Maybe nostalgia's not what it used to be, but Moving Pictures begs to differ. During this year's festival we will be asking influencial industry figures to reflect on their experiences, the last 51 years of Cannes, and life in general
There seemed no more appropriate place to start than at the beginning and the one industry executive who is known to have attended every single Cannes Film Festival. His name is Norman Katz, for whom the phrase “gentleman and a scholar” could have been originally been coined.
Katz can be found, as always, in suite 115 of the Carlton which houses his Beverly Hills-based sales company Norkat. He has been an ambassador for independent films throughout the world and has done more than most to make the film industry a global industry without barriers.
When did you first come to Cannes and why?
I was at the very first Cannes Film Festival in 1946. I had just entered the motion picture industry as a trainee with a French motion picture company.
What is your most memorable Cannes moment?
Among my most memorable moments in Cannes was introducing an unknown UCLA film-school graduate in 1967.
His name was Francis Ford Coppola and his first commercial film was You're a Big Boy Now, the sole US entry that year. Then there was the Woodstock experience and its introduction to Europe, which I was very involved in. Seeing Death in Venice and Luchino Visconti win the Grand Prize in 1971 was another memorable moment. And in 1960 the great gala party for Never on Sunday - and there was Melina Mercouri who won the best actress award that year.
What are your favourite Cannes films and why?
Among my favourite films of all time were Carol Reed's The Third Man in 1949; George Clouzot's La Salaire de la Peur in 1953; Delbert Mann's Marty in 1955; William Wyler's Friendly Persuasion in1957; Marcel Camus' Black Orpheus in 1959; Federico Fellini's La Dolce Vita in 1960; Jacques Demy's The Umbrellas of Cherbourg in 1964; Francis Ford Coppola's Apocalypse Now in 1979 and Akira Kurosawa's Kagemusha in 1980. There were others of course, but for me the above films all represented milestones in filmmaking.
What do you most enjoy about Cannes?
Renewing old acquaintances.
If anything, what do you most dislike about Cannes?
The “Pretenders!”
What is your greatest extravagance in Cannes?
Being here.
Would you like to be invited to sit on or preside over the jury?
Yes, because the people who sell the films are often overlooked. As far as I can remember only one person involved with selling has ever been on the jury.
What is your greatest Cannes regret?
The “old days”.
Which word or phrase do you overuse in Cannes?
The most likely words and phrases are not in my vocabulary, but “Where's Henry?” comes to mind.
What do you consider your greatest Cannes achievement?
Still being able to participate.
If the president of the festival, Gilles Jacob, offered you his job for a year, would you accept?
Never.
If you could choose, what would you most like to come to Cannes as?
Myself.
If you could have been involved in only one film, what film would it
have been?
Luchino Visconti's The Leopard in 1963.
Which of this year's summer releases are you most looking forward to seeing?
The Lost World: Jurassic Park, Con Air, Batman and Robin, Contact; Air Force One and Conspiracy Theory.
Berlin or Venice?
Venice.
Palme d'Or or Oscar?
Both.
Petit Carlton or Carlton Terrace?
Carlton Terrace.
Old Palais or New Palais?
Old Palais.
Shrine or Dorothy Chandler?
Dorothy Chandler.
Art or commerce?
Art.
Beatles or Rolling Stones?
The Beatles
Letterman (David) or Leno (Jay)?
Neither!
New York or Los Angeles?
New York.
Yankees or Dodgers?
Dodgers.
World Cup or World Series?
World Series.
French or Italian?
French
Fax or e-mail?
Both.
