis qu’il a plus de facilités à achever l’écriture
du scénario d’une nouvelle mini-série sur le thème des maisons
closes… pour la télévision cette fois.
Hervé Zorgniotti
11
Rencontre
L’URTI ne pouvait
trouver meilleure
présidente en la
personne de la
Tunisienne Dora
Bouchoucha,
productrice de
cinéma mais
aussi d’idées et de
nouveaux talents.
Dora BouchOUcha
ne perd pas le Sud
Une silhouette longiligne, à l’élégance
sobre, Dora Bouchoucha est animée par
deux passions : promouvoir le cinéma
du Maghreb et plus largement arabe
et africain à travers le monde et faire
connaître les jeunes réalisateurs.
La présidente de la commission du
«Fonds Sud Cinéma» est engagée de
longue date au service de la création et de
la diffusion des cinématographies du Sud.
«Ce fonds a été créé dans les années 80
par les ministères français de la Culture et
des Affaires étrangères pour aider ce que
l’on appelait, à l’époque, «les cinémas
fragiles» : cela concernait au départ le
Maghreb et l’Afrique». Puis, peu à peu,
le champ d’intérêt s’est élargi, et le fonds
s’est intéressé aux cinémas d’Amérique
latine, de Chine, d’Inde, des pays de l’Est,
du Moyen-Orient et bien sûr, toujours, de
l’Afrique et du Maghreb ».
En fait, ce «Sud» n’est plus aujourd’hui
une appellation géographique, mais
davantage la définition de cinémas
émergents et fragiles qui demandent un
soutien ». Dora dirige aussi les Journées
cinématographiques
de
Carthage,
festival biennal créé en 1966 à l’initiative
du ministère tunisien de la Culture, avec
pour vocation de faire émerger sur la
scène internationale les talents demain.
«Qu’un réalisateur soit sélectionné
pour un Festival, c’est bien. C’est un
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tremplin formidable. Mais la véritable
reconnaissance reste la diffusion de
l’oeuvre». Elle a également créé, en 1997,
les ateliers Sud écriture, soutenus entre
autres par le ministère de la Culture et
de la Communication (CNC) et destinés
à développer la formation et la pratique
des scénaristes de cinéma issus des pays
du Sud. Fiction ou documentaire, court ou
long métrage, Dora Bouchoucha passe
de l’un à l’autre, l’essentiel étant de faire
émerger de nouveaux réalisateurs comme
pour « Sabrya », d’Abderrahmane Sissako
(moyen métrage sélectionné à la Mostra
de
Venise), «La saison des hommes»
de Moufida Tlatli, «Barakat» de Jamila
Sahraoui (primé lors de
la 20e édition du
Festival Fespaco de Ouagadougou) ou
encore «Satin Rouge» de Raja Amari.
«Face à la révolution qui s’est déroulée
en Tunisie, nous avons créé un thème
porteur pour nos ateliers Sud écriture
avec comme, thème, «Democracy
uploading» (Démocratie en chargement)
où nous avons sélectionné huit jeunes
auteurs, aidés par deux documentalistes
anglais. La Révolution tunisienne vue à
travers le prisme de jeunes réalisateurs.
Une période exaltante et forte pour mon
pays et nous n’avons pas le droit de rater
ce bouleversement. Il faut prendre son
temps, ne rien précipiter. Quant au cinéma,
le talent fera toujours la différence». GC
Proclamation
du palmarès
ce soir à 19h
à l’Hôtel
Hermitage
L’URTI livre
son verdict
Le Jury URTI a depuis
hier après-midi bouclé
ses délibérations
pour l’attribution des
récompenses dans
la catégorie des
documentaires d’auteur.
La proclamation du
palmarès se déroulera ce
soir à 19h dans la Salle
Belle Epoque de l’Hôtel
Hermitage et sera suivie
d’une soirée spéciale,
en présence de Michel
Roger, Ministre d’Etat de
la Principauté, et JeanLuc Hees, Président
de Radio France et de
l’URTI.
