Tuesday, August 07, 2007
The Lot is left with its Fantastic Four
On The Lot, down to the semi-final “fantastic Four.” Steven Spielberg and Mike Burnett are executive producers. Gary Gray was the guest director.
Zach was eliminated. It seems that the audience may have been disappointed with his idea of a popcorn "cash cow" Cineplex “franchise” and wanted the substance they were used to in earlier rounds. It certainly looks like he will be marketable now in the independent film world, and we should see some of his work in the art chains soon, at least.
The blog entry for July 31 gives the logline for this week's contest.
“The Yes Men,” Will Bigham, the awakening man-in-dress is an executive who fires everybody, especially other executives who try to mimic him with dresses at board meetings. The plural in the title is important.
“Dress for Success,” Sam Friedlander, is a mixture of “Saw” and “9 to 5” if you can imagine that, with the chained man-in-dress returning to what put him there in a flashback. He needed to be brought low. This was not exactly an homage to John T. Molloy's notorious conformist book (with its controversial advice regarding race) about sales culture.
“Army Guy,” Adam Stein, has a soldier trying hard to fit into a model of unit cohesion when he suddenly, after seeing his buddies pulled apart, realizes that he is a puppet, but still very much alive. That’s an idea that I had tried in my screenplay Project Greenlight “Baltimore Is Missing.” A distant mockery, perhaps, of “don’t ask don’t tell.” This film was a favorite of the judges – combining film art with political satire about our notions of power and loyalty. Around 2001, 'Nsync had a video where the boys in the band pretended to be Army puppets.
“Oh Boy,” Jason Epperson has the drag “queen” going door-to-door, getting kissed, while having to deal with a danger. Garry Marshall said that Epperson knows “the power of kindness.” A long way from "Oldboy."