First off, we’ve made it to the end of our first launch week! Woo hoo! IndiesUnchained! is our passion project to create a dialogue about this crazy industry we’re breaking ground in. Every week, we’re bringing blog posts of varying topics straight from our minds to your url box. Let’s reflect on this week’s fresh pressed:
- “Hollywouldn’t” by Jalissa C.
- Film Grading System by Sean T.
- When A-Lists Play Director by Christina B
- Snub Me Tender: A Love/Hate Story by Chris B
- Is Fincher’s GWDT A Feminist Film? by Sean T.
- Audience Demographics: His Versus Hers by Christina B.
Are You The Girl With The Dragon T-Shirt?
Intrigued by Sean’s GWDT post earlier this week (read here), I figured why not share a post that caught my eye last month via Bust.com. Apparently you too can dress like Fincher’s leading lady if you shop at the right H&M. This could be the start of something big, folks. Imagine a theater full of 20-something Lisbeth-clones watching as Rooney Mara kicks American-Swed-remake-butt on the big screen! Is the next wave in film marketing? Probably not. It’s ridiculous capitalism at it’s finest. But props to the film’s costume designer Trish Summerville. She’s a savvy stylist taking an opportunity to brand her work in the movie (it’s a pretty big focal point) from the megaplex to the clothing stores. After all, how many costume designers can you name off the top of your head?
Products Have Their Place in YOUNG ADULT
It’s the first movie I’ve seen in theaters for 2012 and I cannot gush enough about it. One point in particular that I’ve been reeling over is the refreshing product placement in the film. Wait, is there even such a thing? While I rolled my eyes at the Mountain Dew machine-turned-spacebot in Michael Bay’s TRANSFORMERS, it didn’t sting so much when Charlize Theron was chugging like fiend on Diet Coke in several scenes. Why? The true difference is that when a character who is brilliantly drunk/crazy like Mavis appears on a movie poster with a Hello Kitty tee and obviously photoshopped Victoria Secret bag, I still trust Diablo Cody and her team are in it for the story; not my dollars. The all-too-familiar products that appear in the film are organic IF you get the inside jokes. Word to the indies: Don’t be afraid to gives us what we know is mainstream anything in appropriate doses. Chances are we’ll talk about the plot afterwords, not how many kickbacks you got.
Why We Continue to Love and Hate THE HELP
Via the Twitterverse, I found on Racialicious.com the latest in a slew of articles that have solidly convinced me THE HELP was the best thing to happen to film audiences in a very long time. The movie came out last summer and the dialogue still continues, especially into award season. Love it or hate it, there is power in this film. Yes, there are many people who rightfully critique the flick because they have seen this whitewashing of history before. But for me personally, this is new and exciting territory if you look at it from different angles. The film adaptation brought new audiences to the original bestselling book. Americans spent the summer reading! THE HELP was also number one at the box office for weeks after its release, beating out sure-fire contenders in the usual man-fest summer. Patrons, young and old, men and women, frequented the theaters from all sorts of word of mouth reviews (positive and negative). How many times did someone ask you: Did you read/see THE HELP yet? or hear someone say: I will not read/see THE HELP! Overall the film just reminds me how cinema, especially the kind that rehashes our past, gets us talking to each other and that is never a truly bad thing.
Lifting the Celluloid Ceiling In Award Nominations
Lastly, I’d feel like giving a digital high-five to three filmmaking teams in the latest round of award nominations. Word on the street for a while has been that THE HELP and BRIDESMAIDS are shoe-ins for Academy Award noms this year. It looks like they might be one step closer at least according to the Writers Guild of America and the Producers Guild of America. THE HELP is a contender with Best Adapted Screenplay by Tate Taylor and Outstanding Producer. BRIDESMAIDS’ Kristen Wiig and Judd Apatow are up for Best Original Screenplay and also Outstanding Producer. And always the wild card to bet on, Diablo Cody is also in the running for Best Original Screenplay for YOUNG ADULT. As a ticket-stub holder for all three movies, I’m happy to see that these stories about women, largely written by women, even featuring a stellar cast of Black women, are getting worthy notice by their respective guilds.