1984 marked several significant events in the world of cinema: Paris, Texas claimed the Palme d’Or at the Cannes Film Festival, Once Upon a Time in America had its debut, and British street photographer Derek Ridgers experienced his first encounter with the Croisette. Assigned to capture Afrika Bambaataa for NME magazine and attend a screening of Beat Street, Ridgers instead found a “circus.” His new book, Cannes, encapsulates the excitement, mistakes, and whimsy as an enthusiastic group of amateur photographers chased both familiar and unfamiliar subjects.
The grand, eccentric circus captivated me, and I’d be dishonest if I didn’t admit that I found it incredibly visually appealing,” he states. From 1996 up until then, Ridgers would make a yearly visit, taking pictures of the photographers who capture celebrities – sometimes even managing to include Clint Eastwood or Mickey Rourke within his own shots.
On May 15th, a total of 500 editions of this book will be unveiled simultaneously online on IDEA platform and in all branches of Dover Street Market, which include London, New York, and Los Angeles. In this release, Ridgers takes us behind the scenes to reveal the tales that inspired these images.
Why did you decide to do this book now?
The previous book I released, titled “London Youth Portraits,” is likely my final substantial work in the form of a monograph. With 45 years under my belt, it’s time for me to take things a bit easier and have some fun.
This book isn’t a heavy, scholarly photography collection. Instead, it captures the wild, carefree moments of the Cannes Film Festival during the ’80s and ’90s. The content is light-hearted and lacks any profound symbolism or underlying message.
Was there a time you were truly star-struck?
To be honest, I’ve never really felt starstruck by any celebrity, be it a movie star, film director, or musician. When you meet someone famous, they’re just like anyone else. Sometimes they might come off as a bit detached or arrogant, but honestly, that can happen with anyone – even photographers.
What type of camera did you shoot on?
Among the cameras of its era, my preferred choice is the Nikon FM2. It’s a manual film camera, and while it does have an exposure meter operated by a battery, the simplicity of its design minimizes potential issues. Additionally, you can carry multiple spares with you under sunlight conditions without any worry about running out of oxygen.
What’s your favorite image among these and why?
The image I find most captivating in the book is that of a woman, elegantly dressed in a striped coat, positioned before the signs on page 16. Few are snapping her photo, while the majority of the audience merely stands, anticipating with a sense of mystery, echoing a bit of the enigmatic atmosphere of Cannes – everyone senses something intriguing is unfolding, but nobody quite knows what it is.
What was the day the “music died” and you knew this era was over?
I’m not one of those old-timers who constantly reminisce about the past, claiming that things were better before. In fact, I think the Cannes Film Festival is still as exciting today as it was in the past. The sun, the sea, and the beach will remain unchanged, but the faces of the film stars might be different. However, I wouldn’t be surprised if there are just as many stars attending. As for the level of madness, maybe it won’t reach the heights it did back then, but who can tell, it could certainly get pretty wild.
When didn’t you take your camera out?
Despite sporting a wig that made him unidentifiable, [John Hurt] was in Cannes for the promotion of a movie titled “Starlet“. This was quite a sensation in the two daily newspapers circulating during Cannes back then. Additionally, there was a lot of buzz about the lavish party they planned to host at one of the hillside villas. It seemed like this would be the ideal event to sneak into. On the night of the party, I hailed a cab to reach the villa, but it seemed deserted. Since my taxi had already departed, I knocked on the door. I was escorted into a grand reception room with a stunning view of Cannes bay below.
In the room, apart from John Hurt, there was no one else present, and this time, he wasn’t wearing a wig. Lying flat on a sofa lengthwise was John Hurt, engrossed in a phone call, shouting loudly without noticing me or acknowledging my existence. A young woman brought me a glass of white wine before exiting the room. For approximately thirty minutes, it was just John Hurt and myself in that room. We both chose to ignore each other completely. The situation was quite awkward and embarrassing.
As I returned to the room, it slowly transformed into a bustling atmosphere, revealing that this gathering was exclusively for the cast and crew of the movie itself. Apart from John Hurt, everyone else appeared welcoming and didn’t inquire about my identity or purpose. I discreetly held onto my camera, ensuring it remained hidden. Eventually, I found myself enjoying the party, though the initial half hour was quite awkward. Strangely, according to IMDb, there seems to be no John Hurt film called “Starlet”, leading me to wonder if this entire experience might have been a dream.
You can find this article in the May 7 edition of The Hollywood Reporter magazine. Consider subscribing by clicking here.
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