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Shootout Producer’s Diary: Day 1 and 2

Editor’s Note: Gary Marks, an executive producer with AMC’s Shootout, is tracking his experiences doing the show from Cannes.  His first entry follows.

When I was hired, about three months ago, to produce Shootout, it was with the specific intent of launching an extension of the regular show: Shootout at the film festivals. That day is here. We arrived in Cannes last night and spent the morning scouting locations.

Everything I’ve heard about Cannes is counter-intuitive.  I’ve been warned it’s loud, crowded, expensive and crassly commercial. If my first day is any indication, I’m going to love every second of it.

We got credentialed in the morning, which so far means I look like I’m at a dentist’s convention. We scouted the American Pavilion for a shoot with Michael Moore and possibly Bono. It’s loud, which makes me nervous. Then, across the street, we looked at an apartment that overlooks the Palais and the red carpet. I have this idea for the show open to find the two Peters from a bird’s eye view, like "Where’s Waldo?" on the red carpet at Cannes. We’ll see if that works.

Then on to another location -– the Festival House. It’s an impressive private club for Festival parties. I wish we could do all our interviews there. We’ll definitely be there for the Roman Polanski interview on the 19th. If I could convince all our booked interviewees to get into a very short limo ride there, they’d all be very happy. But the chances of that happening are slim and none. So that likely leaves locations that are loud and crowded. And so the stress begins.

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