L’Invincible
mais irrésistible
Sonia Rolland
Frédérique Hébrard
et Louis Velle
Lorie et
Philippe Bas
en haut de
l’affiche
oine
Jean-Luc Lem
, habillée
Sandra Lou
ice
par la créatr
am de la
m
Te
l
ta
n
Cha
de Nuit
in
Maison Ba
14
Deborah Grall,
la petite fille de
Philippe Noiret
Caroline Proust
et Audrey Fleurot
prises dans
l’Engrenage
Maggie Q, S.A.S. le Prince Albert II
et Corey Stoll
Blandine
Bellavoir
Gérard Jugnot
et sa femme Saïda
15
PROJECTION TONIGHT
Maggie Q
succeeds
Anne Parillaud,
Bridget Fonda
and Peta Wilson
in the role of
Luc Besson’s
famous hitwoman.
Nikita Is Back!
Warner Bros. Television Entertainment/Jan Thijs © 2011 WBEI. All rights reserved.
First, there was a French thriller in 1990 called “La
femme Nikita.” Actually, it was a love letter from
French film wiz, Luc Besson, to his then wife - and sure
enough she won a Cesar award for it. Two years later,
there was a Hollywood re-make, “Point Of No Return.”
Then, a TV series, “La femme Nikita,” 1997-2001. Now
another TVersion has been made for the CW Television
Network.... to be seen tonight in a sneak preview of
two episodes at the Salle Prince Pierre, in the Grimaldi
Forum at 20.30.
This time, Nikita has gone rogue.
She is the first CIA, er, Divison operative to escape - to
turn the tables on the secret government agency that
stole her life (and killed her fiance) as it moulded her (and
others) into efficient spying and killing machines.
Our “Nikita” star guests are Maggie Q, aka Nikita,
herself... Percy (a previous festival guest in his “24”
days, Xander Berkeley) and Lyndsy Fonseca as Alex,
Division’s newest recruit, a kind of Nikita 2.
When invited by Warner Bros. to devise a new series,
exec producer and “Nikita”-lover Craig Silverstein posed
two vital questions. Could it be freshened up? Where
viewers never know how and where it would end? The
answer to both was to kick-off the new tales after Nikita
did the impossible - and escaped.
“No one’s told her story after the fact,” says Maggie Q.
“This is her tale about how she gets back at the people
who have hurt her. No one knows where she is going.”
Least of all, Nikita.
Maggie Q was born in Hawaii to an Irish-Polish father
and Vietnamese mother. One year, Margaret Denise
Quigley went, as a “broke student,” to take a look at
Asia... exactly when Jackie Chan was looking for young
talent for films he produced but never starred in.
As Nikita, she uses mixed martial arts and an Israeli
combat technique called Krav Maga.. “When I do action,’
she told the London Times, “I do action! I’m dedicated to
that for my audience.. People will feel the authenticity.”
“I knocked a guy out while shooting the pilot,” Maggie
later revealed to E! Online. “He didn’t duck, you know? In
13 years, I’ve never hurt anyone. He was 6’4. He literally
dropped to the ground I just stood there going: ‘What
just happened? What just happened?!’.
Tony Crawley
Evenement TF1 à 20h30,
en presence de l’actrice
Maggie Q, alias Nikita
On connaissait le personnage originel, alias Anne Parillaud
dans le film de Luc Besson, Bridget Fonda dans le remake
US « Nom de code : Nina », Peta Wilson, héroine d »une
première série TV dérivée « made in Canada »… Il faudra
désormais compter sur Margaret Denise Quigley plus
connue sous le diminutif de Maggie Q, dans cette nouvelle
production de la Warner qui s’apprête à débarquer sur les
écrands de l’Hexagone. Diffuseur des séries américaines
les plus appréciées du public français, TF1 est heureuse
de présenter ici à Monte-Carlo en avant-première les deux
premiers épisodes de «Nikita».
