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Cannes: New Clip From ‘The Immigrant’; James Gray Talks Title Changes, Working With Joaquin Phoenix, Marion Cotillard & More

Festivals
by Rodrigo Perez
May 24, 2013 10:35 AM
6 Comments
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James Gray’s long-awaited period drama, “The Immigrant,” finally screened in Cannes early this morning. Featuring the excellent cast of Joaquin Phoenix, Marion Cotillard and Jeremy Renner, “The Immigrant” centers on a conniving pimp (Phoenix) who manipulates a destitute Polish immigrant (Cotillard) into a life of prostitution. Saddled with a sick sister, she works to pay for her medicine and her dismal life seems hopeless until a curious magician (Renner) enters it.

Our reviewer called the film “carefully poised and slowly building to a resonant climax,” and that sounds like a James Gray film alright. Mostly unappreciated at home in the United States (but beloved in France), Gray generally makes melodramatic family tragedies disguised as crime dramas (“Little Odessa,” “The Yards,” “We Own The Night”), but “The Immigrant” is somewhat of a gear shift, with its 1920s period setting and having a woman as the lead character.

While Joaquin Phoenix was absent (see why below), Gray, Cotillard, Renner, DP Darius Khondji and several members of “The Immigrant” production team were on hand this morning in Cannes to meet the media and explain their intentions with this operatic, moody, and slow-burning drama. Here’s seven highlights from the press conference:

"Joaquin was very upset with me. He would call and say, ‘James, James, why are you making me do this? Look at that scene I did with Marion.' His character was a horrendous person."
Joaquin Phoenix couldn’t be in Cannes because he’s shooting a little movie called “Inherent Vice.”
One of the first questions from the media in Cannes was, where’s Joaquin? Well, he’s currently shooting the much-anticipated new movie from Paul Thomas Anderson based on the stoner/detective novel by Thomas Pynchon. “Actually, believe it or not, he wanted to come, which is a first,” Gray said. “But he’s in the middle of shooting a movie with Paul Thomas Anderson and they wouldn’t let him out. You know it’s a Friday in the middle of a shoot week so, it was impossible.”

Well, lay to rest any other theories and start celebrating that you won’t have a five year gap between PTA movies. 

Marion Cotillard’s biggest challenge was learning Polish for the role.
As explained in Telluride last year, Gray met Cotillard before he had ever seen a film of hers, but was instantly taken with the actress when she threw bread at his head during a dinner, arguing over the qualities of an actor he disliked and she loved. He was instantly taken and decided to write this new movie for her (it didn’t hurt he was already co-writing “Blood Ties” with her life partner Guillaume Canet).

But Cotillard didn’t have time to pal around with Gray on set. She had her nose in a book during the entire time of production, practicing her Polish. "The biggest challenge was definitely the Polish. It's a complicated language," she said. "I had about 20 pages in Polish and I could only understand two words [at first]. But I had a fabulous teacher and no choice. When you speak Polish with an accent, that would be one thing. But I had to speak Polish with no accent, so that put a lot of pressure on me. I knew when I was making a mistake. When I was doing it good, however, I had no idea of how I was doing. It was bit unsettling."

Gray recalled in disbelief that he only wrote a few lines in Polish, but when it came time to the translation, it was always much, much longer than he expected. “In my slight defense, I would write a third of a page in dialogue... and then the [translation] would come back and it would be four pages!” he complained. “It did not correspond at all to the length of what I wrote it was so bizarre.”

The film went through three different titles -- what was up with that?
The movie was originally called, “Lowlife,” then around Telluride, it changed to “The Nightingale,” and then right before Cannes, it was announced as “The Immigrant.” Why? Gray explained. “The original title of the book was ‘Lowlife’ and I thought that was a pretty good title and apparently Luc Sante, the writer of the book ‘Low Life’ also thought it was a good title,” he said dryly to laughs. 

“Too bad. But Luc Sante is totally brilliant by the way and his book... is really one of the great non-fiction books written about New York. That title by the way taken from a Public Image Limited song, so his hands aren’t clean,” he joked. “I spoke to him, I said, ‘Can I use your title?’ and he said, ‘Uhhhhh... no.’ And then I realized you can’t copyright a title so for a while it was called ‘Lowlife,’ but then I didn’t really want to get him enraged at me.”

