The company had backed his previous, and debut, feature, the French box office smash Subway, a film - later Oscar-nominated - that marked the director as a fast-rising star (the “enfant terrible” badge was already being heavily overused) and a pivotal figure of the new, highly visual and pop-soaked Cinéma du look movement.
George Miller on How Filmmaking Is Like Playing in the NBA: "You Constantly Have to Adjust"Ĭannes: Neon Nabs Social Satire 'Triangle of Sadness' for North AmericaĪccording to then-Gaumont head, and The Fifth Element’s lead producer, Patrice Ledoux, he first optioned the rights to Besson’s wildly colorful sci-fi adventure - or at least the idea for it - back when the director was developing his 1988 free-diving aquatic drama The Big Blue, the film many consider his international breakout. And all this glitz was a precursor to a global box office take in excess of $260 million, making it the ninth-highest-grossing film of the year. Luc Besson’s wild space opera brought lead star Bruce Willis and his then-wife Demi Moore - plus co-stars Gary Oldman, Chris Tucker and Milla Jovovich (wearing a loincloth-style skirt and little else) - up the Palais steps for the world premiere, followed by a grand post-screening shindig for 1,000 guests by the seafront in a specially built space of more 100,000 square feet. The party in question was for The Fifth Element, which opened the 50th Cannes Film Festival in 1997 in extravagant, star-studded style and now firmly resides on the list of cinema’s cult classics.
But an event costing a festival record $1 million and featuring a Jean-Paul Gaultier fashion show, a futuristic ballet and guests including the biggest A-list couple on the planet, not to mention dinner, fireworks and tickets in the form of a specially made Swatch watch, certainly sounds like it has the right sort of ludicrous credentials. It takes a lot to crack the top list of Cannes parties.
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