BF new Policano super car you drive a jeep next door Josh Brown the director mr. Rogers you already in the very because it he will be back for another French coming competition later bozo vatos Tanaka photographers Sofia bono kotteakos esto rudra Padma day the Prophet is al Qaeda's top or a turn ooh telephone popped our booze iPads Isola while photographers are at it for an extra couple of seconds please use this time to turn your cell phones off and iPads and beepers and what have you come on boo-boo lipples in kitchen so yes is aunty development tip irrelevance the façades calm peaceful wha when you want to ask a question please do raise your hand a little bit ahead of time so that we can see and more importantly so that the ladies equipped with microphone come to you and give you the mic when you have the microphone please stand up introduce yourselves ask your questions sit down and get the money give the mic back las curvas okay lil Niqo fun xrn Kasyapa Z so a certainty dellavedova present a a do puja vote okay so pedo Vova suave dope Ando D'Amico daven's merci Bava - hello everyone and welcome to the press conference for Sicario a lot of people on this podium and a lot of people in the audience so I'll just simply introduce the people who are here with us today starting all the way to my left I'm sorry the two producers Mollie Smith and Brian I hope I pronounced it properly Evonik yes thank you mr. Vanek as we perhaps know is a specialist was is a specialist of action films we owe him in part Expendables one two three but we we also owe him Ben Affleck's of the town so welcome sir as for Molly Smith you know she founded co-founded the Black Label Media a couple of years ago and produced for the first film I think she produced was the good lie in the under that banner under that banner which strangely enough was also directed by a French Canadian director but that's another story entirely sitting next to her possibly the most nominated cinematographer nominated cinematographer ever he's worked with this the today's director on his previous film prisoners he's worked extensively with the Coen brothers from all the way from at least Big Lebowski up to our tomb a great I'm sorry from bomb think okay there you go mr.
Roger Deakins ladies first God um we've seen her as Queen Victoria we've seen her tormented by Meryl Streep in The Devil Wears Prada she's our introduction to another bunch of torturers Miss Emily Blunt he's played everything and anything from killers to a united state presidents I'll say no more as Matt mr. Josh Brolin Oscar nominated Oscar winner for traffic but before that he had gotten the award here the Best Actor Award here in cam Best Actor also for che Benicio del Toro and some D was an Oscar nominated in the foreign language category he switched languages since then with prisoners and enemy and now his third I think English speaking movie Sicario mr. Danny B now you're done with me now guys I'm will gonna take questions go ahead hello good morning congratulations for a very powerful film my name is Yanni's from Athens Greece I believe that this film um in a way supports the idea that the means justify the end and so I would like from the actors in the director to comment on that and if possibly can say if this idea this time and age is it's kind of a necessity I think and from my humble point of view that the movie is asking question about what you just said I don't think that the movie gave any answers I think that it's true that we are living in a period of time where grey zones are more blurred than ever and but it's movie that's why I was too attracted to this project because it was raising strong accurate questions without giving any answers that's the way I see it personally however how did that project come to you did you orig a score someone to read the script or correct it with you where did the idea come from the it's my it came from after prisoners I was like you know I'm a very very slow screenwriter and I'm my appetite for cinema is a huge right now and I'm surrounded by strong scripts but some of them it's like falling in love you know and III I read a lot of scripts in the past years and this one I was traumatized when I read it because I felt that first of all that I was doomed because when you fall in love you know you don't have the choice you have to were jumped and it's just it came from my agent at see that's an media scrip overnight overnight saying to me that is for you exactly what you are looking for because I was really interested since few years about that specific place in America's the border between United States and Mexico and when I read their children's words I was like I knew that this will be my next movie thank you question over there hi Hollywood Fonseca from Brazil a question from mr.
Dickens I would like you to tell us a few words about the shooting of the action scenes and I would like also like to know if Latin films Latin American films like seat of God or Alex squad for example were used as a visual reference to Sicario congratulations for the great film thank you no others references you mentioned one we didn't really I think we looked at some action films but only just to think about what we didn't want to do really I mean frankly the person I had in mind and I probably have as young Pierre Melville and it's not just because I'm in France but it's like always been my kind of hero as a filmmaker and for me somehow I know this subject is very different than then he's sort of gangster films but that there's sort of the mood to me the sort of that sort of take that he had on character building and and sequences so we shot most of the action you know with single camera you know we only have storyboarded quite a bit but we you know you know film you just gradually kind of talk about things and work out as you scout locations and and say we storyboard and stuff