|ADAM DRIVERPETER BART|
Thanks to Disney dropping the digital release for Star Wars: The Rise of Skywalker early, folks have had time to pore over the making-of documentary, which is loaded with interesting info about the final installment of The Skywalker Saga. Adam Driver‘s extremely passionate fanbase is going to be particularly thrilled as the making-of feature highlights his intense dedication to performing his own stunts even on his birthday.
According to Nerdist, stunt coordinator Eunice Huthart is a “hilarious, enthusiastic, and heavily accented British woman” and one of the documentary’s more delightful stars. Huthart reportedly was against Driver doing his own stunts, but the actor quickly won her over and was soon swinging from wires during the film’s climactic lightsaber duel:
He explains in the documentary how protective he is over Kylo’s body language. Eventually Huthart relented–especially after seeing how much better it looked with the actor doing the stunts.
All of this paves the way for a special little treat for Driver: The most difficult stunt sequence in the film–the lightsaber battle with Kylo Ren and Rey aboard the Death Star ruins–was partially filmed on his birthday. “It was really physically exhausting, and we were wet and soaked and cold and on wires–I loved it,” Driver says with glee in the documentary. “How many times are you gonna get a chance to do that?”
Speaking of Driver and birthdays, Ben Affleck recently teared up while telling Jimmy Kimmel how the Kylo Ren actor came through for him in a big way. After rushing from Paris to Los Angeles for his son’s birthday, Affleck arrived at his ex-wife Jennifer Garner’s house only to learn from his assistant that the gifts he sent ahead for the party never arrived, which left Affleck empty-handed. However, unbeknownst to the former Batman, Driver had sent a package full of signed Kylo Ren toys for Affleck’s son that did arrive and basically saved the day.
“Adam made me a hero to my kid,” an emotional Affleck told Kimmel, “and I will never, ever, ever forget it.”
The Palais is now home to the homeless. An occasional dog walker strolls the deserted Croisette. Once jammed restaurants on Rue St. Antoine are locked, as is the Hotel Du Cap.
Cannes would normally be prepping frantically for its Film Festival May 12, but its delay and the subsequent lock down has slammed this once affluent and bustling mecca. “We are both festless and feckless,” grieves Burton Gintell, an American entertainment executive who has lived in Cannes for twenty years.
Residents are accustomed to spotting celebrities as they wait on the red carpet at this time of year. Instead, they must apply on line for a 'an 'attestation', permitting them to stroll one kilometer outdoors for recreation or grocery shopping. Cannes' famously officious cops check their papers now and then. enforcing the rules. Driving is limited because many gas stations are shut.
“This no longer a mirthful town,” said Gintell, whose British wife, Jackie Pressman-Gintell, is a top realtor. “Those people who rented lavish homes for the duration of the Festival are looking for refunds.” Even the Hotel Du Cap stands empty, devoid of its lavish parties linked to the Festival and its stars.
A movie buff and a gourmet, Gintell and his wife are confined to their home for meals and entertainment. “I used to complain about all the street construction in Cannes and the chaotic traffic, until the streets suddenly became empty,“ he said. The Cannes Film Festival is just one of many events that normally dominate the schedule — conventions for television, advertising and many other fields.
Leaders of the Film Festival equivocated for weeks about a possible delay before finally throwing up their hands and agreeing to a later date, still undesignated.. Their last cancellation took place amid the fierce political protests of 1968. Pierre Lescure, the Fest President, found himself caught in a media crossfire last week over reports that he had hastily rejected an insurance policy that would have protected the festival from financial losses. Lescure, a former chief of Canal Plus, countered critics by disclosing that the policy would only have covered one tenth of the festivals $36 million budget.
Cancellation of the festival this year puts new pressure on the fall fests at Venice and Toronto, leaving indie filmmakers to scramble for screening dates. The Telluride Festival also poses an opportunity for producers to show their wares, but that event is more a showcase rather than a market.