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Filmmaker Interview: Chris Paine, “Revenge of the Electric Car”

January 27th, 2012 by Rebecca Harper Editor

In “Revenge of the Electric Car” — available for free exclusively on Hulu for one week — director Chris Paine knew he had to position things a little differently than his 2006 documentary “Who Killed the Electric Car?” which centered on the demise of GM’s EV1. “It’s always a trick to how you structure a documentary as a film,” Paine said by phone this week. “The first movie was set up as a murder mystery. This time, I saw it as a race. I kept the camera moving all the time. I didn’t want things to feel like a ‘Dateline’ special.”

While “Revenge” centers on the latest generation of electric-powered autos, Paine said he wanted the film to show what it takes to move things forward inside the system. “It’s really about how you can get things done from the inside,” he added. To build momentum, the director centered on the powerful personalities behind three electric car manufacturers — Bob Lutz (GM), Elon Musk (Tesla), and Carlos Ghosn (Nissan) — and the race to be first to market.

Below, we asked Paine for his take on the return of electric cars and what car he’s driving these days.

Your first movie, “Who Killed the Electric Car,” chronicled the demise of the beloved EV1 from GM. In “Revenge of the Electric Car,” electric-powered vehicles are back. What do you think contributed to their return?

The biggest factor was gas prices. They were up to $4 a gallon, and car manufacturers saw that gas prices could go up as high as $5 or $6 a gallon. They realized that they don’t have anything to sell consumers when the prices are that high.

Meanwhile, there was also pressure from the right wing. They were pushing electricity that we can produce in the U.S. Environmentalists, of course, were concerned about global warming, and legislators were passing regulations about emissions and gas consumption.

You started working on this film before 2008 and the collapse of the economy — and GM. With the Volt and Tesla still in development at that time, did you fear these products were going to be shelved?

Halfway through filming, GM went bankrupt, funding dried up for Tesla, and my friend Gadget’s electric car conversion garage burned down. It wasn’t looking so good. What I ended up documenting was that the best leaders can keep going when everything else collapses around them. They kept fighting for what the wanted to happen. Each case is individual.

For Tesla, [co-founder] Elon Musk spent every last dime he had to make payroll and keep the company going because he believed in the product. GM felt they had nowhere else to turn. The Chevy Volt represented the future for them. Things weren’t as dire at Nissan, but Carlos Ghosn saw the electric vehicle a their chance to be the first to market. Their attitude was “move now or fail.”

With this documentary, you had approved access to meetings and factories that were “enemy territory” in “Who Killed the Electric Car?” What changed this time?

We approached 12 different people. We faced several challenges. You can imagine they were nervous about trade secrets. Then there was GM’s bankruptcy. And two of the companies ended up going public, so everything was kept in secrecy so we didn’t destroy an IPO. Nissan had our editing room locked down for almost three years as they got the Leaf into production. It’s remarkable we got as much access as we had. I knew Elon personally, but when I approached GM, they said, “You? No.” But they came around.

So what car do you drive, Chris?

I have the Tesla Roadster from the first movie. My girlfriend drives a Leaf, and I use the Volt as my car. It gets 40 miles on electric, which works for getting around Los Angeles.

I wanted to put my money where my mouth is. These cars are worth a lot more than they’re charging for them — the electricity costs just $1 for the equivalent of a gallon.

What do you think about each of the cars, since you have them all?

Well, the Tesla has this sex factor. It looks like $1 million, and it goes superfast. It’s fun for showing skeptics that an electric car can be fast.

The Volt is great for my daily drive around L.A. Ninety percent of the time, it has no gas in it. If we want to go on a trip, it turns to a 38 miles-per-gallon car.

The Leaf is a super-practical urban car. My girlfriend loves it. You’re high up, and it’s easy to drive.

CFDA/Vogue Fashion Fund: Passion is Always in Style

January 26th, 2012 by Sheila Dichoso

If you were a fashion designer, chances are you are living in New York City with a million other designers vying to get noticed. So what would you do if the chance of a lifetime were suddenly handed to you? If you were asked to explain who you are as a designer in five words or less? If the editor-in-chief of the most iconic fashion magazine in the world were to judge your aesthetic and every detail that defines who you are in a matter of 15 minutes? You would jump at the chance.

