916-920

*Chapter 916: The Aura of a Superstar*

Suspicion, vigilance, curiosity.

During the interview, Nicholas, the experienced journalist, found himself lost in thought, reminiscing about his first encounter with Anson—

In the Warner Bros. studio parking lot, thrust into the spotlight due to rumors of being the interloper in Brad Pitt and Jennifer Aniston's relationship.

A tabloid news story that marked this young man's first appearance in the public eye.

From that moment, Nicholas was intrigued by him; now, standing on the Cannes stage, it felt like a whole new world had opened up.

As an actor, it seemed Anson's journey was just beginning.

Nicholas looked at Anson with great interest and tossed out another topic, "So, is it the same here at Cannes?"

The outfits for the opening ceremony and the premiere, including the change in hairstyle—are these also part of bringing the character into real life? Is this the film extending its voice into reality?

Later, in a feature article for The New York Times, Nicholas wrote:

"… When I asked this question, Anson didn't answer, he just laughed heartily, confident and unreserved, throwing the question back at me, just like his performances and roles—

Presenting, but not answering.

Thinking and responding are left to the audience/readers. Just as a thousand people see a thousand Hamlets, Anson leaves the space for interpretation to us.

Much like Anson himself.

'Elephant' crashed into the Cannes Main Competition section for its world premiere, much like how Anson Wood appears in films: calm, yet crazy.

However, when I saw him the next day, he had already returned to his tall and slender figure, handsome and charming, effortlessly stealing all attention.

But he always remained low-key and enthusiastic, not a disguise, because when you look into his eyes during the conversation, you can feel the warmth of his soul.

He is the type of actor who is easily labeled a 'pretty face,' but in my opinion, his professionalism has never been in doubt. The enormous success of 'Spider-Man' and 'Catch Me If You Can' made Anson Wood a superstar, while also paving the way for his adventurous journey.

Clearly, 'Elephant' is just the beginning.

It's unimaginable, as my question turned into Anson interviewing me instead, and it was just the beginning. By the time the interview neared its end, it was I, sitting opposite Anson, who became the interviewee."

Plain and simple, yet you can feel Nicholas's admiration and praise between the lines. The journalist does not hide his appreciation for Anson.

But Emmanuel would say, who could refuse Anson?

As the interview was nearing its end and the work was wrapping up, Anson looked at Nicholas, like a friend, "So, what do you think of this year's film festival?"

Emmanuel was taken aback in surprise.

Nicholas, however, seemed particularly calm and unfazed by the direction of the conversation, "So far, it's disappointing. The Main Competition section isn't very impressive, but luckily, 'Elephant' has lit up our otherwise tiring and terrible journey."

Anson looked over curiously, "Any other good films?"

Nicholas thought for a moment, "Marco Tullio Giordana's 'The Best of Youth.'"

Anson's eyes lit up, "Ah, that six-hour film, right? I met Paul Giamatti yesterday, and he told me this work is quite good, comparable to 'Once Upon a Time in America'? Looks like I have to watch it."

Nicholas, "I wouldn't say it's like 'Once Upon a Time in America.' Personally, it feels more like '1900' or 'A City of Sadness,' but still worth watching."

Anson, "And?"

Nicholas, "Of course, Paul Giamatti's 'American Splendor' is also quite good; additionally, 'Crimson Gold' from the Un Certain Regard section, and 'Father and Son' by Alexander Sokurov in the Main Competition section…"

Anson, "'Father and Son'? I've heard this film is terrible."

Some films in the Main Competition section may have media previews or market screenings, so before the official premiere, different opinions may circulate.

Nicholas shook his head, "Quite the opposite, this work is excellent."

Anson, "Alright, then I have to check it out."

Nicholas, "Are you sure? I think you might be a bit busy in the next two days."

Anson, "Haha. One must have dreams, right? This is the film festival, and I'm really, really looking forward to watching some films. Please save some hope for me."

Is this normal?

Emmanuel watched this scene unfold before her, full of amazement and admiration. At the end of the interview, the positions of interviewer and interviewee swapped? And the two exchanged information about the festival's works, like regular movie fans, like a conversation that could happen in any corner of Cannes?