but on the day we just you kind of react to what's there what the actors want to do you know don't you yeah basically we were we with storyboard a lot and then under they we just tear up this registry button and improvise a lot and yeah and it's like it's all about point of views at the end of the day yeah question over there good morning Peter Howell from the Toronto Star in Canada congratulations on throwing in the thoughtful film I wanted to ask question for Jimmy Villeneuve do you you've been coming here since 1997 I believe right and sorry you come here since 1997 yes it was cosmos and yeah exactly I think you've been in every other section until the competition now yes did you ever feel a bit like emily Blunt's character that no one quite explained this place to you and you're never gonna get there no it's true that I was I was not that I never take things for granted and I was not necessarily expecting to come back to can I never I'm I'm very proud to be here today and uh it's a big gift from the festival to invite us to be honest specifically and and it part in in particular for that specific movie because it's a movie that I feel the from a cinematic point of view very close to me I feel that I did it without any compromise in total freedom and the fact that that has been recognized on the other side of the ocean it's a quite meaning it's a deeply touching go ahead hello I'm Jack Melvin from the time so you want me to stand up it's really okay and this question for Emily Blunt and this role that you've done is a brilliant role for women in a festival that has been very good at celebrating women female directors there's a report in one of the papers this morning about women being not allowed entry to one of the premiere because they were wearing flat shoes and not high heels is that something that we should have in 2015 no I think everyone should wear flats to be honest the best suit I think we shouldn't wear high heels anyway but um that's just my point of view I just prefer wearing converse sneakers but um yeah that's a very disappointing obviously it's very disappointing you kind of think that there's these new waves of equality and you know waves of people realizing that women are just is kind of fascinating and interesting to watch and bankable and um it was interesting with this film I think you got asked early on if you'd rewrite my part for a guy in fact the truth that not me but the screenwriter several times I had to to the years because the screenplay was written a few years ago and yeah it was a simple that was people who were afraid of in part because the lead was a female character and I know that the screenwriter I was asked several time to rewrite the part me when I got on board I embraces pretty clear as it was and it was the same for from Black Label and Thunder Road and Lionsgate they embraced the script as it was but the pressure come before those guys had the guts to I can say that isn't crazy that I'm saying that right now add them guts tell it's crazy but it's the the they we embrace the multiscreen case it was it to follow up on this a mercy about about what that thing that had been in a sign of protest Benicio Josh and I will walk the stairs in a high-heeled stop I'd like to do that I want a picture of that picking up on what was was said just before the what was just said the fact that were you aware that sometimes the your character the scriptwriter wanted or had been pressured into rewriting it as for a fellow well I just heard about it from you you know one side from a director once I signed on but um did they force you to kind over to just I mean did you take that into account you know I mean character no not at all I mean I I think that um I don't know I get asked a lot like you know you you play a lot of tough female roles but I don't really see them as tough I think there are plenty of strong women out there and I don't think they can be just compartmentalize as being one thing like you're tough what cuz I have a gun you know it's like I think that I found this character strangely quite damaged and vulnerable and she's struggling within this realm of being a female cop and certainly um with the morally questionable things that she's having to experience with these guys and and it's not it's not safe and so you see this this girl you know going through pretty much the worst three days of her life and so she's trying to maintain maintain face for most of it um and and so I wasn't really no I wasn't really aware of um I didn't really think about adjusting it to make it more masculine or something you know I think I think that she's definitely trying to survive in a predominately male driven industry but um or profession but um but I think you know the FBI agents that I spoke to they sound like me they just sound like normal girls and and they go home and they watch God gospel park and Downton Abbey and you know all this stuff and that they're they're really great girls you definitely want to have a beer with them and and I found that interesting to kind of get under the skin of what it is to be a female carp and what that costs you how it affects you marriage how it affects how you sleep at night and how you cope with the men working alongside you it was just really interesting hearing their point of view and quite humbling actually thank you question here hi Catherine Borgia from Montreal the question for is for Emily and you have worked with John McCauley in the with the young Victoria and you just are very competitive we don't like to bring up your mugs we actually would send each other pictures of the two of us together and then me remark and then me and Denis and like averages I've you notice a certain way that Canadian director is working is is that different from other directors in Hollywood um I think there's a different sensibility I think they both these directors that I work