Richard Gere Drew on Father's Death for Role in Cannes Entry 'Oh, Canada'

Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
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Richard Gere Drew on Father's Death for Role in Cannes Entry 'Oh, Canada'

Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier

Richard Gere, once a Hollywood leading man, said he drew on his feelings following his father's death to bring emotional depth to his role in "Oh, Canada," for which he returned, after decades, to the Cannes Film Festival red carpet on Friday.
"It so resonated with my own emotional voyage with my dad, who was almost 101 when he passed away," Gere told Reuters.
"Paul (Schrader, the director,) wrote such a terrific script, moving script, filled with wonderful character stuff that it was very easy for me to say 'yes,'" he added.
Gere, 74, is almost unrecognizable as Leonard Fife, a man at the end of his life, intent on sharing the secrets of his youth with his wife of 30 years, played by Uma Thurman, on camera, using a technique he perfected as a celebrated documentary maker.
The film, which is competing for the film festival's top Palme d'Or prize, is told through flashbacks, with Jacob Elordi of "Euphoria" fame playing the younger version of Leonard.
Critics were lukewarm after the film's premiere, with The Guardian calling it "muddled, anticlimactic and often diffidently performed," while giving it two out of five stars.
"Oh, Canada" brings Gere back together with Schrader some four decades after the 1980 crime drama "American Gigolo."
"We're like old dogs now, you know? It's like, I was going to say old hookers, but I can't say that," Gere said.
"But there's a shorthand there. I mean, we didn't talk much during this, we just kind of figured out," he added.
The film is based on the novel "Foregone" by Russell Banks, a friend of Schrader's after he adapted "Affliction," with Nick Nolte, into the 1997 Oscar-nominated film of the same title.
The reason Schrader did "Oh, Canada"?
"Russell got sick. That simple," said Schrader, who recalled how hard-hit he was after Banks asked him not to visit because he was feeling bad due to cancer. Banks died last year.
"I knew he had written a book about dying when he was healthy, so I better read that book," said Schrader, 77. "And I read that book and I thought 'yep, that's what I should do'."
The director said he also had to confront his own mortality after a few hospital visits for long COVID and a broken bone.
"I was thinking, you know, maybe, maybe this is it," he said. "At that point, you start thinking about, well, if I've got one more film left, what should it be about?" he said.
"And, fortunately, my health has improved," Schrader said, adding that he still might have a few films in him yet.



Mel Gibson’s ‘Flight Risk’ is No. 1 at Box Office, ‘The Brutalist’ Expands

FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
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Mel Gibson’s ‘Flight Risk’ is No. 1 at Box Office, ‘The Brutalist’ Expands

FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)
FILE - Mel Gibson, right, interacts with crowd members as he leaves a Hollywood Walk of Fame star ceremony for actor Vince Vaughn, on Aug. 12, 2024, in Los Angeles. (AP Photo/Chris Pizzello, File)

Critics lambasted it and audiences didn’t grade it much better. But despite the turbulence, Mel Gibson’s “Flight Risk” managed to open No. 1 at the box office with a modest $12 million, according to studio estimates Sunday.
On a quiet weekend, even for the typically frigid movie-going month of January, the top spot went to the Lionsgate thriller starring Mark Wahlberg as a pilot flying an Air Marshal (Michelle Dockery) and fugitive (Topher Grace) across Alaska. But it wasn’t a particularly triumphant result for Gibson’s directorial follow-up to 2016’s “Hacksaw Ridge.” Reviews (21% fresh on Rotten Tomatoes) and audience scores (a “C” CinemaScore) were terrible.
President Donald Trump recently named Gibson a “special ambassador” to Hollywood, along with Jon Voight and Sylvester Stallone.
Going into the weekend, Hollywood’s attention was more focused on the Sundance Film Festival and on Thursday’s Oscar nominations, which were twice postponed by the wildfires in the Los Angeles region, The Associated Press reported.
The weekend was also a small test as to whether the once more common Oscar “bump” that can sometimes follow nominations still exists. Most contenders have by now completed the bulk of their theatrical runs and are more likely to see an uptick on VOD or streaming.
But the weekend’s most daring gambit was A24 pushing Brady Corbet’s “The Brutalist” a three–and-a-half-hour epic nominated for 10 Academy Awards, into wide release. Though some executives initially greeted “The Brutalist,” which is running with an intermission, as “un-distributable,” Corbet has said, A24 acquired the film out of the Venice Film Festival and it’s managed solid business, collecting $6 million in limited release.
In wide release, it earned $2.9 million — a far from blockbuster sum but the best weekend yet for “The Brutalist.”
The audience was downright miniscule for another best-picture nominee: RaMell Ross’ “Nickel Boys.” Innovatively shot almost entirely in first-person POV, the Amazon MGM Studios release gathered just $340,171 in 540 locations after expanding by 300 theaters.
Coming off one of the lowest Martin Luther King Jr. weekends in years, no new releases made a major impact.
Steven Soderbergh’s “Presence,” a well-reviewed horror film shot from the perspective of a ghost inside a suburban home, debuted with $3.4 million in 1,750 locations. The film, released by Neon and acquired out of last year’s Sundance, was made for just $2 million.
The top spots otherwise went to holdovers. The Walt Disney Co.’s “Mufasa: The Lion King,” in its sixth weekend of release, scored $8.7 million to hold second place. After starting slow, the Barry Jenkins-directed film has amassed $626.7 million globally.
“One of Them Days,” the Keke Palmer and SZA led comedy from Sony Pictures, held well in its second weekend, dropping just 32% with $8 million in ticket sales. In recent years, few comedies have found success on the big screen, but “One of Them Days” has proven an exception.