F r o m I m a g I n e e n t e r t a I n m e n t a n d s e I n e p I c t u r e s

Party Roll Call
You didn’t come to Cannes just 
for the movies, did you? This 
year’s party calendar is as packed 
as ever. Following this evening’s 
opening-night soiree for The Great 
Gatsby behind the Palais (in a 
smaller venue than for director 
Baz Luhrmann’s famously lavish 
2001 Moulin Rouge! party), 
Martin Scorsese will toast the 
announcement of his next 
fi lm, Silence, on May 16 
aboard liquor brand John 
Walker & Sons’ Voyager 
yacht docked at the Jetee 
Albert Edouard. Later in the 
evening, Calvin Klein is having 
a hullabaloo at L’Ecrin Beach, 
on the east side of Porto Canto, 
honoring Nicole Kidman (just 
named the face of Jimmy Choo’s 
fall 2013 ad campaign), Rooney 
Mara and Carey Mulligan. … On 
May 17, Cinequest’s bash at the 
Long Beach Bistro is expected to 
draw bigwigs from Resolution’s 
Jeff  Berg to Liam Hemsworth while 
across town the Haiti-supporting 
Carnival in Cannes will take over 
the Agora Pavilion once again. 
(Meanwhile, Reverend Run of 
Run-DMC will perform at the 
nightclub VIP Room.) … The 
next day, The Hollywood 
Reporter and Jimmy Choo 
will honor international 
artist of the year Fan Bing-
bing at a party co-hosted by 
THR editorial director Janice Min, 
THR publisher Lynne Segall and 
Jimmy Choo CEO Pierre Denis 
at the Mouton Cadet Wine Bar. 
The same night sees the Hunger 
Games: Catching Fire celebration 
at Baoli Beach. Director-producer 
Julie Pacino — daughter of Al — 
will take over hip club Le Baron 
to fete her shingle Poverty Row’s 
The First, a biopic about pioneer-
ing Hollywood star Mary Pickford. 
… On May 19, director Lee Daniels, 
currently in postproduction on The 
Butler, will return to the American 
Pavilion to host Queer Night for a 
second year. The philanthropically 
minded will head to the Creative 
Coalition’s dinner for Julian Lennon 
at Plage Vegaluna, or to the Art of 
Elysium event at the Chateau de 
la Napoule celebrating supporter 
Ahna O’Reilly, an actress whose 
Fruitvale Station and As I Lay 
Dying both are at the fest. (Her 
ex, Dying director James Franco, 
will co-host.) … Over the course 
of the festival, Britain’s Pinewood 
Studios will make repeated use of 
its 120-foot yacht, the promisingly 
named Wild Thyme, while blingy 
local dance club Gotha has booked 
the likes of Snoop Dogg to perform 
and Paris Hilton to DJ. … Although 
fi lm premiere aft erparties con-
tinue unchecked until the very end 
of Cannes, the last few days off er 
notable reprieves for good causes, 
including Prince Albert II’s Nights 
in Monaco gala May 22, as well as 
the traditional carousing denoue-
ment: amFAR’s Cinema Against 
AIDS event, at the Hotel du Cap-
Eden-Roc, where Shirley Bassey, 
Ellie Goulding and Duran Duran 
each will take the stage.
Stephane Fanciulli, the Carlton’s 
concierge, is marking his 40th 
year at the hotel, which itself 
celebrates its centennial this year. 
THR checked in with him on the 
most elaborate — and outrageous 
— high-profi le guest requests that 
he’s made come true.
How far have you gone to fulfi ll 
a star’s demand?
There was one who wanted to see 
a specifi c [athletic] race. Unfortu-
nately, it wasn’t shown on a chan-
nel available here, so we helped 
him buy the television rights so he 
could watch them at the Carlton.
 