L’atout charme de cette nouvelle adaptation du film de Luc
Besson tient en partie à son héroïne, interprétée par Maggie
Q («Die Hard 4», «MI3») qui sera présente Principauté.
Shane West («Urgences»), Lyndsy Fonseca («How I met
your mother», «Desperate Housewives»), Aaron Stanford
(«X-Men» 2 et 3), Xander Berkeley («24») et Melinda Clarke
(«Newport Beach») complètent le casting de cette série.
L’histoire, elle, demeure inchangée : Division est une agence
gouvernementale secrète qui recrute des personnes n’ayant
plus aucun lien social pour les entraîner à devenir des
tueurs d’élite. Quand Nikita, l’un de ses meilleurs membres,
découvre que l’organisation est corrompue, elle décide de
s’échapper. Mais personne ne quitte Division. L’agence
lance alors à ses trousses des agents surentraînés pour la
traquer…
Marion Game et Gérard Hernandez.
Quand la coupe est pleine...
Tirs couplés
Du lundi au samedi, M6 diffuse les «Scènes de
Ménages» de Marion et Cédric, les trentenaires,
de Liliane et José, les quinquas et de Huguette et
Raymond, les seniors.
Trois couples qui se déchirent, se disputent, règlent
leur compte pour le pire de leur union et pour le
meilleur des téléspectateurs.
Loup-Denis Elion (Cédric), Frédéric Bouraly (José),
Marion Game (Huguette) et Gérard Hernandez
(Raymond) seront aujourd’hui au Grimaldi Forum,
à 18h, pour une «scène» de dédicaces et une
rencontre avec leur public, suivies d’une projection
d’épisodes inédits.
17
STAR TIME
Two years ago they conned everyone - family and friends - that
they were getting hitched. Just to cash in on the wedding gifts.
That was “My Fake Fiance,” that was. And quite a hoot. Which
is why they’re back together - for a series, this time. Melissa
Joan Hart plays “Melissa & Joe” is Joseph Lawrence.
“When the movie worked, ABC came to us immediately after that,
like literally a week after, and asked if we would be into doing a
series together,” Lawrence explains. “I hadn’t done a half-hour
series in a long time, but I said I like Mel and would do it if we
could do something that’s really good. And they wanted it on the
fast track because they want to cash in on the heat of our movie...
so everything has seemed to fall into place.»
First before a camera at age four in a commercial for a bathtub
toy called Splashy (she made 25 more within a year), Melissa is
now a leading American actor, writer, television producer, director,
singer and businesswoman - vice-president of the company she
runs with her mother (and agent), Paula Hart, and stepfather, Leslie
Gilliams. Hartbreak Films, what else?
Melissa plays Mel, a one-time rebellious, irresponsible party girl,
who is now a councilwoman in Toledo, Ohio - and suddenly,
legally in charge of her niece and nephew after her brother-in-law
skips town and her sister is jailed for their white collar crimes.
One of their victims is Lawrence as Joe Long, a commodities
trader who lost his job and is living in his car - until volunteering to
be the kids’ nanny.
A non-stop series star for close on 15 years, Melissa starred in
“Clarissa Explains It All,” 1991–1994, followed by “Sabrina the
Teenage Witch,” 1995-2003 - preventing her completing her NYU
degree. She tried her hand at directing for a 1999 episode of the
Disney Channel’s “So Weird,” starring Emily. It went well. Very well.
She helmed her first movie in 2005, a short called Mute, starring
Emily again and directed a music video, “Anger Cage,” for her
husband Mark Wilkerson’s band Course of Nature.
Born Joseph Lawrence Mignogna Jr. in Philadelphia, Lawrence
previously had his own show in the 90s, “Gimme A Break!”
