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theREPORT<br />
THR AT CANNES<br />
PRESIDENT/CHIEF CREATIVE OFFICER<br />
Janice Min | janice.min@thr.com<br />
EXECUTIVE<br />
EDITOR<br />
Matthew Belloni<br />
matthew.belloni@thr.com<br />
DEPUTY EDITORIAL<br />
DIRECTOR<br />
Alison Brower<br />
alison.brower@thr.com<br />
PHOTO & VIDEO DIRECTOR<br />
Jennifer Laski | jennifer.laski@thr.com<br />
DESIGN DIRECTOR<br />
Peter B. Cury | peter.cury@thr.com<br />
NEWS<br />
Kevin Cassidy<br />
kevin.cassidy@thr.com | +1 213 840 1896<br />
Gary Baum<br />
gary.baum@thr.com | +1 213 840 1661<br />
Clifford Coonan<br />
clifford.coonan@thr.com | +86 186 1019 3168<br />
Rebecca Ford<br />
rebecca.ford@thr.com | +1 925 788 0507<br />
Chris Gardner<br />
chris.gardner@thr.com | +1 323 706 2632<br />
Gregg Kilday<br />
gregg.kilday@thr.com | +1 310 528 3395<br />
Pamela McClintock<br />
pamela.mcclintock@thr.com | +1 323 627 0670<br />
Rhonda Richford<br />
rhonda.richford@gmail.com | +33 6 522 39334<br />
Alex Ritman<br />
alex.ritman@thr.com | +33 7 897 67693<br />
Scott Roxborough<br />
scott.roxborough@thr.com | +49 172 587 5075<br />
Tatiana Siegel<br />
tatiana.siegel@thr.com | +1 310 998 7212<br />
Georg Szalai<br />
georg.szalai@thr.com | +44 77 7137 0103<br />
REVIEWERS<br />
Jon Frosch | jon.frosch@thr.com<br />
Todd McCarthy | toddmccarthy1@gmail.com<br />
Deborah Young | dyoung@mclink.it<br />
David Rooney | drooney@nyc.rr.com<br />
Leslie Felperin | lesliefelperin@gmail.com<br />
Jordan Mintzer | jpmintzer@mac.com<br />
Boyd van Hoeij | filmboyd@gmail.com<br />
PHOTO & VIDEO<br />
Chelsea Archer | chelsea.archer@thr.com<br />
Stephanie Fischette<br />
stephanie.fischette@thr.com<br />
ART & PRODUCTION<br />
Jennifer H. Levin | jennifer.levin@thr.com<br />
Kelsey Stefanson | kelsey.stefanson@thr.com<br />
Kelly Jones | kelly.jones@thr.com<br />
EXECUTIVE VICE PRESIDENT,<br />
GROUP PUBLISHER<br />
Lynne Segall | lynne.segall@thr.com<br />
SALES & MARKETING<br />
Alison Smith<br />
alison.smith@thr.com | +44 7788 591 781<br />
Julian Holguin<br />
julian.holguin@billboard.com | +1 646 455 8939<br />
Tyler Moss Del Vento<br />
tyler.delvento@thr.com | +1 646 369 6818<br />
Debra Fink<br />
debra.fink@thr.com | +1 213 448 5157<br />
Tommaso Campione<br />
tommaso.campione@thr.com | +44 7793 090 683<br />
Ivy Lam<br />
ivy.lam@thr.com | +852 617 692 72<br />
Lourdes Costa<br />
lourdes.costa@thr.com | +44 7516 386 360<br />
Kyle Konkoski<br />
kyle.konkoski@thr.com | +1 518 339 5927<br />
Laura Lorenz<br />
laura.lorenz@thr.com | +1 908 432 9821<br />
Curtis Thompson<br />
curtis.thompson@thr.com | +1 323 304 2333<br />
Jasmin Reate<br />
jasmin.reate@thr.com | +1 310 291 9575<br />
Hidden<br />
GEM<br />
McQueen spent months<br />
shooting authentic racing<br />
footage for Le Mans.<br />
Steve McQueen Finally Makes His Cannes Debut<br />
Co-director Alan Clarke discovered a treasure trove of new footage for his<br />
chronicle of the star’s doomed passion project, 1971’s Le Mans By Alex Ritman<br />
Steve McQueen, still unquestionably<br />
cinema’s king of<br />
cool more than 30 years<br />
after his death, never had a single<br />
film in Cannes. Until now.<br />
Billed almost too tantalizingly<br />
as “Bullitt meets Senna,” the documentary<br />
Steve McQueen: The Man<br />
& Le Mans captures our iconic<br />
antihero at a turning point in his<br />
life. Having become arguably the<br />
biggest name in the U.S. thanks to<br />
The Magnificent Seven, Bullitt and<br />
The Thomas Crown Affair, reaching<br />
the sort of celebrity status never<br />
seen before, McQueen then went<br />
off to create his passion project,<br />
1971’s Le Mans, capturing the<br />
intensity of France’s legendary<br />
24-hour endurance race. The film<br />
would irrevocably change him,<br />
something that Gabriel Clarke —<br />