What about during the 
festival itself?
I remember we had to organize a 
party at a villa here for a star. The 
guest wanted to organize a dinner 
in a place just behind the hotel. As 
a guest, they asked us to provide 
all the staff  and they wanted to 
have them dressed up as people 
from the 18th century.
OK, enough with the
anonymous dish. What about 
some juice on a name?
I do remember when Diana Ross
 
was at Cannes for the festival, I 
think in the 1970s, and she was 
also giving a concert. She asked to 
have all the walls and all the fl oors 
covered with pink carnations. So 
we brought in a fl orist. When she 
came back from the concert she 
was so surprised: Everything was 
covered in hundreds of fl owers. 
And she also had asked me to fi nd 
a Lincoln — a pink Lincoln. That 
was a very unusual car to fi nd. We 
didn’t have one in Cannes, so I 
made an inquiry and we even-
tually found it in Geneva. They 
brought it here. We had to bring it 
all the way. 
— RHONDA RICHFORD
By Gary Baum & Merle Ginsberg
RAMBLING REPORTER
About Town
Fan
What 
Rosé 
to Order
A Concierge
Spills Secrets
If you’re at the Carlton, and you’ve snagged a table at Restaurant de la 
Plage, you’d better be sipping from a glass of rosé. Without, I’d submit, 
the table would seem rather naked, and the picture-postcard moment 
incomplete. Rosé wine is the lens through which one views the south of 
France, the ideal accompaniment to everything from an aperitif or an 
alfresco lunch to a moment of oceanside reverie from the terrace.
Much of the pink wine for the region is grown and made southwest 
of Cannes, in appellations like the Cotes de Provence, Coteaux Varois, 
Palette and, most famously, Bandol. The best-known Provencal wine 
properties to Americans, Domaines Ott and Domaine Tempier, have 
been imported for decades, and Tempier has been a California icon 
of Mediterranean life for the better part of 50 years. As for Domaines 
Ott (several estates under a single “umbrella” winery), its distinctively 
shaped bottle and pale salmon hue is a summer afternoon fi xture in ice 
buckets from Bel Air to Cap d’Antibes.
If you want to impress at your business lunch on the Croisette, you 
can’t go wrong with either the Bandol or the Domaines Ott. Pricing can 
be wildly divergent: The same bottle that goes for 11 euros at the local 
Monoprix can be three times that at a typical Cannes restaurant. Both 
of these wines, like many of the rosés of Provence, tend to be paler than 
many of their French counterparts (such as in the more crimson Tavel 
rosés in the nearby Cotes du Rhône). Don’t let their peachskin pallor fool 
you. Most Provencal rosés contain a healthy proportion of mourvedre, a 
sturdy red variety that yields an equally stalwart pink wine, contributing 
its share of minerality and grip to the wine’s structure even as it lures you 
with its delicate red berry scent and succulent fl avors.
In addition to Domaines Ott and Tempier, there are a handful of 
Provencal rosés you can pick up in local wine shops: Seek out Saint 
André de Figuière, Domaine de Triennes, Chateau d’Esclans or Chateau 
Routas. Make sure they’re young (2011 or 2012 vintage) and ice cold. 
Because of their structure, Provencal rosés are quite versatile, too, 
pairing well with dishes from grilled fi sh and seafood to roast chicken. 
— PATRICK COMISKEY
From left: Sean Penn, Gerard Butler, 
Kylie Minogue and Harvey Weinstein 
made the party circuit in 2012.
1 Domaines Ott
Cotes de Provence 
2012. 2 Domaine 
Tempier Bandol 2011. 
3 Chateau d’Esclans 
Cotes de Provence 
2011. All prices 
from Nicolas, 21 rue 
d’Antibes.
1
2
3
€20
€22.90
€20
DAY1_RamblingJ.indd   1
5/14/13   3:39 PM

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Croatian Audiovisual Center D1 051513.indd   1
5/6/13   2:02 PM

