UTA’s Rich Klubeck Is Juggling Wes Anderson, Kelly Reichardt and Ethan Coen at Cannes

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It could be considered fortunate for an agent to possess a few competition victories at Cannes. However, UTA partner Rich Klubeck is managing no fewer than three filmmakers showcasing their features at the festival: Wes Anderson (working on “The Phoenician Scheme”), Kelly Reichardt (“The Mastermind”), and Oliver Hermanus (“The History of Sound”). Additionally, Ethan Coen’s film, “Honey Don’t!”, is being screened out of competition.

In addition, the first package is being released ahead of others, coming directly from client Mikey Madison after her remarkable journey that led to the Palme D’or and Oscar-winning film “Anora”. This project revolves around a dental hygienist who develops a romantic interest in a mermaid. The director for this venture is Alejandro Landes, with Kirsten Dunst set to portray the lead character.

How do you manage what each client needs when you have so many at the fest?

As a festival representative, I embody my own distinct gaming character at these events. My role isn’t just one-dimensional; it’s multifaceted. I’m here not only for the thrill of the festival, but also as a liaison between distributors, publicists, and producers. On the ground, I’m problem-solving, but I’m also partaking in the shared gaming experience, immersing myself in the vibrant world of these events.

During film festivals, you’re often sought after by various individuals such as fellow filmmakers, producers, actors, and studio executives. This is primarily because your role as a filmmaker at the festival generates significant intrigue. Some may genuinely wish to network for potential collaborations, like a U.K.-based producer who might not otherwise meet a U.S.-based filmmaker. However, some people simply enjoy meeting festival insiders, fueled by curiosity and a desire to boast about their connections.

Kelly Reichardt is adored yet appears rather unassuming, occasionally appearing puzzled by the intense passion people show when they want to watch one of her films. From what we can gather, how does she respond to this admiration and enthusiasm?

Kelly Reichardt receives a lot of love but seems understated, even bewildered at times by the intensity with which fans long to see her films. So, how do you think she handles all the praise and excitement?

She attends festivals, yet receives retrospectives for her work. Given her youth, it’s surprising to many when they learn about these career milestones. She has an extensive portfolio and is highly respected due to her authenticity as an artist, adherence to her creative vision, and development of a remarkably distinct body of work. If you appreciate cinema, it’s hard to overlook her contributions.

As a gamer, I’m currently working on Mikey Madison’s latest project post her Oscar win, which revolves around a dental hygienist getting entangled in a love story with a mermaid – definitely not your typical Hollywood blockbuster! Now that we have this unique and intriguing concept under our belt, I’m eager to explore what other Anora-themed narratives she might be interested in exploring further.

As a gamer, I’m constantly on the hunt for that perfect role that truly resonates with me. Finding the right team to bring my vision to life is crucial. It’s like seeking the perfect party members in an RPG, each with unique skills and perspectives that complement yours. There’s one potential team announced, but things are moving fast. But this serves as a roadmap, guiding me towards exciting opportunities. I yearn for roles that challenge me, allow me to explore different aspects of my acting abilities, and collaborate with diverse individuals. However, these collaborators must be intriguing, they must captivate not only the audience but also me. It’s all about finding that perfect balance between adventure and strategy.

Among the filmmakers participating in the festival, Oliver Hermanus might not be as well-known to some. However, the movie titled “History of Sound,” featuring Josh O’Connor and Paul Mescal in a romantic role during the summer of 1919, is one that has piqued people’s curiosity and interest.

One remarkable aspect of Oliver is his unyielding determination, going beyond his natural talent. This persistence played a crucial role in bringing the project “History of Sound” to life. As more news about the film spreads, its story will become more familiar. However, creating this movie was no walk in the park. Yet, we’re all grateful it came into being, and that’s something everyone will recognize.

Everyone is talking about tariffs. Does the marketplace feel different this year?

Fundamentally speaking, the market hasn’t undergone a significant transformation compared to its historical state. If you possess exceptional talent and captivating content within a budget that’s reasonable, the market is favorable. There’s a consistent demand for movies, and so far, discussions about tariffs haven’t presented much of a challenge.

1. Could you tell me what you’re hoping to find when you attend one of your director’s films at the Cannes Film Festival? Can you share some special moments that stood out for you during these screenings?

2. What are you anticipating or seeking when settling into a theater seat for one of your filmmaker’s movies at Cannes? Could you recount some unforgettable experiences from those screenings?

3. At the Cannes Film Festival, what are you specifically aiming to experience when watching one of your director’s films? Can you recall any significant moments that left a lasting impression on you during these screenings?

4. When attending the Cannes Film Festival to watch one of your filmmaker’s movies, what are you hoping to see or feel? What were some memorable instances during these screenings for you?

5. In the context of watching one of your director’s films at Cannes, what are you personally looking forward to experiencing? Can you discuss any standout moments from those screenings that left a lasting impact on you?

2007 was an exceptionally intriguing year at the Cannes Film Festival, with “No Country for Old Men” and “Zodiac” both making appearances. I believe it was also the year that “4 Months, 3 Weeks and 2 Days,” directed by Cristian Mungiu, was shown. The audience was utterly captivated by “No Country for Old Men.” Despite not receiving any awards, everyone could sense we had a truly remarkable film on our hands. It was quite distinct from the Coen Brothers’ usual work.

Reflecting on Cannes, it’s impossible not to recall the profound impact of “The Substance“. This was an extraordinary moment, as we were unsure about how the audience would respond. While we knew the film was exceptional, predicting the reaction was uncertain – a rarity in our experience. Typically, we have a fair idea of what to anticipate, but this time it was unpredictable. We weren’t sure if the audience would embrace it completely, or if some might be repelled. However, as it turned out, everyone had embraced it wholeheartedly.

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2025-05-20 10:54