Followed by “Blossom,” “Brotherly Love,” “American Dreams:”
and “Half & Half.” And now, a nanny called Joey... “You could really
see someone like Bruce Willis in his prime playing this role. It’s that
arrogant guy that you should hate - but for some reason is really
likable.”
Tony Crawley
DIDJA KNOW?
In 2001, Melissa Joan Hart achieved a childhood dream of opening a candy store.
It’s in Sherman Oaks and it’s called - what else - SweetHarts.
19
LEGEND
Back for another - and most
welcome - visit to the festival is
the terror from “Little House on
the Prairie,” Alison Arngrim.
This time she’s wearing a new
hat - author of her own, often
wickedly funny autobiography.
First off, she auditioned for Laura
Ingalls. Or, hey, Mary, would do. She
was turned down as Melissa Gilbert
and Melissa Sue Anderson turned up.
When asked to test for Nellie Oleson, she
nailed it on the spot. “Being Nellie,” she
says, “saved my life.”
Alison had been sexually and physically abused
from ages 6-9 by a family member (“not my parents” and
she didn’t tell them until in her 20s). Naturally, she had “all this
horrendous rage and nowhere to put it. You’re powerless, you
can’t go kill him, can’t tell anyone… also you feel like you’re not
normal and you can’t trust anyone So the episodes where Nellie
would scream and yell and break everything - do you have any
idea how good that felt? It was the most incredible therapy.
DIDJA KNOW?
I could let it all out.” She continued
acting on stage and screen after the
“Little House” sets were razed in the
final episode, including her funny
one-woman show, “Confessions of a
Prairie Bitch” - now an autobiography,
“La petite garce dans la prairie.”
published by Éditions Florent Massot.
Today, she will, be signing copies at
FNAC from 6pm.
Alison also turned producer, and most
important of all, AIDS activist following the
1986 AIDS-related death of Nellie’s screen
spouse, Steve Tracy. She also toils on behalf of
molested children, lobbying to toughen a California
law against abusers who victimise family members.
Good work for a bad girl! Michael Landon would be proud of
her. “Oh, Michael… He was one of the funniest men who ever
lived. He was so un-Pa Ingalls.
He was this wild, irreverent,
funny person. And he drank, he smoked, he was married three
times. He was not, you know, St. Michael of the Prairie.”
Tony Crawley
Not only has Alison performed her stand-up shows in France
but Alison has also made a French movie, “Le deal,” for Jean-Pierre Mocky in 2006.
“A madhouse and I loved every minute of it.”
20
Britz In! Every year British actors jet into LA
for the pilots’ casting season. Here are just
five of them... Raza Jaffrey has gone from the
Beeb’s “Spooks” to Spielberg’s “Smash”...
Lucy Griffiths (Marian in “Robin Hood”) won
the lead in the zombie thriller, “Awakening”...
Eamonn Walker (the star of “Oz”) heads the
science fiction cops of the “17th Precinct”...
Beautiful Ashley Madekwe, of “The Beautiful
Life,” was first actor signed for “Revenge”...
I doubt he had to audition - not after his gigantic
impact in HBO’s “Games of Thrones,”
“... I couldn’t
possibly comment.”
Great Scott! The Scott brothers, Ridley and
Tony, behind two new BBC drams - a fourparter based on Philip K. Dick’s “The Man in
the High Castle” and “Pigeon English,” about
a murder being investigated... by a 12-yearold Ghanaian boy in London.
Titles of the Year. “Dirty Grandpa”... “I Hate
That I Love You”... “Council of Dads”... “Don’t
Trust the Bitch in Apartment 23”... and “Good
Christian Bitches.” That has since become
“Good Christian Belles,” because a lot of
“GCBs” complained...
P.C.
Nothing Sacred? ABC’s “Revenge” is
such a contemporary take on “The Count
of Monte Cristo” - it’s set in the Hamptons that Edmond Dantès is... a woman. “Captain
Blood” is to be (re)booted into space and
“Robin Hood” into the future - not the same
post-apocalyptic one that’s awaiting poor
“Zorro.”