Thinking back carefully, this atmosphere ran throughout. Rather than a performance or work, Anson had set the tone for the conversation from the very beginning—

An equal dialogue between peers, so Anson was willing to open up, truly delving into the world of an actor, showing a small part to the world.

From fashion styling to character exploration to film understanding, step by step, from the outside in, peeling off the exterior labels to glimpse more possibilities.

Perhaps this year's Cannes Film Festival is indeed different; it opens a window, revealing the "actor" aura on Anson's body.

No longer just a pretty face.

Until the entire interview ended, Nicholas was about to put away his voice recorder, but he couldn't help picking up his role as an interviewer again, asking one last question.

Nicholas, "So, what's your next plan?"

Anson, "Go home and continue being a regular person."

Then, the interview ended.

In Cannes, under the spotlight of the world, actors enjoy applause and flowers; journalists are often curious about their next plans—

Which director will they work with? What type of genre will they explore? What roles will they delve into?

Things like that.

Actors are usually happy to share, using this platform to showcase their future as actors, with a grand ambition to conquer the world.

Until Anson gave a different answer.

Nicholas was stunned, watching Anson's confident and light smile, and eventually smiled along, repeating, "Continue being a regular person. Ordinary Anson Wood, right?"

A teasing remark that made everyone in the hotel room burst into laughter.

Including Emmanuel.

In Emmanuel's career, she's taken countless photos and experienced countless interviews, with many leaving a deep impression while most quickly faded from memory. But she's very certain that this one in front of her would be unforgettable for a long time.

The New York Times was only the beginning of that long interview day. Later, the 'Elephant' crew was surrounded by a throng of media, so dense it was impenetrable. When Emmanuel finished her shoot and left for the next job, the line of media in the hotel corridor was still spectacular.

Later, Emmanuel heard that the interviews with the 'Elephant' crew lasted until 11:30 p.m., and the crew even had a late-night snack with the journalists—

And still couldn't finish.

Helplessly, the interview had to be put on hold temporarily, to be continued the next day after getting up.

*Chapter 917: Adding Fuel to the Fire*

Popular. Trending. Spotlight. Traffic.

The words don't matter; what's important is that Elephant has ignited the passion of the Cannes Film Festival, unexpectedly becoming this year's first breakout hit.

An official score of 2.1 out of 5 in the festival's journal? Not even passing?

No problem.

In fact, the low score became the spark that ignited further discussion.

How should we view the official score? Agree or disagree? Was it too high or too low? What’s the proper rating for Elephant?

Everyone had an opinion, and they couldn’t wait to share, discuss, and connect—literally, everyone.

If you were in Cannes and hadn’t watched Elephant by the third day of its premiere, you’d be left out of any conversation happening on the streets.

Actually, not just in Cannes.

Around the world, internet users closely following the festival began their own discussions. From there, the conversation exploded beyond the film buffs, pulling in people who normally didn’t care about Cannes. The interesting phenomenon was that many of these people weren’t in Cannes and hadn’t seen Elephant, yet they confidently expressed strong opinions.

Clear love or hate.

Of course, there were many supporters, waving flags for director Anson. But there were even more critics, dismissing him with the same condescending tones heard from Hollywood the previous year, mocking him for being a mere “vase” (eye candy) and expressing disdain.

“I don’t like it.”

“It’s probably just another attention-grabbing piece.”

“The spot in the competition must have been rigged.”

“Trying to add prestige but ended up a joke.”

“A pretty face shouldn’t embarrass themselves among real filmmakers.”

The chatter was loud and constant.

The low score in the official festival journal became the trolls' strongest evidence: “See? Even the official journal said so. Anson, pack it up and go to bed.”

Despite knowing nothing, people confidently made grand claims. Forget using a feather as an arrow, they were brandishing imaginary arrows with conviction.

Yet, this scene was astonishing.

It was still 2003. The European Big Three film festivals were only beginning to explore online promotion and hadn’t even fully started. They still relied heavily on traditional media. This meant that film festival news often had a delay; the general public had to wait for journalists to write and publish their reports to catch up on the festival’s happenings.

Additionally, journalists weren’t using social media to post real-time updates. News was summarized by the day, and the audience engagement was lower.

Most of the time, most audiences only caught up on festival news after the closing ceremony and awards.

