Tom Bernard

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Features

Thumbnails 5/16/16

Top lessons from Cannes; How Jodie Foster stays real; Rave review of "American Honey"; Apocalyptic air hangs over Cannes; How Cannes turned into a frenzied mammoth.

Features

Thumbnails 1/29/15

"The year of women" at Sundance; "Sniper" proves critics matter; Gene Hackman is still in charge; Kurosawa watches "Solaris" with Tarkovsky; Joel Grey comes out.

Roger Ebert

Cannes #9: "I got in!" and other tales, and some great beauties of the festival

Michael Barker is not only a prime moving force in indie film distribution, but one of the funniest raconteurs alive. He and Tom Bernard, also a funny man, have been the co-presidents of Sony Pictures Classics since 1992, which qualifies them as the Methuselahs among studio heads. Their films have won 24 Academy Awards and 101 nominations. He knows everybody and takes little mental notes, resulting in an outpouring of stories I could tell you, but then I would have to shoot you.

Like many funny people, he exerts a magnetic attraction for funny experiences. He attracted one just the other day, when he went to see the new Paul Verhoeven film. "I'm looking at the screening schedule and I can't believe my eyes," he was telling us the other night. This was at dinner on the Carlton Terrace with Richard and Mary Corliss, Chaz, and our granddaughter Raven. "I'd never heard anything about this. I mean, Verhoeven just made 'The Black Book,' for chrissakes!

"It's titled 'Teenagers,' and it's screening in one of those little marketplace theaters in the Palais. I figure it must be a rough cut under another title or something. The place is jammed. People are fighting to get in. I'm able to get a seat. There are people sitting in the aisles, standing against the wall, flat on their backs on the floor in front of the screen. You can't breathe.

Interviews

'Sunshine' of their lives

John Sayles has directed 13 movies in the last 22 years, 11 of them produced by his wife, Maggie Renzi. They span a remarkable range of subject matter, from the sci-fi humor of "The Brother From Another Planet" to the baseball drama "Eight Men Out" to the coal-miners of "Matewan" to the Irish folk tale "The Secret of Roan Inish" to the buried secrets of "Lone Star." And find the link between "Passion Fish," "Limbo," "Return of the Secaucus Seven" and "Men with Guns," which he shot in Spanish in Latin America. And how do they connect with "Sunshine State," his new film about a resort community in turmoil in Florida?