Claude Berri is a man who knows his own worth. "I wasn't waiting for an homage as a producer to know that I am the best producer in Europe. It's nothing new," he tells Moving Pictures. 
 

While that statement indeed provides some insight into the man, to really know him – according to Berri himself – requires seeing his film Le cinema de papa. As Berri was reluctant to talk to journalists who hadn't seen the film, but were doing interviews before Cannes, this figurative requirement became literally mandatory. Fortunately, several screenings were organised at Berri's Paris offices.  

It turned out to be an enlightening two hours. Working as actor, director and producer on this largely autobiographical (Berri says it's not 100% true) film from 1970, Berri escorts the audience through the life of his character, the aptly-named Claude Berri (born Langman). The son of a Jewish furrier who wants for his son the things he never had; education, financial success, etc. Young Berri constantly confounds his father through typical and not-so-typical boyish mischief. As Berri finagles his way out of every opportunity his father provides, he sets his sights on a career in film. After many failed attempts, from acting to producing, things finally come together when Berri pens a script based on his family and realises it is his father who was the actor in the family all along. Eventually, pere Langman has his day in the spotlight through a part in one of his son's films.  

Although this poignantly funny father/son love story has been chosen by Berri to represent his work, it comes with even more baggage than is inherent in its plot. According to Berri, festival director Gilles Jacob reviewed the film at the time of its initial release in 1970 – and panned it. Now, says Berri, "We discussed the choice of films and there was the incident around (the review) which amused me. When I talked to Jacob about it we agreed on the choice as a sort of complicity between us, given that 25 years ago he didn't like the film."  

Whereas most of the producers being honoured chose only three films to be shown, Le cinema de papa brings Berri's total to four. He explains that he didn't make the choice himself but with the help of the festival, and that he has a fourth film "because I am also a director". It probably also helps that Le cinema is soon to be re-released theatrically.  

Along with Le cinema, Berri will screen Roman Polanski's Tess (1978), Milos Forman's Valmont (1989) and Jean-Jacques Annaud's L'Amant (1991). Unlike others, Berri is not showing films which represent a long collaborative history with certain directors. The producer's filmography includes two films each from Forman and Annaud and only one, Tess, from Polanski. Explains Berri, "It made sense. This is an international festival and among all the films I've produced, or all the directors, these were the most international films." Berri adds that he has a friendship with Roman Polanski apart from the work and that many of those he's worked with in the past will be present for his day, though he won't confirm who, intimating a few surprises.  

Still, if those films are the most international, they are perhaps not the most impressive of his oeuvre at home. As a director, Berri is responsible for such important French films as Jean de Florette, Manon des Sources and Germinal. Through his production company, Renn Productions (recently bought by Pathe along with Berri's distribution outfit, AMLF) Berri has enjoyed continued good fortune since 1968, but has perhaps proved hottest commercially in recent years with the comedies, Le Gazon Maudit, Didier, Le Pari and the upcoming big-budget Asterix and Obelix contre Cesar, starring Gerard Depardieu and Christian Clavier. Aside from Asterix, to date the most expensive European production ever attempted, Renn Productions will produce Herve Palud's upcoming Mookie, which features former soccer icon Eric Cantona. Juggling Renn and AMLF, France's number two distribbery, Berri dismisses the idea that he has his hands full. However, since 1996's Lucie Aubrac, a big-budgeted, star-filled period piece which underperformed and was not well-reviewed, Berri has not directed a film himself and says that, for the moment, he has no plans to do so in the near future.  

Surprisingly, despite a prolific career which has had a lasting impact on Gallic cinema, Berri has few remembrances of Cannes because he has had few films take part in the festival. "Cannes is a festival that I consider very important and which I appreciate but not for personal reasons. I don't have many memories which affect me directly," he says.  

Clearly not a man who lacks confidence or pride in his work, this could be the year that not only creates fond memories of Cannes for the filmmaker, it might even humble him. "We'll see at the moment they give me the trophy what I'll feel in that instant."