In general, during this period, the Big Three festivals in Europe had limited discussion, attention, and popularity. Most people still saw them as "high-brow, niche art festivals." Trapped by this stereotype, they weren’t interested and didn’t participate in the discussions.

Elephant broke that barrier.

It crashed onto the scene, sparking controversy and pushing the Cannes Film Festival into the everyday lives of the general public, drawing massive attention and debate.

Undoubtedly, this was the first time—even Cannes itself didn’t foresee this, nor did it know how to respond in time to leverage the momentum for promotion.

But the buzz was already insane.

Then, film critic Roger Ebert’s review was released. Ebert, one of the top critics in the industry, was also highly influential in Europe, and his review caused a sensation.

First, a perfect score. Roger gave Elephant a perfect score—was he serious?

Second, Roger mentioned the film's stance, stating that it deliberately didn't offer reasons or solutions, which he saw as clever. However, many critics hated this aspect, believing that films should present at least one perspective or solution. So, what was Roger thinking?

The conversation was already intense and crazy. Now, Roger added fuel to the fire, and Cannes exploded.

Roger, however, remained calm—beyond calm, even satisfied.

That afternoon, someone in line to watch a movie asked him, "God, what were you thinking?"

Roger smiled broadly, "This is exactly what I wanted."

"A powder keg? You want Cannes to become a powder keg?"

Roger replied, "Haha, no, I want discussion. Like Gus [Van Sant], I want to see discussion."

Later, Roger made his stance clear.

In facing issues like school violence and gun control, there had already been discussions over the past two years, but none seemed to spark broader attention.

Sure, Elephant could explore reasons or solutions, but no matter what Gus Van Sant presented, he wouldn’t be able to convince the critics. Instead, he might drown in a sea of similar works. Gus chose another way: to show a fragment of the issue, and abruptly cut it off without backstory or resolution, igniting debate.

He made people truly aware of the elephant in the room.

That, Roger believed, was the film's greatest value.

The controversies only proved that different people saw different messages in the film—not just the movie itself, but the issues it presented. The festival journal score and the online debate both demonstrated that Gus Van Sant had achieved an incredible artistic creation.

Roger remained convinced that Gus had crafted a masterpiece. "Honestly, have you ever seen this level of heated discussion?"

The answer was simple.

Whether people liked it or not, Roger’s review had sent shockwaves through Cannes, pulling even more people into the conversation.

Thus, Elephant became this year’s first hit at Cannes, and perhaps the first film in the festival's history to break down barriers of time and space, drawing in people from all over the world. It marked a turning point that even Cannes itself hadn’t anticipated.

The buzz was growing and still climbing.

And then—

The second media day for the Elephant crew blew up again.

The day before, the crew had endured over 15 hours of relentless interviews. They thought they might get a break, but on the second day, the media swarmed them again, with no end in sight to the line of reporters waiting.

The only consolation was that, after the baptism of the first day, the small crew had quickly gotten into the groove. The work proceeded smoothly, with interviews moving faster and more efficiently.

But still—

Even with the increased efficiency, the interviews lasted until 11:30 p.m., marking the second consecutive day of back-to-back, high-pressure work for 15 straight hours.

Chapter 918: Endless

Madness.

Everyone has gone completely mad.

Two days in a row, 15 hours of nonstop work. Even Alex and Eric, two rookies who had never faced the media before, had grown into seasoned pros. The constant bombardment of time, frequency, and intensity was enough to make one file a lawsuit for "child labor abuse."

In over 30 hours, they faced countless reporters and answered an unimaginable number of questions.

Yet!

The most shocking part? This still wasn’t the end.

Unbelievably, more media outlets were still requesting interviews with the “Elephant” crew. Gus and Anson were stunned—

What? More?

Gus looked utterly confused, “I thought we’d already cycled through every media outlet in Cannes.”

But Anson rejected all of them.

Anson didn’t care if they offended the media or affected the film’s promotion.

“We’re like beasts trapped in a cage, forced to answer questions. Look at the sunshine outside, look at the audience out there. We’re in Cannes. We shouldn’t be stuck in a hotel getting grilled. I desperately need sunlight. God, I think my skin’s gotten two shades lighter.”

Straightforward—

Everyone burst into laughter.

Anson was still Anson. Even in moments when he offended people, he managed to keep things light and filled with humor.