G
amine, waif, boho, girly but not too — many words have been 
used to describe 
Carey Mulligan
’s style since the actress burst 
onto the international fi lm fashion scene with her Oscar-nomi-
nated turn in 2009’s An Education. But as the 27-year-old star’s 
hair color has morphed (to platinum), so has her style: During the latest 
round of Great Gatsby press, she’s been stripped of almost all makeup 
and even of color. There’s been a proliferation of sharp architectural looks, 
probably courtesy of her new stylist as of March — 
Ryan Hastings
, who 
works with 
Rooney Mara
 and 
Robert Pattinson
 — and a newish rocker hus-
band, 
Marcus Mumford
. The safety-pinned Balenciaga she wore to the punk-
themed Met Ball and the Lanvin spring 2013 tux she donned for a Gatsby 
screening were the height of minimalism. Mulligan’s previous stylists, the 
British 
Tina Lakonen
 and L.A.–based 
Samantha McMillen
, regularly put her 
in unusual Pradas (like the lit-from-within metallic one she wore to the 2012 
Met Ball) and wild avant-garde Vionnets. As her career ascends, Mulligan 
has hung up the scene-stealing fashionista looks, and a sleeker, modest-
looking child-woman has emerged. What would Daisy Buchanan think?
STYLE
FRANCE
 VS. 
U.S
:
Where Is It Cheaper? 
Fash Track conducted a survey of what certain evening-
worthy items for your packed party schedule cost at home 
— and en France. The exchange rate of American bucks to 
euros is about 1 to 1.3, but one thing to remember: When 
you spend more than $250 in France, you get the 19 percent 
VAT tax credited back to your credit card, as long as you’re 
willing to go through the extensive paperwork required. 
The Classic Chanel Quilted
Chain Flap Bag in Lamb with
Gold Hardware
Aside from Cannes juror Diane 
Kruger and Rust and Bone actress 
Marion Cotillard, the hottest style 
star to emerge out of Cannes 2011 
and 2012 was no ingenue: It was 
75-year-old Jane Fonda, who has 
attended Cannes for more than a 
dozen years as a L’Oreal ambassador.
THR spoke with her stylist, Tanya 
Gill, who works with Hilary Swank 
and Olivia Munn and also is the pro-
ducer of TLC’s Something Borrowed, 
about how she puts together her 
Cannes looks. “In 2011, I approached 
Pucci designer Peter Dundas about 
making a dress for Jane,” says Gill. 
“She looks better now than when 
she was 21 years old. And of course, 
it doesn’t hurt that she’s in love!” 
(Fonda has been dating music 
producer Richard Perry for more 
than three years.) At Cannes 2012, 
Roberto Cavalli sent Gill one-of-a-
kind dresses for the star, who looked 
more va-va-voom than the 20-year-
old models on the Cannes carpet.
What will this year’s fest bring
out in Fonda, who’s only in Cannes 
for the fi rst few days, then jets back 
to New York to shoot This Is Where 
I Leave You? “We’ve had some
things made,” says Gill. “You’ll be 
surprised. Everyone will.”
In Vionnet
at the 2010 
premiere
of Never
Let Me Go.
In Lanvin 
at a 2013 
Gatsby 
screening.
In Lanvin 
at Gatsby’s 
May world 
premiere.
FASHTRACK
What to buy, wear 
and know now
by Merle Ginsberg
Carey Mulligan’s Minimalist Moves
Fabulous Fonda
Cannes
2012
CLO
CK
W
IS
E F
RO
M L
EF
T: F
AM
O
U
S A
CE P
IC
TU
RE
S/
N
EW
SC
O
M; E
VA
N A
G
O
ST
IN
I/I
N
VI
SI
O
N
/A
P; J
IM
I C
EL
ES
TE
/P
AT
RI
CK
M
CM
U
LL
AN
.C
O
M; A
FP
/G
ET
TY I
M
AG
ES
; G
AR
ET
H C
AT
TE
RM
O
LE
/G
ET
TY I
M
AG
ES
; F
RA
ZE
R H
AR
RI
SO
N
/G
ET
TY I
M
AG
ES
.
Euro prices before VAT tax credit.
In Roberto 
Cavalli
In Atelier
Versace
The Jimmy Choo Myth
Strappy Black Sandal With
Fluorescent Yellow Straps
U.S.
 $895
FRANCE
 €675
Hermes Silk Scarf
U.S.
 $410
FRANCE
 €245
Fashion Face-Off 
And the Winner Is …
FRANCE
 | €3,100
U.S.
 | $4,400
Rinko 
Kikuchi
DAY1_FashTrackC.indd   1
5/14/13   3:33 PM

