– Nous avons discuté avec celui qui produit les travaux de son frère Óliver Laxe, qui ont Participé à des éditions précédentes du Festival de Cannes
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Over 12 years barely on the job, he was born in Galicia Felipe Lageof Zeitun Films, has succeeded in establishing himself as one of the Spanish producers with the most festival-related prestige to his name, thanks to films by House of Arts directors such as Óliver Laxe And Louis Patiño, among other things. He is now about to return to Cannes, but this time as a participant in EFP’s Producers on the Move programme.
Cineuropa: You are already a Cannes veteran.
Felipe Lage: I’ve been twice with a movie that’s been selected and many more times to work trying to bring the features to fruition: looking for producers, distributors, and sales agents.
So you should know the two different sides of the festival: Performances in the presence of the audience and the film market.
In fact, they are not the same thing. It depends on the movie you’re shooting. We are playing in a humble league. But a lot of things happen there – it’s a very hectic few days.
Visiting Cannes is also an excellent way to see places Which direction The film industry is trending at.
Without a doubt, although Cannes is gradually opening up to more content, such as soap operas, it is still the great force of cinema. It probably has less room for other, more experimental or hybrid cinema genres, although these are gradually seeping into some sections. But it is the most important place for the film when it comes to aspects of financing, distribution and sales.
Do you know any of your colleagues? Producers moves?
Yes, because we got things started last week. At first, this only happened in Cannes; Then, during the pandemic years, they did so online; This year there is a return to normalcy – which is why I applied for this edition. I didn’t want to have a long-distance experience via Zoom, but rather face-to-face communication, which works much better. But the regulators realized that an online component could be useful for breaking the ice. We’ve already had meetings amongst ourselves, presented our projects and talked to sales agents. This means that when we meet in Cannes, we will not start from scratch, which will be useful to make the most of our time there. I think it’s a great step.
What prompted you to start your production career?
I started with my brother, liver Laxe, and he was the one who drew me to the movies, where I had a completely different job, which I gave up because I wasn’t excited anymore. He was producing his first movie himself, and he suggested I help him. Little by little, in the making You are all captains [+lire aussi :
fiche film]I figured out what it took to create your own thing, molded it exactly the way you wanted it, and it was a movie I really loved, to boot. This is where I found the motivation I previously lacked, and decided to dive first into this profession.
It wasn’t that long ago, though…
It was 13 years ago – 13 very difficult years.
So you reinvent yourself thenAnd By changing jobs?
I quit my previous job in October, by November I was starting with livers, and by May we had the movie shown in Cannes. It was like a novice’s luck, although there was a very large part of my brother behind it all, and his talent of course. But it was a nice start.
Starting like this should be an incredible launching pad.
It was. From that point on, we started working with other authors who also started in Galicia, hoping to make things similar to what we were interested in, and we also worked on other films for Óliver, although mimosa [+lire aussi :
interview : Oliver Laxe
fiche film] It proved to be much more complex than we expected. We thought that after that initial experience of picking a movie in Cannes, we’d have a much smoother financing journey, but that wasn’t the case. However, she also arrived in Cannes and won an award.
What is your editorial policy, or what drives you to get it Attached to complex project Producer projects?
At Zeitun Films we don’t have an editorial policy as such, but because I’ve come into this profession in a roundabout way, I have approached the field of cinema by listening to my hunch – for better or worse. When projects are sent out for evaluation or on board, I’m always more interested in the director’s statement of intent than the summary or other elements, because the filmmaker’s motives are where I find what attracts or draws my attention. A project that goes beyond a script that can be well or poorly written. At our company, we’ve worked on fiction, documentaries, and hybrids (movies that incorporate elements of reality within fiction, or vice versa), but perhaps our editorial policy now follows a streak more based on fiction.