Surprisingly, this sort of thing was usually handled by agents or PR people, to protect the artist’s image. But not Anson. He personally spoke with the reporters waiting in the hotel hallway, asking for interviews the next day, and kept the atmosphere pleasant.

“Hey, here’s the deal.”

“We’ve answered a million and one questions, and by the end, I even hated my own answers—repetitive, boring, and lifeless. Honestly, even computer-generated responses would be more interesting. But, to be fair, the questions aren’t exactly original either. Some have been asked 333 times.”

“So.”

“If you have any fresh questions, please write them up and send them over. We’ll respond. Honestly, I’m hoping for some new questions. I want you to dig deeper into the possibilities of this film. But if not, let’s just spare each other, okay?”

Ha! Haha!

Everyone was in stitches.

Even witnessing this firsthand, Eve was still amazed. Since when did reporters become so agreeable?

But that was Anson. He always had a way of making things different.

So, Ivan?

Wait, what about Ivan?

At this point, who even remembered the little spat between Ivan and Anson? By the time anyone realized, the crew of Young Adam had quietly left Cannes—

Without causing a stir.

Elephant was the real focus.

One day passed, and that was the case. Two days passed, and it was still the case.

So, what about the third day?

Over the past 48 hours, four more films had been screened in the Cannes Film Festival’s main competition, and if you count other categories, even more. The film festival was slowly reaching its peak. Yet, when Emmanuel arrived at the Palais des Festivals with coffee, Elephant was still the center of attention.

“I don’t like it. No matter how long you talk, I just don’t like it.”

“I’m not asking you to like it. You can hate Elephant, even loathe it, but you need to acknowledge its existence, just like you would acknowledge the existence of bullying in schools.”

“I think it’s manipulative. We’ve always been aware of these issues; we don’t need Gus Van Sant reminding us. He’s exploiting a loophole, and you people are just running wild with it, blowing things out of proportion. That’s why I don’t like it. It feels like a cheap trick.”

“But—”

“Hey, I haven’t even started criticizing Anson yet.”

“What’s wrong with Anson?”

“Gus using Anson is nothing but a publicity stunt. It’s all so calculated.”

“Bullshit. You’re rewriting history. You can’t ignore the fact that when Gus cast Anson, he was taking a huge risk and facing a lot of pressure. You’re just letting your dislike cloud your judgment because of how influential Anson is now. You’re backtracking and assuming Gus had ulterior motives. You’re being influenced by your own bias.”

One wave after another.

And once the topic started, others around them joined in the discussion. It easily became an icebreaker for the crowd.

After all, in Cannes, waiting in line to watch a movie was part of the daily routine. People needed something to pass the time, to make the wait a bit more fun.

It wasn’t an unfamiliar scene, but Emmanuel still found it amusing. She couldn’t remember the last time a film had stirred up so much conversation. Even just observing was entertaining.

This was Cannes, after all.

Today, another potential hit from the main competition, Dogville, was about to premiere.

Directed by Lars von Trier and starring Nicole Kidman, the film had already attracted massive attention when it was selected for the main competition. After arriving in Cannes, rumors from a market screening had spread, claiming that the film enraged the audience, with people storming out and swearing.

Bear in mind, this was a market screening. The attendees were all distributors, seasoned professionals who had seen it all. For them to lose their temper like that?

Lars von Trier had always been a controversial director. Every one of his films sparked debates, and he never shied away from provocation. His shocking statements appeared regularly, becoming almost routine.

Three years ago, his film Dancer in the Dark won the Palme d’Or, which was still considered a bold choice to this day.

So, when Dogville arrived in Cannes, people had already prepared themselves mentally for what was to come. Yet, the chaos at the market screening still caught them off guard.

In an instant, anticipation soared. This was the most excitement Cannes had seen since Elephant premiered, and perhaps a new hit was about to be born.

By early morning, the area in front of the Palais des Festivals was already packed with people.

“…Excuse me, is this the line for the media?”

“No, this is the security check for the red carpet. Are you trying to get into the screening for Dogville? See that line wrapping around the Palais? That’s the entry line, my friend. The media is going crazy today—the line has looped around three times. Good luck.”

“Thanks. Have a great day!”