Gray noted that there was another film called "Low Life” and both American and French distributors didn’t like the title so he said, “Fine, I’ll change it. I started called in ‘The Nightingale.’ ” As he explained in Telluride, the title came from a line of dialogue in the film, but “Everyone hated it!” he exclaimed. “Except for me,” Cotillard interjected. “You liked it too? Well, fuck it, it’s ‘The Nightingale’,” he quipped. “Everyone told me, ‘I hate that title, it stinks, I hate it.’” Gray said he “pretentiously” went through all his books, movies, operas to gain inspiration for his film and he found that, “They all had simple titles...I just thought, ‘Screw it, call it ‘The Immigrant’ and be done with it.’ Let the movie speak for itself. If people hate the film, they’re not going to hate it because of the title. If they love the film, the title is not going to win the day.”

Gray’s co-writer Ric Menello died a few months before the film’s debut in Cannes.
Menello is legendary in film cinephile circles (make sure you read this fantastic piece in the New Yorker about him). He was a so-called "cinematic savant"/shut in who had apparently seen every film you could think of (and more) and had a near photographic memory about all of them. He had become a friend and confidante of Gray’s and filmmakers like Wes Anderson, Darren Aronofsky and others as well. All of them would routinely call Menello up and tap him for his infinite encyclopedic knowledge and Gray became so close with him he actually gave him screenwriting credits on two of his films, “Two Lovers” and “The Immigrant” (though in the New Yorker article, Gray admits that was in part so Menello could get health insurance).

“Ric Menello who was incorrectly referred to as a savant, because this was a guy who knew everything about everything,” Gray said. Def Jam founder and legendary music producer Rick Rubin was the one who first put Gray in touch with Menello. “I want you to meet this guy Menello,” Gray said adopting a funny low Rick Rubin voice and recalling the conversation. “He’s amazing, he knows everything.” Gray would called Menello at any hour of the night when the TV guide wouldn’t properly display what was playing, hold the phone to the speaker and Menello would inevitably know what the movie was. “He was a human movie Shazam,” Gray said referencing the music app that will instantly tell you the title and artist of a song. “You used this guy as a reference, it was that simple.”

“But he’s gone, I miss him, I love him,” he reflected. 

More on page 2, plus a new clip from the movie starring Marion Cotillard and Jeremy Renner (no, not this one, but it is sort of a much-extended version of that one).

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6 Comments

  • Webster Skyhorse | May 24, 2013 6:05 PMReply

    Another vote for ending this campaign to marginalize Menello and his contributions to his filmmaker "friends'" works. He may never have reached the level of having handlers to manage his image and put out a complete narrative, but the facts are out there and they just don't square with this portrait being drawn by folks like Gray, Rubin, Brody, etc.

    Menello ushered in a new era of music video for a new kind of group, wrote a big time comedy on spec for said group that entered development hell after being sold. At this point the group broke up, bridges got burned, and Menello went off the radar. By the late '90s however, he was back to doing quality control behind the curtain for some of the major auteur-as-brand types today such as Romanek and JJ Abrams.

    While Gray seems to have felt indebted enough to get Menello out of this uncredited, much exploited position, he still doesn't hesitate to treat the guy like a Rainman-figure he pitied, not a wise outsider kept out of the game who elevated his material starting with THE YARDS.

  • RL | May 24, 2013 1:35 PMReply

    I love Phoenix and Gray's relationship a lot!Wish they could do another film together.

  • Roberta Manzetti | May 24, 2013 12:07 PMReply

    Ric Menello was a member of the WGA. He wrote scripts before and after his work with Gray, and even sold and was paid for the last one (which he wrote alone). Directors don't "give screenwriting credits" to people, they have to be earned through each writer's participation, and are subject to arbitration by the Guild. This is just another instance of Gray's shameless credit-hogging.

  • Rodrigo | May 24, 2013 12:18 PM

    I should say that Gray does give Menello proper screenwriting props in the press conference and it was cut for time and length. Blame it on me if you like.

  • morgan yam | May 24, 2013 11:37 AMReply

    So sad that the press has to be so unimaginative and just perpetuate this inane stereotype of Ric Menello. Does a "shut-in" go and write every night at a local cafe, where he knows virtually everyone who works there and frequents it? Ric was eccentric only in the ways that creative people are. Enough with the overdramatic eulogizing already.

  • Jed | May 24, 2013 11:33 AMReply

    OMG! OMG! Can't wait to see Marion and Joaquin!!!!

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