00:09 Movies can be a lot of fun
00:13 but it always offers you something more, doesn't it?
00:16 It helps us to shape our ideas,
00:21 can influence us on certain ways of thinking,
00:26 but in addition to all that can be questioned,
00:30 it also brings with it beauty, empathy,
00:35 a way to travel the world, to connect with people,
00:39 and put yourself in other people's shoes.
00:42 That's why I initially wanted to dedicate myself to cinema,
00:45 to feel that kind of transformative experience.
00:51 And the fact that it's now easier to share,
00:54 and in a way that has never happened before,
01:00 is quite remarkable.
01:08 Hi, my name is Ted Hope, I'm from the United States.
01:11 and I'm part of the Official Jury.
01:15 What I love about the festival season
01:19 is that, invariably, I discover artists
01:23 who do things that are beyond my knowledge and experience.
01:29 Lucile Hadzihalilovic for 'Earwig'.
01:35 I've seen a lot of movies that are out of the realm of my imagination,
01:40 that say something, or capture something in a new and different way.
01:47 And that's very exciting.
01:54 In 'The great illusion
01:56 I discovered something that talked about history,
02:00 that captured unique human emotions,
02:03 on a large scale, with subtlety, literary qualities...
02:10 And I was like, "Wow!"... I saw something...
02:14 Until then, for me, movies were pure entertainment.
02:19 and I discovered something else.
02:21 I didn't have the courage then to say: "that's what I want to do",
02:27 but I still like to see myself in that movie theater
02:32 experiencing everything I felt at that moment.
02:40 And it's still a very deep feeling.
02:47 And the question is how can we get
02:50 that memorable, indelible and timeless cinematic element
02:56 in the movies, so that
03:01 the people who have just come of age
03:04 or those who think they've seen it all,
03:06 may feel the same?
03:09 I can watch 'The Grand Illusion' right now.
03:14 and it still moves me.
03:18 And that's our job.
03:19 How do we do that? How do we keep doing that?
03:28 When Bach or Beethoven did their variations,
03:32 they had thirty-two techniques
03:36 to transform a mediocre waltz into something magnificent.
03:40 When I'm developing a script, or when I'm on a set
03:45 or in the editing room, I'm like, "Why isn't this working?"
03:48 How can we make this become
03:53 one of those indelible, timeless movie moments?
03:57 And I like having that role and being able to pull it off, which is not easy,
04:03 to be the spark to say:
04:05 "let's not settle, we can go further".
04:16 You know? It's funny to see how my professional career
04:22 coincides with the start of the main one
04:27 independent wave of american cinema.
04:31 And may that lead me to Amazon Studios,
04:34 where I've worked for over five years,
04:39 to a kind of new technological system of studies,
04:44 and see what new things come up.
04:52 Our movie business has changed tremendously.
04:57 In short, it's gone from being companies
05:03 based on the revenues and profits of a single film,
05:09 to companies not based on bottom-line results,
05:13 but on customer acquisition and audience building.
05:18 It's a portfolio-based business,
05:21 but the difference is that our global streaming technology
05:27 allows us to identify who the participants are,
05:31 who are the users, the customers, the audience.
05:35 And to make them loyal, we have to meet their needs.
05:39 So by relying on creating global audiences,
05:45 you have to change the perspective of who's telling those stories,
05:50 how they're told and who's starring in those stories.
05:54 So I think it's going to happen in the next 10-15 years,
06:01 instead of it being a predominantly dominated cinema
06:07 by white men,
06:10 all that is going to change
06:12 and it will balance the scales to be a true reflection
06:19 of the world we live in, both in terms of who's watching,
06:23 who's counting and who's showing up.
06:26 And that will change the language, it will change the literacy,
06:31 it will change what we love in the process.
06:35 If you look at the world before the pandemic,
06:39 only my most cinephile friends could say:
06:43 "I've seen a series in a different language than mine".
06:51 I don't know anyone who hasn't now.
06:53 Everyone has been able to test the overall entertainment,
06:59 and had a positive experience,
07:02 and that will go on and on and on and on,
07:05 and it will allow for more diversity.
07:07 So in the end...
07:13 while a lot of people will say that:
07:14 "I think the cinema is dead",
07:17 I say that I feel, at the same time, a rebirth of cinema.
07:35 Do exactly what you like and be specific.
07:38 That specificity becomes universal.
07:41 In one of my first forays into the movie business,
07:44 I worked with Ang Lee, and I made a movie that nobody wanted.
07:49 They said to me, "I'm not going to buy this movie.
07:51 because it's gay, it's Chinese, and it looks like a movie from the 1940s."
07:56 And when we sell it, we ask the buyers
07:59 why they liked it, they said, "Oh, because it's gay, it's Chinese,
08:02 and it looks like a movie from the 40's".
08:03 While the experts were saying, "Oh, that's not going to work."
08:06 So when people say, "How do I make a movie that works?"
08:10 I say, "Make it in Chinese, or Mandarin."
08:19 But it was something specific to their culture, and people responded to it.
08:24 And I think that's always good advice.
08:27 Be true to yourself, and get as close to that as you can.
08:33 And be careful, it's all a big illusion, but...
Tabakalera-denbora | Vincent Maraval
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Tabakalera-denbora | Niño de Elche 08:48
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Tabakalera-denbora | Jone San Martín
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Tabakalera-denbora | Jon Cazenave 07:43
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Tabakalera-denbora | Isabel Herguera
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Tabakalera-denbora | Helena Taberna
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Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
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Tabakalera-denbora | Dea Kulumbegashvili 09:47
Tabakalera-denbora | Christine Vachon 07:26