A simple conversation from behind drifted into Emmanuel’s ears, and she vaguely recognized the raspy voice.

She turned her head.

“That must be a rookie. First day in Cannes, and he runs into Lars von Trier. I bet he’s going to have a hard time getting in. Wonder if he’ll make it.”

“Good luck to him. But don’t you think that face looks kind of familiar?”

“Face? You’ve got time to check out faces in this chaos?”

Emmanuel had a sudden flash of inspiration. She focused on the figure’s back, taking in the shoulders, the waist, the long legs—so familiar!

And then, it hit her like a thunderbolt—

Was that… was that Anson? Wait, could that really be Anson?

*Chapter 919: A Devoted Movie Fan*

Wait, hold on—wait a minute, something doesn’t seem right.

According to Emmanuel, the “Elephant” crew canceled all their interviews and were supposed to leave Cannes this morning. There was no need to stick around and occupy space any longer.

The town, tiny as it is, has limited space. After screenings and promotions are done, crews typically leave to make room for the next production team.

That’s the norm.

So, if the "Elephant" crew is leaving Cannes, why is Anson still here?

It must’ve been an illusion.

Emmanuel shook her head. She had been obsessively tracking every bit of news about Anson and the "Elephant" crew these past few days, so much so that she must’ve been hallucinating, seeing any tall figure and assuming it was Anson.

She needed help. This was getting bad.

Taking a deep breath to calm herself, Emmanuel reminded herself to focus on the “Dogville” crew. She couldn’t just leave her spot; otherwise, she’d have to line up all over again, and the red carpet would be packed by then.

Calm. Focus. Steady.

But that was easier said than done—her thoughts kept drifting back.

Before she could make a rational judgment, her body had already acted on instinct. She turned around and started following that figure—

That silhouette...

Tall and slender, standing straight, wearing a mint-green tennis shirt with dark green shorts, a straw sunhat, sunglasses, and carrying a beige canvas bag. Even though she couldn’t see his face, her gaze was drawn to him.

Honestly, the first person who popped into Emmanuel’s mind was Anson.

She... just couldn’t help it.

Taking quick steps, she caught up and called out, "Anson!"

The figure actually stopped and turned around to look at her.

Emmanuel: ...

Her eyes nearly popped out of her head—it really was Anson?

With sunglasses covering half his face and the hat hiding the rest, he was almost unrecognizable. But that slight smirk? That was unmistakable.

Emmanuel couldn’t believe her eyes. She glanced around at the passersby. "What are you doing here?"

Anson chuckled softly, "Watching a movie."

...That’s it?

Anson didn’t say anything more, placing a finger to his lips in a “shh” gesture as his smile spread wider.

Then he turned and left.

This time, Emmanuel didn’t follow him. She just stood there, dumbfounded, watching his back as the early morning sun bathed Cannes in golden light, outlining his tall, graceful figure. There was an effortless elegance to his movements that made every passerby steal a glance. Her heart suddenly began to race.

Watching movies. Yes, it was that simple and sincere of an answer.

Unbidden, Emmanuel recalled the last conversation between Anson and Nicolas in that interview. Anson had said he needed to check out a few movies, and so—

Anson had come.

It was all so simple.

Without realizing it, Emmanuel’s mood had brightened.

The morning just became that much better.

Standing still for a moment longer, watching Anson’s retreating figure, she didn’t say anything else. Instead, she turned and headed back to the line at the red carpet entrance.

...

Anson was serious.

It wasn’t often that he came to Cannes. If he just promoted his own movie and then left, the film festival wouldn’t be any different from other premieres or award shows—it’d just be another job. Anson didn’t want that.

Genuinely, Anson wanted to experience the film festival’s atmosphere.

So, he even went out of his way to find out how one could attend the festival.

Unlike Berlin or Venice, Cannes is a festival designed for professionals.

What does that mean?

Simply put, in Berlin or Venice, anyone can attend. Cities set up screenings of the festival’s films, including main competition and other sections. You just buy a ticket and walk in.

For movie fans, planning their schedules and scrambling for tickets is part of the fun of a film festival.

But Cannes is different.

Though in later years, Cannes opened up a viewing application process for young film enthusiasts under the age of 29, Cannes has always been a festival for professionals.

