We open on a young, brash, spoiled director who has found creative inspiration in a critical scene for his movie. “Get me the Parks Department,” he orders his entourage. “We are blowing up Mount Rushmore.”
What follows is a succession of calls back and forth which have the director’s assistant and/or the director himself trying to get what they want from various park rangers/administrative people.
In one exchange, a ranger asks if the director could instead use a model of Mount Rushmore. The director then raises the decibel level, saying that he could use a model “if I want it [the movie] to suck.”
Finally a senior ranger asks the director’s assistant via phone if he and the director are out of their minds to even think that they could gain approval to destroy Mount Rushmore. The director then jumps in on the call and counters with his own query: “You ever been in a movie?”
Instantly the ranger’s demeanor changes. “What kind of movie?”
Next we see the movie being filmed, the ranger situated in a Mount Rushmore tourist viewing station. He exclaims “Robots,” at which point we see Mt. Rushmore blown up. The ranger, apparently having forgotten his full line of dialogue, comes back into picture to complete the phrase which began “Robots” with “From Space,” the title of this laughable movie.
A series of supered messages then appear on screen in this cinema spot: “It takes many calls to make a movie.”/”And only one to ruin it.”/”Please no calls or text [in the movie theater].”
An end tag contains the Sprint logo.
Feature filmmaker Peter Farrelly via production house Caviar directed this cinema ad for Goodby, Silverstein & Partners.
The Goodby team included group creative director Paul Stechschulte, creative director Franklin Tipton, art director Kevin Koller, copywriters Steve Payonzeck and Rus Chao, executive producer Josh Reynolds and producer Cathleen Kisich.
Michael Sagol exec produced for Caviar with Jasper Thomlinson serving as producer. The DP was Barry Peterson.
Editor was Jim Hutchins of HutchCo.
Music was composed by Andrew Feltenstein and John Nau of Beacon Street Studios.
Jane Schoenbrun Jolts Cannes With Queer Slasher Movie “Teenage Sex and Death at Camp Miasma”
"A good electric chair" is how Jane Schoenbrun describes their first Cannes Film Festival premiere.
"I really felt like my body was in a state of convulsion," says Schoenbrun.
The day after the premiere of "Teenage Sex and Death at Camp Miasma," a bold, bloody queer slasher film starring Hannah Einbinder and Gillian Anderson, Schoenbrun and their co-stars were still buzzing from the ecstatic response. The movie, one of the most prominent American films in Cannes this year, gave the festival a gonzo jolt.
For Schoenbrun, the leading trans filmmaker of their generation, the film extends their intensely personal exploration of gender and the movies that defined their youth. But their first two films — 2024's "I Saw the TV Glow" and 2021's "We're All Going to the World's Fair" — were the raw, burning products of Schoenbrun's transition. "Teenage Sex and Death at Camp Miasma," drawn from Schoenbrun's happy, exploratory post-transition life, isn't that.
It's about desire and sex. It's a biting satire of reboot-mad Hollywood. It's a schlocky and subversive slasher movie homage. It's a lot of fun, and quite tender, even when bodies are blood-spurting geysers.
"This is the first movie that feels like it represents the fullness of who I am," Schoenbrun says.
But Wednesday's moment of triumph in Cannes was hard-won. Ten years ago, Schoenbrun, now 39, was working in the film industry in a job they hated.
"The first time I came here, I just felt like, 'Oh my, god. I can't believe I'm in Cannes.' I went to, like, 'The Lobster,' at the Palais in my boy tux. I was like: 'This is it. I've done it,'" says Schoenbrun. "Then the next year I came back and I was so depressed. I decided to quit my job. If I'm depressed at Cannes,... Read More