Recently I spoke to independent British producer Jeremy Thomas about working with David Cronenberg on films like A Dangerous Method. We also wandered into a discussion about whether it would be better for a young filmmaker to have a film in competition at Cannes, or an Oscar nomination.

Not surprisingly, although a little begrudgingly, Thomas sided with the Oscar. “An Oscar nomination really, it is the grail I suppose, but a film in competition in Cannes isn’t bad.”

As Thomas points out, it really depends on what kind of filmmaker you want to be. “It’s also to do with the culture of movies, because the Oscars are a more populist forum, and box office and biggest is often equated with success, whereas in Cannes you can have a winner that no one even sees.”

For those less interested in big budget Hollywood blockbusters, Cannes still plays a major role in the film industry. “It’s very important for people involved in cinema, and it’s a very exciting time of year because everybody launches new movies at Cannes, and the competition is a selection of that”, says Thomas.

Since he began making films in the late 70s Thomas has been to the Festival many times and has fond memories of his premieres on the Riviera. “The Last Emperor was a very strong film and much appreciated when it was seen for the first time”, Thomas recalls. Although, one of Thomas’ most memorable trips to Cannes was for director Nagisa Ôshima’s Merry Christmas Mr. Lawrence (part of which was shot in Auckland).

“Merry Christmas Mr. Lawrence was an incredible premiere in Cannes, with David Bowie. At the time there were incredible riots, there was a national strike in France, there were thousands of doctors and nurses and public workers outside the Palais throwing paint on the front, and everyone had to go through the back door. It was really quite frightening and exciting, but the film was very well received, and so that was a high point of maybe showing a movie. And the film is still very strong today.”

Being able to throw ‘Oscar nominated…’ in front of a film is something most filmmakers dream about. Let’s face it, very few would turn down instant worldwide fame that helps fund their next project, but there are still many positive aspects to being ‘in competition’ in Cannes.

For a start, you don’t have to worry about the Oscar’s curse – you know when you win and then disappear for years on end. Then there’s the fact your film has been chosen by a jury of nine intellectual and revered members of the film industry, who have not been subjected to months of Presidential like campaign tactics encouraging them to vote for films. There’s also the social aspect, many film have been realised thanks to relationships initiated at Festivals around the world. Jeremy Thomas meet David Cronenberg at a bar in Toronto, and the result was Naked Lunch, Crash and A Dangerous Method.

This week, 19 directors will be bidding for the coveted Palm d’Or award. Sure the winning film won’t be seen by as many people as watched The Hobbit or Argo, but it will be seen and appreciated by many, including me.