These professionals include, but are not limited to, film media, distribution companies, and brand sponsors’ private screenings. Most attendees are journalists, critics, film bloggers, and so on.

Of course, the bar isn’t as high as you’d think. Even a film student with a blog that has gained some attention could apply for media credentials to attend Cannes.

But one thing’s for sure: Cannes is not a festival for the general public.

Still, the Cannes Film Festival draws in 300,000 to 400,000 attendees each year, proving once again the French people’s love for film and art.

At other festivals, you just buy a ticket and go; but not at Cannes.

So, for Anson to attend the festival, there were two ways:

One, through a brand sponsor, allowing him to attend special screenings. Actors and directors usually watch films this way while in Cannes—

Dior was more than happy to provide Anson with an invitation.

Two, attend the market screenings, joining buyers and producers from distribution companies worldwide to watch films from the various festival sections—

He could easily apply to Cannes for this.

However, the catch is that these screenings are limited, and if you miss one, you’re out of luck. Plus, the venues are small, often seating fewer than 100 people, so there’s no film festival atmosphere to speak of.

Then, of course, there’s the most straightforward option:

The premiere.

With Anson Wood’s status, he could walk the red carpet as a special guest, joining the media and critics to witness the film’s debut.

The downside? Standing under the spotlight, with every move scrutinized.

For Anson, this wasn’t a problem.

But the point was, if he wanted the authentic film festival experience, he had to do it like everyone else and feel the true atmosphere.

Besides, having just toured with a band from the north to the south of the country, performing on street corners, stepping away from the spotlight and becoming just another moviegoer wasn’t a big deal.

So.

Anson chose the most ordinary way:

Like every other attendee at Cannes.

With Nicolas Flynn’s help, Anson got himself a media pass.

Then, he lined up at the Palais des Festivals, just like everyone else.

From a distance, he could already see the long, winding line stretching like a giant dragon next to the Palais, leaving him awestruck.

During the premiere of "Elephant," Anson had been curious:

What was all the commotion on the right side of the red carpet?

Now he knew. It was the media lining up for the screenings.

"The more popular the film, the earlier you have to arrive, or you might end up waiting in line for two or three hours, only to be turned away if the Lumière Theatre is full," Nicolas had advised Anson.

Chapter 920: If You Don’t Know, Just Ask

One fold, two folds, three folds—

It was hard to believe that it was only 8:20 in the morning, and already a massive line had formed outside the Palais des Festivals, radiating the heat of Cannes early on.

Indeed, "Dogville" was living up to its reputation as a hot favorite and was already considered a guaranteed hit.

Last night, after finishing all the interviews, the "Elephant" crew had a small celebration. Whether the film won any awards or not, and regardless of the low scores in the official festival publications, there was no doubt that the film had experienced a magical journey at Cannes, which was reason enough to celebrate.

It was also somewhat of a farewell party. Alex and Eric were preparing to backpack north to Paris. Since they were finally this close to the Atlantic, they didn't want to waste the opportunity to explore a bit before returning to Portland.

They partied until three in the morning and finally fell asleep in a daze.

Early this morning, Anson was up before eight to head to the Palais des Festivals and line up, worried that the combination of Lars von Trier and Nicole Kidman would cause a massive crowd. But surprisingly, Anson wasn’t even the earliest bird.

Taking a quick glance at the growing line, there was no time for awe or shock. He hurriedly joined the queue and politely asked someone in line, “Excuse me, is this the line for the ‘Dogville’ premiere?”

After two days of back-to-back interviews and last night's revelry, Anson’s voice was practically gone. It was a struggle to get even a little sound out this morning, but he managed it—and found himself amused by his own raspy voice.

Karl Rivette’s attention was scattered.

He was still trying to catch his breath after running all the way there, skipping breakfast and coffee just to make it in time. Missing this would have been a disaster in his mind.

But arriving only to see the long line snaking ahead, he couldn’t help but feel a bit frustrated. He wasn’t sure if he would make it in.

Everyone knew “Dogville” was a hot ticket, and with only 2,000 seats in the Lumière Theatre, they would fill up in no time.

Karl was feeling a bit down.

Hearing a voice nearby, Karl quickly gathered himself. From the question alone, he could tell this was someone attending the festival for the first time. Eager to help newcomers enjoy the experience, Karl was happy to answer.