Pity. This is about all we get to
An Actor’s Life if not all red carpet and
see of Adrianne Palicki as “Wonder
flashy choppers. Take a recent month in the
life of Jeff Hephner... 1. He beats a bunch of
bigger names to the lead of a swanky attorney
in NBC’s “The Playboy Club.” 2. After the first
table read, he loses it - to Eddie Cibrian. 3.
Hephner (maybe NBC thought it was Hefner!)
then wins another Chicago-set show, “Boss,”
with Kelsey “Frasier” Grammer. Wonder which
will last longest.
Take Your Choice. There is a hole where
“Lost” used to rule (after “The X Files” used
to rule) and so far no one has come up with
another weirdie. “Flash Forward” flashed
out... Latest contenders are “Locke & Key,”
with a lawyer working with (whisper it do)...
an angel. Just as Patrick Wilson’s “A Gifted
Man” is helped by his (ssh!) dead wife... while
the folk at “S.A.N.D” - Sleep and Nightmare
Division - enter people’s nightmares..
Where Are They Now? Al Pacino and
Barry Levinson, star and director of last year’s
opening film, “You Don’t Know Jack,” plan to
“redefine the mob picture” with “Gotti: Three
Generations”
Biopic. For four intense hours, Chloe Sevigny
will be American’s legendary axe murderess
(she killed her father and step-ma) in HBO’s
“Lizzie Borden.” Chloe also co-produces with
her “Big Love” series producer, Tom Hanks.
Doc of the Year. The funniest, anyway,
is Phil Rosenthal’s “Exporting Raymond.”
This follows Phil to Moscow to help set up
“Воронины,” the Russian version of his hit
sitcom, “Everybody Loves Raymond.” The
doc is even funnier than the series! There are
already successful local Raymonds in Israel
and Poland.
Third Generation. Dominik Fairbanks,
producer of the new TVersion of ”Ivanhoe”
is the great-grandson and grandson of
Hollywood legends Douglas Fairbanks Snr.
and Jnr.
© Relativity Media / DR
FULL MONTE
One is never enough. So HBO now has both
Hoffmans... Dustin is a an organised crime
figure in his first series, “Luck,” and Philip
Seymour Hoffman is a warder in (and outside)
one of those new, profit-orientated private
prisons in “Upstate,”
Woman.” Wonder-man David E.
Kelley’s take is too modern for a
wonder series. She should have
been British - like Batman, Spider
Man, Superman and X-Men...
A few years ago, I had to call up
one of our guests, British actor Ian
Richardson, to check the exactitude
of his most famous phrase in a
smash-hit BBC serial. It has since
become part of the UK lexicon:
“You might well think that. I couldn’t
possibly comment.”
Kevin Spacey is now relishing that
line in what is more, much more,
than just another US re-make. For
instance, David Fincher will direct
the first episode of “House of
Cards,” based on the 1993 political
thriller by Margaret Thatcher aide
Michael Dobbs.
However, the big shock is not that
Hollywood will make 26 episodes
out of the BBC’s eight, but that it’s
not for HBO, AMC, Showtime but the
Net. The major Internet streaming
company, Netflix, is paying $100m
for the unmade series... to be seen in
2013. Experts query the economics
of such a deal (Netflix’s first for
original material) but then they don’t
know what Netflix knows - the sheer
power of the 1990 BBC mini.
And the Emmy will denfinitely go
to Spacey. He was perfect for the
insidious, murderous politico back
in 1990. So what him took so long?
