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No End in Sight: Trade Roughage 12/03/07

Karina Longworth
By Karina Longworth posted 1 year ago
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  • wgastrike.pngSunday night strike stories: According to Carl DiOrio at The Hollywood Reporter, “The WGA will respond to studio reps’ latest contract proposal on new-media pay by advancing its own new proposals.” Though DiOrio admits that “the simple fact is that nobody knows where this roller-coaster ride of collective bargaining will end,” his is still the glass half-full take compared to Variety’s take. Dave McNary says that while the WGA has been surprisingly lenient in the past few days about allowing writers to work on benefits and awards shows, “Optimism for a quick resolution as negotiations resume Tuesday has faded to nearly nonexistent.”
  • With Enchanted expectedly taking the number one spot at the overall box office for the second week in a row, the real story this weekend is in the specialty market. The Savages opened to the best per-screen average of the week, with $38,280 in each of its five locations; The Diving Bell and the Butterfly opened to $85,300 across three screens, making it Julian Schnabel’s most impressive opening to date; and I’m Not There dropped a respectable 33% whilst expanding to 138 screens. To their credit, this time Variety managed to report it without being totally condescending.
  • Deals: Ridley Scott will direct a Gucci family biopic for Fox 2000; Variety confirms fanboy whispers that Christian Bale is “closing in on the role of John Connor in Warner Bros.’ reboot of the Terminator franchise.”

David Lynch For Gucci. Clip of the Day.

Karina Longworth
By Karina Longworth posted 2 years ago
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I Watch Stuff offers a roll of the eyes towards the above Gucci advert directed by David Lynch: “This minute of models doing what must be the waifish equivalent of dancing (swaying gently with passing breezes) to the tune of ‘Heart of Glass,’ all I could think was, ‘Oh god, was there a time when David Lynch would dance to Blondie?’” But it’s not surprise to see Lynch indulging in pop music–he stole that shtick from Kenneth Anger twenty years ago, and has often wavered on the ironic/sincere line with it.

To me, the ad falls in with the recent trend of corporations paying brand-name directors to rehash chunks of their film work within the context of an advertisement. The Gucci ad plays like the last scene of Inland Empire, stripped of the feeling of catharsis provided by that film’s previous two hours and forty minutes, with Nina Simone swapped out for Blondie and with a lot more money to play with. In some ways, this feels like what Lynch has been working towards for years: it’s a chance for him to experiment with mood and visual atmosphere without having to worry about assigning meaning to anything.