"Yes, this is the line."

He was still out of breath as he replied.

He turned and glanced at the media pass around the guy’s neck, a look of envy flashing in his eyes. “Ah, you don’t actually need to line up here.”

“Actually, you don’t need to line up at all. There’s a VIP entrance at the back of the line. You can just go straight in.”

At Cannes, passes are color-coded.

Actors have blue passes, crew members, film company representatives, and festival officials have green ones, and distributors have black passes. The color of the pass determines where you can go and the priority level for entry.

The highest level pass at Cannes is white, though it's mostly just a rumor. Supposedly, passes like these are given to people like the president or the CEOs of the major Hollywood studios. A white pass guarantees entry anywhere—no restrictions, no waiting in line.

For the media, the highest level pass is pink, followed by blue, and then yellow.

When lining up, people queue according to the color of their pass. Pink goes first, followed by blue, and finally yellow.

Usually, those with pink and blue passes get in without issue, while yellow pass holders rely on luck.

So, early morning queues at the Palais are typically full of people with yellow passes, with a few blue ones as well.

Those with pink passes? They don’t need to arrive until the screening is about to start. Not only are they guaranteed entry, but they also get to pick their seats first.

If you’ve waited in line for hours but still don’t get in, what do you do?

There's no solution.

The only option is to head to the press room early and secure a seat there, waiting for the post-premiere press conference, which is open to all pass holders.

How are pass colors determined?

Cannes has never disclosed this. They only say that it’s based on their internal evaluation reports. There’s no logic or rules to it; the media just have to accept it. Generally, though, the more influential you are, the higher your pass level.

Take Roger Ebert, for example.

The Pulitzer-winning critic naturally holds a pink pass. Even though he doesn’t participate in the official festival ratings, he’s still warmly welcomed at Cannes. Not only does his pass have pink status, but it also bears several yellow dots, marking an even higher priority than a standard pink pass.

This ensures that Roger Ebert doesn’t waste hours in line and can see as many films as possible and write as many reviews as he wants.

And right now, Anson was holding a pink pass.

Karl tried to contain his envy but couldn’t help but let some slip through. After all, the pink pass is the highest grade among media passes, and there are only a few dozen in all of Cannes. People hear about them but rarely see them in person.

Karl glanced up at the young man in front of him.

He looked so young!

But Karl wasn’t sure where he worked—Cahiers du Cinéma? Hollywood Reporter? The Times?

Anson blinked, a little surprised by the whole situation. He hadn’t realized there was such a hierarchy to the passes. He glanced down at his pink pass and flashed a smile.

“Oops, I guess I’ve revealed my secret identity. Bond, James Bond.”

That introduction made Karl burst into laughter.

Karl couldn’t help but take another look at the young man. “You really don’t need to be here now. You can show up about twenty minutes before the film starts and go straight in through the VIP entrance.”

Anson tilted his head thoughtfully, suddenly realizing something. “Does that mean I can squeeze in more screenings?”

Karl replied, “Yeah, theoretically. While we’re waiting here, you could use the time to catch another film at a different venue.”

As he said this, Karl revealed his own yellow pass with a wry smile.

Anson nodded. “So, should I leave now to avoid causing any unnecessary trouble?”

His teasing tone made Karl laugh again. “Yeah, I think that’s a good idea.”

“So, did you just get to Cannes?” Karl asked.

Anson replied, “Yeah, ‘Dogville’ is the first film I’m seeing. Glad I didn’t miss it.”

Karl nodded. “Of course, no one should miss Lars von Trier. But you should’ve come earlier; you missed this year’s first breakout hit, Elephant. Who would’ve thought that Anson’s film would take Cannes by storm?”

“Oh, speaking of Anson, has anyone ever told you that you look a lot like him? Don’t get me wrong, it’s a compliment. You resemble him quite a bit.”

Anson looked serious. “Actually, this isn’t the first time I’ve heard that.”

Karl burst out laughing again. “Don’t worry about it. Sure, people call him a pretty face, but at least that means his looks are striking. That’s a compliment. You know, it’s not easy to look like Anson.”

Anson raised his chin slightly, his gaze behind the sunglasses revealing a bit of curiosity. “So, do you like him?”