>>GWYNETH PALTROW IS RETURNING TO “GLEE” - OF COURSE, SHE IS >>SHOWTIME IS PREPPING A SALMAN RUSHDIE PROJECT
>>GOOD LUCK, CHUCK - ASHTON KUTCHER IS REPLACING CHARLIE SHEEN IN “TWO AND A HALF MEN.” WELL, MUSTN’T MISS THAT<<
23
Projections Publiques
Le 51è Festival de Télévision de Monte-Carlo vous ouvre ses portes
au Grimaldi Forum Monaco (accès libre et gratuit)
Mardi 7 Juin I 18h00 I Grimaldi Forum
« Scènes de MénageS »
Projection d’inédits, rencontre avec le public
Séance de dédicaces avec les acteurs
Distribution de goodies...
Accès libre I Dans la mesure des places disponibles I Fermeture des portes à 17h45
Mardi 7 Juin I 20h30 I Grimaldi Forum
« Nikita »
Mercredi 8 juin I 19h30 I Grimaldi Forum
« Le Trône de Fer : Game Of Thrones »
Projection de la série en présence des acteurs
Un succès fulgurant aux Etats-Unis pour
cette série fantastique inspirée des romans
fantaisie de George R. R. Martin
© 2011 Home Box Office, Inc. All rights reserved. HBO® and all related
programs are the property of Home Box Office, Inc.
Avant-première des deux premiers épisodes
de la série phénomène inspirée du film
éponyme de Luc Besson, en présence des
vedettes principales : Maggie Q, Shane West
et Lyndsy Fonseca
Jeudi 9 juin I 18h00 I Grimaldi Forum
« Les Mystères de l’Amour »
Pour la 1ère fois : Rencontre publique et
séance de dédicaces avec tous les acteurs
Nombreuses surprises !
Accès libre I Dans la mesure des places disponibles I Fermeture des portes à 17h45
Pour obtenir votre invitation gratuite, rendez-vous sur le site internet www.tvfestival.com
et téléchargez votre pass invité.
24
© TMC / J. Cauvin - N.Dupuy
(suite d’Hélène & Les Garçons)
EN compet’ aujourd’hui
TUEsDAY June 7
* MINI SERIES
09:30
11:15
13:45
15:30
THE SINKING OF THE LACONIA (United Kingdom)
BLOODY NIGHT (Portugal)
GOD’S MIGHTY SERVANT (Germany)
TONY’S REVENGE (France)
* TELEVISION FILMS
09:30
11:05
14:00
15:45
BORN WITHOUT CHILDBIRTH (Czech Republic)
KONGO (Germany)
MADEMOISELLE (France)
IT’S ME, GRANDMA (South Korea)
* NEWS DOCUMENTARIES
Le journal
90’
52’
90’
50’
TELE VISIONS
est réalisé et édité par
ISOPRESS
© www.isopress.fr
78’
89’
90’
65’
en collaboration avec le
Festival de Télévision
de Monte-Carlo
Grimaldi Forum / Niveau -1
T: +377 99 99 30 80
[email protected]
43’
47’
Directeur de publication
David TOMATIS
09:00
THE LINGERING WAR (Germany)
LAUGH IT AWAY AND SAY GOODBYE (Japan)
10:45
TRAPPED BY DRUGS (France)
55’
AFTER TWO WINTERS AND TWENTY YEARS (Russia) 22’
13:30
INSIDE IRELAND’S ILLEGAL CIGARETTE TRADE (Ireland)
THE MEDIA: JOURNALISM IN CRISIS (USA)
52’
56’
Gérard Clétil
15:35
A CRISIS WITHIN (Singapore)
THE SMELL OF DEATH (Hungary)
52’
15’
Tony Crawley
Toutes ces oeuvres peuvent être visionnées par les festivaliers, sur simple
demande auprès du service de la Vidéothèque.
Hervé Zorgniotti
Rédacteur en Chef
Journaliste
Journaliste
Gary Smith
Journaliste
Jean-Charles Vinaj
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Coordinateur
Ahmed Bachir
Photographe
Denis Guignebourg
Photographe
Caroline Pons
Photographe
Aurély Antzemberger
Graphiste
Miriam Berger
Iconographe
Multiprint
Impression