VeniceFilmFestival director Alberto Barbera on how to make the Oscars a more globally inclusive show
Our international staff who cover the Venice Film Festival each year always told me that when you meet festival director Alberto Barbera even for the first time, you feel you are in the company of an old friend. They were right.
When we first met at Cannes in May, I told Barbera how Deadline is expanding its international footprint but that I’d never made it to Venice. I’d always headed to the Toronto Film Festival because there were acquisition deals to be broken there, and because the dates lined up better with my kids’ return to school and who wants to miss that? They’re all grown now, and Barbera urged me to give Venice a try.
Sure, I said, I’ll come…if Barbera would get in a boat with me and show Deadline readers why the combination of a singular city and a progressive-minded management turned film’s longest-running festival into such a hip gathering. We could idle around its famous canals and under its low bridges to show off the visual appeal, while Barbera regaled us with war stories from Venice, past and present. He said yes, and this the result.
Please tune in as Barbera talks about everything from the studio that took a chance on him with a blockbuster, allowing Barbera and his cohorts to show Hollywood why Venice could be a difference maker in awards season; his heartbreak of finally getting the reclusive Stanley Kubrick to come, only to see him pass away shortly before; how Barbera maintains a cordial relationships with his festival head rivals at Cannes, Toronto, Telluride and New York despite fevered competition to showcase the...
There’s also his disappointment at being spurned at this year’s festival by Steven Spielberg, and his admonition that the pizza at Venice’s Excelsior Hotel is better than the Croisette’s La Pizza .
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