Last December, John Travolta told Thierry Frémaux, the general delegate of Cannes, that he had finished his first film as a director, Propeller One-Way Night Coach, which premieres on Apple TV on May 29. “But I don’t know…,” he hesitated. “Send it to me,” the Frenchman shot back. A few days later, Frémaux called him and said: “For the first time in the history of Cannes, I’m going to do this. I’m selecting it for the festival myself — and don’t touch it. It’s perfect. But let me protect it.”
Travolta, 72, recounts the story with a smile. “That’s why he put it in the Cannes Premiere section. What I didn’t expect was the other thing.” His doubts came from the fact that the film runs 61 minutes — just long enough to qualify as a feature rather than a medium‑length film. And “the other thing” was the Honorary Palme d’Or he received at the start of Friday’s gala screening. “No one knew — not my family, not my team, not Apple. Thierry kept it to himself and gave me that gift.”
In person, Travolta’s gaze remains commanding. His beard is trimmed and dyed, and he wears a beret (today, a burgundy one) that covers what appears to be a shaved head. But those eyes are still piercing. His voice, by contrast, is almost a whisper. Sitting next to him is his daughter, Ella Bleu, who appears in the film as a warm, attentive flight attendant. She speaks just like her father and has the same blue eyes.
In fact, she is the Travolta who appears the most in Propeller One-Way Night Coach. Five of John Travolta’s siblings also have roles, and the film is dedicated to all of them — as well as to his parents, his wife Kelly Preston (who died in 2020), and his son Jett (who died at 17 in 2009 after an epileptic seizure). “That’s why their names and the whole family appear.”
That’s where the interview begins, with one condition agreed in advance: no questions unrelated to Propeller One-Way Night Coach
Question. Filming with the family — was it a way to bring everyone together, a guilty pleasure, or simply something a joy?
John Travolta. It was a joy. And exciting… They’re all professional actors, so it was really a continuation of what we experience at home.
Ella Bleu Travolta. On vacation, we’re always improvising performances and singing [the actress will not speak again during the interview].
J. T. I want you to understand that this is an absolutely personal film for me. Everyone, present and absent, appears in it in some way. It’s been magical. Because I didn’t have a big budget, although I did have talented people close to me. And we found the two main actors together.
Propeller One‑Way Night Coach is based on Travolta’s book of the same name, which tells the story of a 12‑year‑old boy and his mother traveling in 1962. They are moving to Hollywood, where she has found work as an actress. But money is tight, so they cross the United States on a propeller plane, on a cheap multi‑stop flight — an adventure for the boy, an aviation fanatic. Much like Travolta himself.
Q. Why has it taken you so long to direct?
A. Because I only wanted to do it with this story. And 30 years ago, I wasn’t ready to direct. Later, when I did feel confident, it was time to find the money. And when someone finances a film, they want their opinion to be taken into account. I wasn’t willing to let anyone interfere with my vision. That’s why a producer advised me: ‘Do it yourself, and the film will be exactly as you want it.’ That’s why it’s taken me longer, and I’m writing, directing, producing, narrating, and acting in the end. It’s an intimate film, with my own personality. Made alongside the people who love me. But meant to be shared with everyone. To be shared with someone.
Q. The story takes place in 1962, when the United States was brimming with hope, something that was soon radically cut short. Is that why you chose that era?
A. That’s right, and that’s why the film is so important. Because it reminds us of a time when life was full of hope. That little boy is resilient. And happy, he enjoys what comes his way. He always sees the glass as half full. In those days, the tone, even when terrible things were happening, was hopeful. People faced the future with hope. Now we face the future as something dark and harsh. I know we’re going through difficult times right now. However, today, people see life with absolute cynicism. Cynicism, cynicism, cynicism. I’m exhausted from so much cynicism about life.
Q. Do you remember the first time you flew in an airplane?
A. Yes, it was just like in the movie when Rhapsody in Blue plays. I was eight years old, and I saw the TWA plane from the terminal. It was epic. I cried because it was so beautiful… And then I went up the stairs, sat down, and everything exuded elegance. Many of the feelings in the film come from my emotions that day.
Q. You are now an expert pilot. What do you remember about your first flight?
A. It was a long process. I took lessons at three different times in my life. The first two times, the instructors were incredibly tough on me. The third time, however, was with a wonderful guy, my own age, who looked after me and protected me. He was incredibly patient. I was having a tough time again, and he told me, “Give me two more hours, because you’ve got it, you’re so close.” I told him no, and he started to cry. So I had no choice but to stay, and he made me a pilot. And look at me now.
Q. On Friday, you said that an Honorary Palme d’Or is better than winning an Oscar. Are you sure?
A. Absolutely, and I’ve been nominated twice, for Saturday Night Fever and for Pulp Fiction. Because the Palme d’Or is a recognition of art. At the Oscars, there’s political maneuvering, favoritism, and cronyism. You enter a campaign to win it over others. I’ve been to Cannes numerous times; I know what I’m talking about. I’m at a festival with people who make the films I like. So on Friday, I was deeply moved and surprised. It was perfect.
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