more commonly seen presenting<br />
cannes according to ...<br />
for TV from the touchline at U.K.<br />
and European soccer matches<br />
— together with co-director John<br />
McKenna, set out to explore.<br />
“It’s a universal story,” says<br />
Clarke, the son of celebrated<br />
British director Alan Clarke. “[It’s]<br />
about how this obsession that he<br />
had drove him to want to create<br />
this vision for the big screen<br />
like no other film before it,<br />
but in doing so it led him<br />
into all sorts of difficulties.”<br />
The doc, which screens in<br />
Cannes Classics, shows the creative<br />
conflicts between McQueen<br />
and Hollywood’s first-choice<br />
helmer, John Sturges, which would<br />
ultimately lead to the director<br />
quitting (he was replaced by Lee<br />
Katzin), alongside the turmoil<br />
going on in McQueen’s personal<br />
life: the breakdown of his<br />
SEAN O’KELLY<br />
Joint CEO, Carnaby<br />
International<br />
Your biggest faux pas<br />
The rosé tan. I basically<br />
burned half of my face<br />
while having a very boring<br />
meeting on a beach with<br />
some Koreans, who obviously<br />
hate the sun, so the only<br />
seat I could take was<br />
actually in the sun. I went<br />
back to the same restaurant<br />
the next day to try to do<br />
the other side of my face<br />
and even it out.<br />
Clarke<br />
THE PRODUCER<br />
Best place to grab<br />
a drink after 3 a.m.<br />
The minibar.<br />
Lost-in-translation<br />
moment<br />
Having 12 limos arrive instead<br />
of transport for 12.<br />
What was your worst<br />
Cannes nightmare?<br />
My car was rammed by an<br />
off-duty drunk policeman.<br />
He hit me so hard that as I<br />
was spinning, I had the<br />
choice of either going into a<br />
hairdresser’s or into Dior.<br />
marriage and discovery while<br />
shooting that his name was on<br />
Charles Manson’s “Death List.”<br />
“His heightened sense of paranoia<br />
reached even more extreme<br />
levels,” says Clarke of McQueen.<br />
“He even asked for his gun to be<br />
sent over by his agent.”<br />
In making the doc, the team<br />
managed to track down its “holy<br />
grail,” the rushes of the film that<br />
everyone presumed had been lost.<br />
“Steve filmed so many hours<br />
of racing while on set, partly<br />
because they were struggling with<br />
the script, so just to keep people<br />
busy, and also because you get<br />
the sense that getting the most<br />
authentic motor-racing experience<br />
behind the wheel is what he<br />
wanted to do,” says Clarke.<br />
Everyone thought the unused<br />
footage had been incinerated, but<br />
the day before shooting on the<br />
doc began, a tip-off came through<br />
from Los Angeles. “Beneath a<br />
soundstage covered in dust,<br />
we found between 400 and<br />
600 boxes of film, each<br />
with ‘Le Mans’ along its<br />
spine,” Clarke says. “It still<br />
gives me a little shiver.”<br />
Although Le Mans would go on<br />
to be a cult classic, the film was<br />
a rushed edit that had been compromised<br />
by the production issues<br />
and artistic clashes. “But we have<br />
those original rushes, so you can<br />
now try and do Steve’s vision<br />
justice in showing what he wanted<br />
to bring to the screen.”<br />
Luckily I went into the<br />
hairdresser’s. I was fine,<br />
and because I’m fluent<br />
in French I could understand<br />
what was going on. I got<br />
off because I told the<br />
head of police that [the<br />
driver] was drunk and that<br />
I’d understood everything<br />
that he’d been saying<br />
— i.e., he’d been trying to<br />
blame me.<br />
Ever been the victim<br />
of a crime?<br />
Buying drinks at the Grand is<br />
the same as being mugged.<br />
THE HOLLYWOOD REPORTER 12
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