CANNES, France — For the major American movie studios seeking to launch their summer blockbusters, there is one rule of thumb: Cannes can't.
It was rumored as recently as a month ago, for example, that the 53rd Festival International du Film--which opened here this week--would unveil one of the most hotly anticipated movies of the year: Paramount Pictures' "Mission: Impossible-2," starring Tom Cruise. "M:I-2" hits U.S. theaters May 24, just three days after the festival closes.
But it was not to be. Instead, visitors to the world's most prestigious cinematic celebration will have to settle for another, much less heralded "Mission" movie: "Mission to Mars," a proven flop that Disney has already opened--and closed--in the United States.
"We never even considered it. It was never, ever even discussed," a Paramount source said of bringing "M:I-2" to Cannes. "With a picture with this much of a built-in want-to-see, and with such a successful sequel, we would never go [to Cannes] prior to opening in America."
Such is the mood at the major studios lately, where executives say there is little to gain by taking a commercial film to Cannes, and way too much to lose. Unlike smaller independent films, which need critical attention to build audience anticipation, big-budget studio films manufacture their own pre-opening buzz via carefully crafted advertising, promotional tie-ins and massive publicity. Used to exerting such control, the major studios look at Cannes and see chaos.
"If a movie is rejected by viewers and critics in Cannes, the whole world knows in two hours," said Robert Lantos, an independent producer who has had seven films selected for the festival over the years, including this year's closing-night offering, "Stardom." "For independent films, I always believe that's a risk worth taking. But for huge-budget popcorn movies, it's not."
Once, Cannes was a place where Hollywood brought its biggest films. But not anymore. Last year's No. 1 movie at the box office, "Star Wars: Episode I The Phantom Menace," wasn't shown here even though it opened during the festival. Ask studio executives why a potential blockbuster won't play here and they have a simple answer: timing. The festivals at Park City, Utah, Berlin and Toronto, in January, February and September, are great for acquiring independent films. Deauville, France, and Venice, Italy, in August and September, are perfect for launching films internationally that have already opened in the U.S.