Every year, 10 American fashion designers are selected by the Council of Fashion Designers of America for the CFDA/Vogue Fashion Fund, to compete in a fierce but prestigious competition that gives one talented designer $300,000 to kick-start his or her business and a mentorship with a fashion industry leader.

And now you don’t have to imagine what the inner workings of the four-month competition process are like. The six-part series “The Fashion Fund” is now exclusively on Hulu and Hulu Plus beginning today, with new episodes airing every Thursday. For the first time ever, you can get a behind-the-scenes look at the fashion world.

The lucky winner will follow in the footsteps of other Fashion Fund winners who subsequently became fashion luminaries –  including Rodarte (15-year-old fashion blogger Tavi Gevinson is their muse), Proenza Schouler, and Alexander Wang.

The panel of judges – fashion elite: Anna Wintour of Vogue, Diane Von Furstenberg, and J. Crew’s creative director Jenna Lyons.

“It validates you,” stated Von Furstenberg, CFDA’s president. ”It makes you part of the New York dialogue,” said 2007 finalist Scott Sternberg of the brand Band of Outsiders.

The Fashion Fund award is an achievement that offers success, influence, and something that can simply change lives. Check out the runway style explosion, the rush of New York City, and the wobbly-kneed and butterfly-tummied excitement of The Fashion Fund right here on Hulu.

The 10 finalists of 2011 were eclectic, ardent, and tenacious. Here’s a rundown of the designers:

Suno
Designers: Max Osterweis and Erin Beatty
Behind the Brand: Suno’s first collection was made of vintage textiles from East Africa that Osterweis collected over a 13-year period. Suno’s aesthetic is to make high-end clothing in an ethical way.

Pamela Love
Designer: Pamela Love
Behind the Brand: Morrocan-inspired jewelry. Love’s former projects include a “True Blood”-inspired line for HBO.

Fenton/Fallon
Designer: Dana Lorenz
Behind the Brand: Inspired by hard-edges, romance, and history. Also by the “old ladies wearing dusty Chanel jackets and dusty pearls” of NYC.

A.A.
Designer: Antonio Azzuolo
Behind the Brand: Became a menswear designer because he was “tired of clothes that didn’t fit.”

Carlos Campos
Designer: Carlos Campos
Behind the Brand: Worked as a tailor at 16.

Altuzarra
Designer: Joseph Altuzarra
Behind the Brand: Former finalist who reapplied; Battled tonsillitis during this year’s competition.

Creatures of the Wind
Designer: Shane Gabier and Christopher Peters
Behind the Brand: They’re a couple. Anna Wintour described them as “adorable.”

Cushnie et Ochs
Designers: Carly Cushnie and Michelle Ochs
Behind the Brand: These young designers formed their company right after graduating from Parsons in ’08.

Finn
Designer: Soraya Silchenstedt
Behind the Brand: Designs earrings for celebrity clientele, including Naomi Watts.

Ohne Titel
Designers: Alexa Adams and Flora Gil
Behind the Brand: These former finalists pair architectural shapes with soft drapery.

AdAge: Why We Love Super Bowl Ads

January 25th, 2012 by Michael Learmonth

More than a game, the Super Bowl is a cultural event, a truly American spectacle, and the ads are very much a part of the experience. Mix a big stage with big ambitions and budgets, and what you get are some memorable ads, as well some memorable misfires — not unlike the game itself. The best will make you laugh, think, or even feel something, whether it’s the warmth of Volkswagen’s “The Force” spot from 2011 or the emotion rendered in text by Google’s “Parisian Love” in 2010.

As you read this, directors of this year’s ads are putting the finishing touches on their work, some tinkering until the very last minute. Some ads will be veiled in secrecy until the second they appear on air; others will be released on the web early to generate buzz before the game. All will represent the brand’s best effort to connect with the public and to tell a story in 15, 30 or 60 seconds.

For advertisers, the stakes are high; this is their “Super Bowl,” too. With more than 110 million viewers in the U.S. alone, its the biggest TV audience of the year and they pay dearly for the privilege to reach them: $3.5 million for 30 precious seconds of air time.