with them have a real sense of nuance and a kind of free-spirited way of a scene coming together very collaborative and that they find the beauty and in darkness and I think that was that's the similarity but obviously Denis is so much better and more beautiful I've said the same thing to Jamar would you like to jump in Benicio Josh would you add to that what Josh wake up they want you to say nice things about Denis yeah it's me that the question yeah orange on Mars I a which one no Denis is amazing I was very fortunate because I was working a lot in one job after the other and I got lost in the work and I was asked to do this film by Denis and I said no and stupidly and luckily Roger I've done quite a few movies with an Emily I knew socially and they came and and made me feel appropriately stupid for turning down the role and thank God because it's just one of those things that you don't know when you read a script it that's very good but you don't you know Anu Deniz films and all Sondhi which I thought was so incredible but you never know and you get caught up in in your own life in your own bubble and this was one of those films that you know we kind of powered through and the writing was wonderful and and we're kind of reworking scenes as we're doing it on set as these guys were talking about before but I tell you when we sat in that small screen and and that small screening room and watch the film for the first time it's it doesn't happen that way usually when when you're not sure about a film it usually turns out very bad and and we watched this film and we were so proud to be involved in something like this it's incredible in like what he was saying earlier as it brings up questions it's it's a hypothetical it's almost like doing this film was like being in the war room if this were the case could this be a possible solution could that be a possible solution could that be a button we were doing that on on set all the time so a great a great wonderful man to work with because the movie turned out good if it didn't I win um you got that good choice man you must yeah yeah well no we we met and Bert pretty much would just uh said but um I am i we met and he was he was very clear transmitting his enthusiasm and his is a quest for for truth and so that was a that was a motivator also you know um the script and all this potential and like Denis has said we were he worked with all the actors it was willing to listen to the concerns of the actors and it made it really pleasurable to to to to try to impress them you know to try to to impress him yeah question over here Mario from Brazil my questions for Benicio and for Emily the film have a lot of action a lot of shooting but your characters have a kind of confrontation you shoot her in the film and the last scene is very powerful because people in the movie theatre is going to associate with Emily character and I think the confrontation in the last scene between you I want to know what shooting the first time you have time to prepare for that scene because for me that scene was like I was cursing Emily let me see oh is that we've had on a table we broke it down um you tried to I go back to this thing of trying to impress the director and the other actors um but there's all also there's another person yeah we try to impress his rogered read Dickens yeah okay good good um so um we just sat there and worked it and I think everybody was a you know I think when when actors like we've been doing this for a while Denis is a a director he is and also having Roger there I think that it allowed it allowed to everyone to understand how the scene should go and were should it go and I I mean personally was I don't know but but what for me what really I think for me when the scene really actually what we're doing was uh for me was Emily the way she cuz she has to take everything I'm giving it all you know I'm just do I'm just I'm playing offense and she has to play defense and I think in that scene the defense is it's much more difficult and I think when Emily just took the scene for me was um was like it a really great moment to be there you know and watch Emily just take over the scene you know and really give it something that I hadn't thought about or we hadn't thought about to me that was like you know what made the scene work Emily um I think that that scene changed from what it was originally on the page and I remember yeah the three of us sitting down and talking through all of the options and what we could do and what's the most powerful thing how are these people really feeling at this moment what what's it costing her when he's asking her to sign this thing and I think I found it as we sat there and talked about it I suddenly thought that I was gonna cry you know cuz I I think it was it's it is quite an emotional scene and I didn't expect it to be that um I think the stoicism finally get some cracked in half this character you know sort of submarines everything and so we as we talked about it I I was finding the seem to be quite upsetting and that's when benissa was like that's what we do let's shoot it there she lives you it cuz I think that we were all kind of there and they you know when a scene works because they're sort of shifts in the room and it's it's a really it's what you live for it's why you do this job I think is those moments people are it's a good question because people are asking me why I think this is my best film and it's not about the film being good it in itself but why I was able to as a director to it where I want to go and what I want to do as a director which is to bring people together and try to bring the best out of them and that's a good example because this scene was in a way inspired that was was underspin play but it's different and the difference came from discussions that I had with the Vinicio any medium and we felt that it could be in a way