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5/8/13   11:02 AM

THE HOLLYWOOD REPORTER  
20
C
ALL IT A SABBATICAL, NOT A  
retirement. Cinephiles have been bracing 
for Steven Soderbergh’s exit from film-
making ever since he began talking in 
2009 about retiring from creating movies.  
The 50-year-old director, who won the Palme 
d’Or with his first film, 1989’s sex, lies, and 
videotape, is taking an indefinite break from 
the big screen. (He instead will be focus-
ing on episodic TV.) But he’s not ruling out 
more movies in the future. Before heading to 
Cannes, Soderbergh spoke with The Hollywood 
Reporter at his soon-to-be-vacated office 
in New York’s Flatiron district about the  
studios’ uninspired marketing campaigns,  
how he discovered a way into his new movie 
about master showman Liberace and 
how that film plays into the debate about 
marriage equality.
So, are you really retiring?
I’m sort of taking time off and just trying  
to determine whether I can come at movies 
from a different direction. That’s something  
I think I can’t really explore while undertak-
ing another movie. I think I can explore 
that philosophically and contextually while 
making some television. I think I need to 
take an extended sabbatical from movies while 
I think about that. 
What kind of television will you tackle?
I’ve got a couple things that I’m circling that 
I probably will land soon. The good news is 
that there are a lot of options, a lot of chan-
nels, a lot of outlets, a lot of models. This is 
a really good time to go make some interest-
ing TV. The issue for me is going to be my 
completionist streak. I would want to do all of 
a first season. 
How did Behind the Candelabra come about?  
Did Michael Douglas break into a Liberace 
impression while filming Traffic?
Well, that’s the first time I discussed the idea 
with him, and he did do a little impression, 
which I thought was excellent. I’d done some 
research on [Liberace] but wasn’t really 
happy with my ideas for how to do it. It took 
me six or seven years before a writer friend 
in New York, said, “Oh you don’t know about 
the book?” And I said, “Which book?” And he 
said this guy [Scott Thorson] wrote a book 
that I’d never heard of. So I got a copy of that. 
And then I found my way in. We were essen-
tially following Scott. That sort of solved my 
problem of how to do Lee’s [Liberace’s nick-
name] life, which was basically using Scott 
as the Trojan horse to get into the problem 
about Lee. It gave me a definitive time period, 
and it gave me a structure because of the arc 
of the relationship. That was in 2007. Jerry 
[Weintraub] got the book. We hired Richard 
[LaGravenese, to write the screenplay].  
It was developed originally at Warners, but 
they didn’t want to do it.
At that point you took it to HBO?
It was just happenstance that Jerry was finish-
ing that documentary about himself, and he 
got into a conversation with HBO about this. 
They said, “This looks like a deal that’s gonna 
go. We’ll get back to you in a day.” They fully 
financed it. $22.8 million.
How much contact did you have with Scott Thorson?
Jerry talked to him. Just a couple conversa-
tions to deal with sorting the rights out. When 
you’re telling a true story, there’s certain cases 
in which you really want people involved and 
certain cases where you feel like, “I don’t know 
that that’s going to help.” We had the book. 
I did talk to some people that worked with 
Lee, and that was helpful, mostly to ask them 
their impressions of Scott to see if they lined 
up to the impression that he gave of himself 
in the book or not. But in the same way that 
I didn’t want Matt [Damon meeting with the 
real] Mark Whitacre of The 
Informant!, I didn’t want him 
being pulled by who Scott 
Thorson is now, 30 years later. 
I wanted him to be able to feel 
free to interpret it as he could.
What was it about  
Liberace that intrigued you?
For the life of me I don’t 
know why I was stand-
ing on the set of Traffic in 
Cincinnati, Ohio, and I 
looked over at Michael and asked him if he 
would ever consider playing Liberace.  I really 
don’t know where this came from. I’m old 
enough to have seen him on TV at my parents’ 
place, and found him very entertaining. I was 
kind of intrigued by the incredible technical 
skill being masked by this flamboyant persona. 
Underneath this performer who was all about 
entertaining his audience and giving them a 
good time was actually a concert-level skilled 
keyboardist. It’s kind of like if LeBron James 
decided to play for the Harlem Globetrotters. 
There really wasn’t anybody like him. And 
there are a lot of people now that owe him a 
real debt because of how he presented himself. 
This guy invented bling. He loved performing.
How did Matt Damon get involved?
He was in Spain doing his cameo in Che, and 
I gave him the book. I can only imagine what 
was going through his mind five years later 
before we started shooting. But Matt doesn’t 
have anything to protect. That’s not how he 
makes his decisions. He makes his decisions 
based on whether he’s engaged by the piece or 
not. If it turns out to be something that’s really 
gonna push him as a performer, even better. 
And Michael, he was just fearless. They both 
are. The movie just doesn’t work if they don’t 
both literally join hands and jump off the cliff. 
It’s intimate stuff, even if it was a guy and a 
girl. But for a lot of people it’ll be hard to see 
Jason Bourne on top of Gordon Gekko.
Do you see the film as making a statement  
about marriage equality?
There’s certainly an undertow to the movie 
that comes from the knowledge that they 
could be married today, like Elton John.
You recently talked about what is wrong with the 
film industry at the San Francisco Film Festival. 
I felt that I earned the right to weigh in 
on a process that I think can be improved 
because as a filmmaker, from the minute 
that you propose an idea until after the film 
has  come out, all anyone does to you is ask 
you, “Can it be better than this? What are you 
doing? What if you did this? What if you did 
that?” Also, every studio movie poster looks 
the same. If you look at the 
campaigns in the ’70s that 
were really striking, they 
were done by ad agencies, 
they weren’t done by the 
studios. If I ran a studio right 
now, instead of spending 
$30 million on P&A, I’d take 
$10 million and go to the best 
ad agency on the planet and 
say you’ve got $10 million. Do 
something provocative. Do 
something distinctive. 
DIRECTOR
Q&A
VITAL STATS
Nationality
 
