Frothy 'Potiche' puts Catherine Deneuve on pedestal
After Elizabeth Taylor died on March 23, obituaries lamented that she the last of Old Hollywood's glamor goddesses, with star power that outshone most of the movies she appeared in. Well, maybe not the last: Catherine Deneuve is another legendary screen beauty who became a muse for major cinema artists and fashion mavens alike. Plus, having made more than 100 movies, including classics like Repulsion translates as "trophy wife," which has a slightly different French meaning than its American connation. As the title character, Suzanne Pujol, Deneuve isn't the young, sex object spouse to a preening businessman, but the long-time, perfectly turned ornamental wife of umbrella factory owner Robert Pujol (apoplectic Fabrice Luchini). Suzanne faces few expectations beyond running Robert's household, parroting his opinions and turning a blind eye to his infidelities. Early scenes capture Suzanne's cushy life as she jogs in an idyllic forest that would be worthy of Snow White were it not for the copulating rabbits.Just when it seems like the women's liberation movement will pass Suzanne by, labor unrest wreaks havoc at the factory. Striking workers take her husband hostage, but after she negotiates his release, his heart condition puts him in the hospital and forces Suzanne to take over the management role. She enjoys getting all dolled up for union negotiations and telling indignant workers, "In a sense, [Robert'] my boss, too, so I can sympathize." She also rekindles an old flame with a local socialist politician, Maurice Babin (Gerard Depardieu, apparently ready for the blog Men Who Look LIke Old Lesbians ).
Potiche's greatest strength probably lies in the scenes with Deneuve and Depardieu, which evokes the casual, companionably flirtation of Jack Nicholson and Diane Keaton in Something's Gotta Give . Ozon gives Deneuve plenty of leeway to warm up a creaky vehicle for farce, without offending her dignity. Suzanne dances to a kitchen radio, cavorts at a discotheque with Babin, outmaneuvers Robert and practically pulls the audience to her bosom.
Though the film takes place in 1977, Ozon's splashy cinematography evokes the films of the 1960s. Flashbacks to her youthful affairs border on parody of the kind of sunny French sex comedy with angels cooing "La la la la" on the soundtrack. Though Suzanne initially comes across as a passive victim of Robert's philandering, we discover that she was never one to resist carnal temptation, giving the film a sexually permissive subtext you'd seldom find in an American film.
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"Some of the artists are so controlled by their labels and management and are so lost that I can't work with them," said Perry, who insists on meeting every performer before she works with them. But her unhappiness had more to do with Perry,
Well, maybe not the last: Catherine Deneuve is another legendary screen beauty who became a muse for major cinema artists and fashion mavens alike. Plus, having made more than 100 movies, including classics like Repulsion and Belle du Jour,
"Some of the artists are so controlled by their labels and management and are so lost that I can't work with them," said Perry, who insists on meeting every performer before she works with them. But her unhappiness had more to do with Perry,
"Since it is really hard to bring artists in if you don't know anyone from the booking agencies or management, they just offer insane amounts of money instead. Then the bidding war starts. Whoever pays most gets the artist." Other problems remain for
The MUSE talked to Slug, also known as Sean Daley, from Atmosphere as they started off on the first leg of their tour in Columbus, Ohio. The MUSE: Your last album came out in 2008, what have you been up to since then? Slug: Releasing music, we put out
Marc Reiter Q Prime Interview — Dishing With The Digerati #8
Exceptionally nice guy, he is also one of the smartest and most effective managers in the music business. After cutting his teeth as a product manger for Epic Records in the late 80′s, Marc joined powerhouse artist management company Q Prime in 1992 and has not looked back since.
Through the years, I have found Marc to be remarkably insightful around technology issues — he combines, as you will see, a great combination of thoughtfulness and practicality as he navigates ever-changing terrain on behalf of his artists.
I caught up with Marc on Monday morning, and we talked about the stuff we always talk about — music, artistry, technology, life, and of course, Fast Times At Ridgemont High:
For those readers who don’t know you, and Q Prime, can you give us the elevator pitch/Twitter rundown on Q Prime
Reiter: q prime is an artist management company, based in NYC, but we also have offices in Nashville, L.A. and London. it was formed in 1982 by Cliff Burnstein & Peter Mensch, who still run the show today.
Reiter: we manage a gaggle of great artists, including:
Reiter: metallica, red hot chili peppers, josh groban, muse (n. america only), the black keys, snow patrol, three days grace, eric church, silversun pickups, cage the elephant, garbage, the mars volta, ximena, foals, the big pink, animal kingdom, american bang, sara watkins, nickel creek, jonathan singleton & the grove, gillian Welch, Rene Fleming’s music career, and baroness!
How do you see your role?
Reiter: actually, i don’t have a title here. no one really does. although we do have day-to-day people, my role is basically more of a creative/marketing type of role. i just try to come up with ideas that will help our artists in some way; be it album sales, ticket sales, whatever…
Reiter: obviously like with any job in management, it ends up being a lot more than that.
Can you remember when it was 1st pitched in its roughest form…what was the initial reaction ?
Reiter: it was first pitched to me in January of 2008, in a very rough form, although in hindsight, it rally wasn’t dramatically different from what we ended up doing. And my initial reaction was similar to getting hit over the head with a croquet mallet. it was that dramatic. it just hit me, like, “holy shit! this is it! this is exactly what we NEED to be doing! i can’t wait to tell the band about this! they are going to love it…even though it’s going to be more work than they’ve ever known!
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