because we were through the shooting it was a real work in progress a real journey and at that point who felt that what wasn't in the page was not what the movie should be aiming for so and together Benicia brought ideas immediate brought ideas are brought ideas as Roger did brought ideas and it's very for me a beautiful moment of a creation because I knew what I wanted exactly from ideas and a mashaallah at the end but the journey to get there it was like a coverlet collaborative process and it's tough for my ego to say that but I think as a director I'm sometimes I feel that I might best when I'm more like a channel that where everybody's creation comes together and I can grab that and bring it higher it's just for me it was just pure teamwork and I know I'm here today because of those guys so I'm grateful and thank you guys that's what I am at hey um Jay do you want from New York Magazine congratulations of the film my question is for Emily I wanted to ask you about the experience of shooting surrounded by guys your character doesn't talk to another woman in the entire movie it seems and so I wanted to know what that was like um I I had this guy yeah it is high heels so I was always alright did and I also wanted to ask um Josh and Venezia what it was like having the gang from No Country for Old Men back together I've excuse me I'm not in that gang all right happy to analyze the vampire cut Isaac compliment thank you that's how much he hides in his rolls yeah um I was your question what is it like being what they do gelatin um it's something that I've become quite used to because I think that happens quite a lot in films that there aren't a ton of chicks around always on one movie but um but it was it was great I I've known Benicio for eight years or something we did a film together ages ago and Josh I knew socially and so for me it was just oh really was a pleasure to work with them and be around them and I remember for such a dark film it was a very very happy set you know giggly funny set to be on so we shut in Irish conditions and I had I wasn't the director I was in a kindergarten you know those guys to get there is like Rogers candy keep quiet for Christ's sake okay go ahead hi Jason gore from Cineplex and twitch film the films of master being stunning congratulations it's also film about the grayness between the black and the white I'm wondering if the performance can talk about capturing the nuance and their characters and Roger if you could talk about capturing that extraordinary photography which exemplifies visually that's very sense between that division between light and dark okay stop Roger if you want to start I think I'd let the actors start it sound of something that was yeah yeah yeah talk about my process um what what was the question beneath the light the nuance between light and dark and and well I mean when you come into a the subject matter is so heavy that you have to what we were talking about before you have to keep it light I don't know there's something to dive into when you keep it light for me it's a very selfish state of mind to stay in because if I'm sitting there in you know if I'm like in the corner of my trailer thinking about the most horrible things I can I get bored and I don't you know what I mean so if I keep it light I'm affected by what we're going through organically I think and this and this type of thing I was involved with a movie a couple years ago so I did a lot that never happened like right before we started shooting we were supposed to shoot in Mexico City and and we shut down about three weeks before we went so I knew a lot about the subject and the subject matter is very very heavy you know there's a lot of innocent people obviously dying because of it and and because of the drug trade is is kind of is exists because of America and because of the demand in America so when we were you know when we were doing it to keep that kind of at least from my characters point of view to keep some kind of humor to keep some kind of balance so when you have a scene like that last scene you have somewhere to go you haven't just been there the whole movie you get these great breaths of fresh air which is supposedly my character helping to create that you know so you can actually be hit by the profundity so my job in the movie is to be as anti profound as possible light thank you for having me oh yeah I you know I don't think I don't it's tricky really I I'd it was good working with Denny on prisoners beforehand because that was also the very dark subjects and I was very nervous about prisoners I wasn't so nervous about stick area but I was nervous about prisoners because it was very easy to make it go gothic or or something and and I think when you take a script like that and you just treat it as though it's absolutely real in some way without trying to exaggerate accentuate you know make comment on it almost and I think that worked in prisoners and I think in a way that's kind of what I felt with Sicario that could also go way over the top it could be a you know just a shoot-'em-up movie or it's very complex there's so much going on and I I mean I just a very simple person I like simplifying things I like keeping things really you know honest in a way if that's not pretentious right but you know your head hi good morning BAE's family boy pretty outstanding movie for Tuesday morning in can thank you um Emily blunder good to see you well thank you Emily you spoke about working with the FBI agents of FEMA once what kind of guidance did they give you about the CJ and how to handle yourself with a gun etc and also how high are those two lower hills gonna be tonight uh they're not too high actually because the dress is long sleeve I can hide them um uh yes it was a well it was I only spoke to them on the phone so there wasn't a sort of physical interaction where they showed me how to