The ensuing SWAT standoff is interrupted when an earthquake upends the city, causing Windows to fall off the Microsoft building and a giant Xbox logo to emerge from the jagged, sunken earth. Ronald McDonald escapes but meets his end as he is run over by the Esso girl and Big Boy as they drive their way out of the earthquake-ravaged city. Oil then drowns the entire scene, cleansed later by a flood of ocean water as the camera zooms out into outer space, with spherical commercial marks approximating the planets and solar system.
The plot is rather pointless, but resembles fragments of the highly commercialized, violent, and dystopic Los Angeles as depicted in films such as Blade Runner , Falling Down , and Pulp Fiction In Logorama , commercial marks and mascots fill every frame and do more than drive forward a flimsy plot of violence qua violence. They are the plot. Viewed carefully, Logorama reveals its subtle critique of corporations.
Ronald McDonald escapes on a motorcycle that is the film logo of Grease 2 , and crashes into giant Weightwatchers package. Bush reelection campaign of However, as critics and commentators have noted, the critique is rather chaotic and slippery, as might be expected with the use of satire. Part of what is helping to answer this question is the potential trademark violation that has been raised by a number of commentators.
If the makers of Logorama were subverting trademark law, then the critical anti-corporate potential of their film is strengthened. Many commentators allude to potential legal problems for the film. In media studies, conversations about copyright law and fair use go hand-in-hand.
Fair use allows for unauthorized use of copyrighted material for scholarly, critical, artistic, and pedagogical purposes. But trademark law, which protects commercial marks, holds narrow focus on brand dilution and consumer confusion. So, perhaps Logorama is not as daring as it seems. When asked by Creativity-online. We just received a very funny email from Cash Converter. Ludovic: Not really, it was more the opposite where people told us not to do it.
But the more we told ourselves not to do it, the more we wanted to, and to a certain point we gathered this momentum where everyone was saying, well it would be actually quite fun to do this film. It's a bit against the rules, against multinational corporations and we got the impression it was a film that a lot of people wanted to make. After we started, once the film had been drawn up in terms of aesthetics, but not in terms of sound, we started to meet people.
Up to that point, lawyers were telling us not to put logos in there, and that it was too dangerous. They both had some constructive comments on how to tie it all together so that Logorama made sense as a story. Rhea then hooked us up with Elia Infascelli, an agent at Endeavor who got Greg Pruss, the writer for David Fincher on board to write the dialogue for us. She also brought in an editor, sound design, score and mixing as well as lining up all the actors who did the voice overs on Logorama including David Fincher who she had worked with at Propaganda Films.
Ludovic: Firstly, it's a system called rotoscoping. We had a very colorful, sweet like image. We wanted it to be dry and realistic to counterbalance the Haribo side of it. We filmed ourselves. Francois played a lot of the roles, and has a natural ability to do so. Charlotte was playing the waitress, and in our entourage we surrounded ourselves with people who were filming in different scenes that were referenced for the edit and uploaded to Maya, using this software to render animations.
This is where we had the image on the left with the image of what we filmed, the inert characters and from that point a Skelton would be placed on the image, through the use of keying our footage, giving us a realistic looking animation. Ludovic: By chance! Honestly, this was the work of the delegated producer who did the inscription. I was struck by how many of the logos on show are rather wonderful — fine examples of the art and craft of graphic design. But this only served to reminded me of the essential conundrum at the heart of being a graphic designer; namely that the job is to create seduction and allure for our clients regardless whether it is a true reflection of reality or not.
And — like lawyers defending criminals — we mostly do this with professional detachment. Yet as commentators have been telling us for decades, there are consequences — moral, political and cultural — attached to our desire to create this world of beauty and seduction. One of those consequences might just be a brand-dominated world like the one depicted in Logorama. Scary thought. Posted in: Business , Media. It is very true that in the world we live in today, we are branded with different company names, logos, and symbols.
But what we have to do is to not fall into a trance with them. I thought that the way the logos and symbols were put into the buildings and all over the surroundings. I watched the clip seen in the other comment and thought that it was hilarious. It was interesting to find out that a company is actually creating a movie based off brands.
I know as a big fan of watching movies that I get quite annoyed by ads that are not subtly placed in movie scenes. For instance, you may be staring Adam Sandler for some comedic scene and you see him reach for a can that is turned perfectly for the camera to read the logo that it is a Coca-Cola he is drinking.
Our society is being saturated with ads on the streets, plastered all over buildings, etc. It will be interesting to find how the company will get their movie message across. Fantastic idea, cant wait to see the full movie. Great Post. I saw the movie laas novemeber in Oslo and found it really good. I don't think there's a clear message as in "this brand is good, this one is bad" but there's a very good storytelling and clever use of the motion.
I don't think this addresses an issue, but rather use a more than common truth to take use to a "fantasy world made of real brand build on fantasy Eric Haidara Excellent video. I'm at the same time jealous and understanding of this situation. Waiting for the movie to be released on iTunes. If they do plan to. Michelinman Mitch : Yeah, that cheetah can run like a motherfucker, but in a zoo, they ain't got enough room to hit second gear. I mean, it ain't like they're in their natural habitat.
Michelinman Mike : Yeah, no shit, man. That's cause they'd be dead if they were in their natural habitat. These animals have been rescued. Usually injured or something in like the, you know the wild, or blind. Michelinman Mitch : No shit? Michelinman Mike : No shit. Michelinman Mitch : See? I didn't know that. Michelinman Mike : Yeah, that's what I'm saying. Michelinman Mitch : That's even more depressing. That's what I'm talking about. A blind ass cheetah bumping into trees and shit.
That shit's fucked up. Michelinman Mike : I didn't say the cheetah was blind. Michelinman Mitch : Well then what's blind? Michelinman Mike : N-nothing's blind. It's just an example. Michelinman Mitch : Well then that's a fucked up example of some shit right there, man.
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