Archive for January, 2012
Call me out of touch, but I love books. I recall being told in college to “spend money on books, not pot.” Unfortunately, I was spending money on Top Ramen, not books nor pot. I’m not a book snob. I’m thrilled to find a copy of Tidewater Virginia as well as a first edition of To Kill a Mockingbird. While I spend many hours showing Paul Rand and Alvin Lustig jackets, I have a secret love for the jackets of the unknown. With titles such as Saphira and the Slave Girl, which sounds faintly lesbian-esque, how can you go wrong?
The New York Public Library has a remarkable digital collection of book jackets from 1926-1947. These aren’t chosen by a select group of designers for high design aesthetic value. Research Libraries typically remove dust jackets and discard them before shelving the books. From 1926-1947 anonymous librarians collected and saved jackets they found interesting. They range from unbelievably wonderful, Greatest Show on Earth, to the odd, Less Eminent Victorians. As a collection, the design trends and resources become clear. The lack of color during the World War II period is obvious. The minimal usage of photography shows, not a preference for illustration, but the issues with printing technologies at the time. As it was common for an illustrator to be hired to draw the cover jacket, much of the typography is hand-lettered in wonderful ways.
The books here have a subtext of personal care. Someone handled this artifact, chose the cover, and carefully stored it in a scrapbook. Perhaps it’s because my grandfather had a wonderful library, and my grandmother was never without a book, but these books all seem to have been loved.
Shown here is the first of a series on this subject. The book jackets images include the spine.
In 2001, we started working with Sundance. Over the next 9 years, we had a wonderful time working on the Sundance Film Festival, Sundance Channel, Sundance Institute, Sundance Resort, and a few other Sundance properties. It’s hard to complain about a project, when you are meeting Robert Redford in a beautiful valley in the mountains of Utah. We had a great appreciation for the role Sundance plays in preservation, independent thinking, and artistic integrity. And, something close to our hearts is Sundance’s connection to the American west as an idea. It isn’t about the west of cowboys and Indians, but about vast open space, pioneering thinking, and optimism.
Working with the creative team at Sundance, specifically Jan Fleming and Robert Redford, was a true collaboration. And while it sounds like the party line, that’s how we do our best work. I also love working with Robert Redford because he insists on calling Noreen (Morioka), “Maureen Noriega.”
Grace Kelly’s last film before she became Her Serene HighnessThe Princess of Monaco, was High Society. High Society is a remake of The Philadelphia Story, which is about waspy rich people who misbehave. Grace Kelly is the spoiled rich girl with an icy heart. Before her wedding to a fussy and uptight man, Frank Sinatra shows up as a writer for the trashy tabloid Spy magazine. Yes, Spy magazine, but not the 1980s one. Bing Crosby is Kelly’s ex-husband and happens to be throwing a jazz festival with Louis Armstrong. It’s wonderfully Hollywood. Everything in the house is brand spankin’ new and big. I love the incredibly hip patio furniture that was obviously on a set in Culver City. The film looks fantastic. The songs, when not sung by Kelly, are swell.
But there is a giant elephant in the room. Bing Crosby is the true romantic interest for Grace Kelly, but he’s older than her grandfather. It’s creepy. And Frank Sinatra is lurking around the property leering at Kelly. The reality of a dusty old mansion with ancient broken lamps that shock you when turned on doesn’t fit here.
I would like to remake High Society, but with realism, like Trainspotting. This is how it could work: The main character (played by Evan Rachel Wood) is divorced and bitter, with a filthy mouth. She lives with her hateful sister and alcoholic mother at the family estate with cat urine and a filthy kitchen. Her ancient, creepy ex-husband, who moved next door, (Harry Dean Stanton), stares at her through windows. “I liked it when you dried yourself with the pink towel,” he could say. The tabloid reporter (Philip Seymour Hoffman) is an immoral opportunist, who spends a good deal of the film secretly playing with the family dachshund in both an abusive and almost sensual way. I’d drop the songs, they get in the way of the scenes with screaming followed by tense silences. Of course, the film cannot end with the heiress reuniting with the ex-husband. It will be left open for interpretation, with a final scene of the heiress standing on the verandah with broken rattan furniture and empty Mountain Dew cans, staring at herself in the reflection of a window.