stand and out it you know hold a gun I had worked with guns before and um so I felt pretty competent with them and then I had some training once I got to New Mexico where we shot it and work with the DEA guys there and just to learn the choreography of the of a SWAT team and and and how that works and how how incredibly choreographed it all is and it's um very intricate and almost like a dance you know and they are incredibly efficient the FBI and and that was really good to see how they work in this and the the restraints of being in that job and and that's part of why the characters struggles so much with these guys cuz she's held accountable for every bullet she fires and these guys just spray em you know and so I think this is the world that she's in so I think that was helpful for me as well to to just um learn the restraints and composure that these officers have question over here hello the bow on is from Spain mr. bill F could you elaborate a little more why are you so interested in Mexican border please in sorry in in Mexican border oh no because we all know in this room how much violence is there and as a North American I know that I share a part of responsibility for that and that violence is under I've from what I understood is under a cover of silence and I think that the violence is horrible but violence under silence is more or a bolide I think that it's just as a filmmaker I feel a responsibility to explore not explore is not the right word but to try to to give to embrace that reality I don't know in some ways I must say that the movie is not about Mexico and for me the movie is about America but still I felt that the screenplay was sensitive about that reality and I felt comfortable to talk about this that reality because I was the 3d was seen from the American point of view so and I know that they are strong movies coming out of Mexico like le two years ago or something like that that I am very powerful film but I think that we should make more and more movies about that reality people there are very afraid understand why and and it's just I felt as a filmmaker I was coming from my heart it was the what I wanted to talk about question over there we don't want to be nosy hadouken I don't know I would like to have an answer in French from Joey you know answer yesterday you said that being in can is like being in the lion's den with only a machete it's not easy to impress people we have a deeper musical and I would have a quick question also for ebony to Emily and a Josh can you characterize in a few words how is it to work with Billy actually what is the nice touch what does he bring to a movie make it sexier critics equity so preview larger files name up well to make films it's a privilege to be here with you 44s I forgot sir the the drew your critics are part of ok sighs you I have no problem with that the bunny Damascus seeking the director Zhang 5 et been criticized in a positive or in the negative ways but of course in can one does Lee oneself open to criticism you know just wants it damn near screening of the film your Kingsman finished about a quarter of an hour ago and everything seems very positive in terms of the reactions to it nobody's throwing tomatoes at me yet my fulfill me jacket looks fine still preferable I can confirm that the reactions were very positive no and you guys comment on Denis touch I have to say the thing that um struck me most and the thing that I have so much respect for was Deniz humility and ability to say I don't know and let me sleep on it and I'll come up with an answer and he would very often say I don't have the answer for you and go and have a sleepless night and have the answer in the morning and I think that that kind of openness is very present in his films you know because he allows for you to carve out space for yourself and and doesn't stifle you as an actor and so I think that for me was what I loved about working with him because I think he is that very fine line of visually being incredibly clever along with obviously Roger Deakins and but but great with actors which is an unusual combination it's you really one or the other you know I've done many movies that deal with that part of the world and and I'm very sensitive about that part of the world and and what's happening on both sides of the border with this the problem with drugs I think the story and Denis was was like um saying something that is kind of new through my character or new for me that I haven't played which is this revenge total the means justifies the end I think that in order to play that you need some you need to have someone that is willing to take chances and so Denis was like like Tom Sawyer to Huckleberry Finn it was he was eight for me was you pushed me to to to to drive to take the chance and go further out which what I think was true to the movie true the story of that character being all or nothing and we're not taking any hostages and bringing it back to the first question I don't think that the movie does not say that for me but I think two of the three characters judge his character of my character are saying that Emily's character is not and therefore it's a question me personally I don't believe like my character does I think that justice should be flanked by um by law and order but it's a big problem and have the drug problem in Mexico and in the United States and in Europe so the knee was my favorite thing about the knee about it was that he was sensitive like I said I'm I'm an old war so when it comes to that problem maybe my first movie that I ever did had to deal with this problem so Danny being new to this problem and he came in with the wisdom of understanding it you know fully just I I know I don't know if I believed any any more I think that you know he comes across as somebody who's very uncertain and I don't think that's true what does it mean I don't know I'm a mr.