American
Born
 
Jan. 14, 1963
Festival Entry
 
Behind the Candelabra, 
in competition, May 21
Selected Filmography
sex, lies, and videotape (1989), 
Out of Sight (1998), Erin Brockovich 
(2000), Traffic (2000), Ocean’s Eleven 
(2001), Che (2008), Contagion (2001), 
Magic Mike (2012)
Notable awards
 
Palme d’Or, Cannes, 
sex, lies, and videotape (1989);  
Spirit Award, best director, sex, lies 
and videotape (1990); Academy 
Award, best director, Traffic (2001) 
Retiring? Well, not exactly, as he talks  
Behind the Candelabra, and how some 
might be shocked to see ‘Jason Bourne 
on top of Gordon Gekko’ 
By Tatiana Siegel
Steven 
Soderbergh
Day1_Soderbergh.q&aG.indd   1
5/14/13   11:33 AM

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2006: 258
2007: 1,297
2008: 2,536
2009: 9,004
2010: 22,411
2011: 35,792
2012: 45,545
258
1297
2536
9004
22411
35792
45545
0
10000
20000
30000
40000
50000
258
1,297 2,536
9,004
22,411
35,792
45,545
10K
20K
30K
40K
2006
2007
2008
2008
2010
2011
2012
SPECIAL
FEATURE
BY THE NUMBERS