While the hilarious gag is a mainstay of Super Bowl creative, last year we saw the pendulum start to swing back to ads that tell a story. This isn’t exactly a new trend: the two best Super Bowl ads of all time, Apple’s “1984” and Coke’s 1980 “Mean Joe Green” conveyed a narrative, which made them memorable. Last year, Chrysler took it further, airing a 2-minute mini-movie “Imported from Detroit,” which reintroduced the brand, and Detroit, to an audience that hadn’t thought much about either in a while. This year, expect more of the same. “You’re going to see the art form of storytelling take on a greater role in the Super Bowl,” NBC Sports advertising sales chief Seth Winter told Ad Age.

Here at Ad Age, we appreciate the art and science of advertising, whether it’s Clydesdale’s playing football or a bunch of guys who just had to say, “wassup.”  To get you ready for the Big Game, we dug through the archives of Super Bowls past and partnered with Hulu to bring you the best ads of all time. We’ll be adding “Behind The Work” videos in the coming days that tell the story behind some of the greatest of the past 50 years.

Did we miss any of your favorites? Let us know in comments. And if you’d like to read more about the business behind the Super Bowl, you can visit us at AdAge.com.

Hulu AdZone Kicks Off

January 24th, 2012 by Nathan Alexander Video Editor

With the playoff games behind us, Super Bowl XLVI is just around the corner, and we know it is time to get serious. After all, the days surrounding the big game are the one time we all go out of our way to watch — and talk about — commercials. That’s why we’re kicking off the Hulu AdZone, presented by Toyota. AdZone offers you easy access to all of the Super Bowl ads available on Hulu today, from iconic ads from as early as 1973 to preview ads from 2012 (like VW’s Bark Side). Browse through ads from 2008 to 2011, and new this year, Hulu has partnered with Advertising Age to highlight celebrity cameos as well as their expert picks for the most iconic Super Bowl ads of all time, including Apple’s groundbreaking “1984.” And don’t forget to come back on game day, February 5, to watch all of this year’s ads in real time, share them with your friends, and vote for your favorites. We’ll announce our users’ pick for the best ad of 2012 on Monday, February 6.

In the meantime, we’ve pulled together some of our favorite ads since Hulu’s first Super Bowl game and sorted them into themes for easy viewing. Here they are:

The Great (Editor’s Picks)
Among the flash-bang-whizz of Super Bowl ads, there are always a select few ads that rise above the noise with elegance, simplicity, clarity and humor. And yes, I’m plugging Hulu’s very own offering from 2009, or last year’s Skechers ad starring Kim Kardashian. I may have tagged it as a “miss” at the time, but a year later, I can still recall every second of Kim Kardashian. Looks like she was quite effective after all.

Big Laughs
Suprising, shocking, crass and clever — these are the LOLs of the Super Bowl.

Over the Top
Super Bowl commercials often dazzle, delight and entertain, but sometimes they just make you wonder if someone laced your Heineken with PCP. From SoBe’s incredibly cluttered lizard ads to GoDaddy’s constant attempts to trick you into thinking you’re about to see some skin, these ads leave us scratching our heads no matter how many times we watch them.

Babies and Animals
After years of practice, advertisers have learned the way to our collective hearts: babies and animals. Man’s best friend has been used to sell everything from cars to Gatorade, and we say “awwww” every time. While I’m no fan of E*Trade’s talking baby (if we really loved babies who speak in adult voices, we’d flock to the theaters to see “Look Who’s Talking 12,” and “Baby Bob” would still be on the air), you can’t deny that viewers have come to look forward to the snide little whipper-snapper who trades stocks like an ace.

Made by Fans
Since Doritos introduced their Crash the Super Bowl contest, ads made by fans have consistently made viewers’ favorite lists. In recent years, Pepsi has jumped in on the act, as well. The popularity of these fan-produced ads proves you don’t need to spend millions to create an effective ad.

Enjoy the AdZone on Hulu beginning today, share your favorite ads with your friends, and get ready to vote in real time for your favorite ads of Super Bowl XLVI on Sunday, February 5 (official kickoff time: 6:25 p.m. EST).

Betty White: 90 Years of TV Gold

January 17th, 2012 by Naivasha D

America’s love affair with Betty White has stood the test of seven decades. Our favorite funny-woman has more than one reason to celebrate this week – a sneak peek of her new show, “Off Their Rockers,” aired on NBC last night, along with a star-studded 90th birthday celebration. The show takes its cue from hidden-camera shows like “Punk’d,” but this time, the pranksters are all salacious senior citizens. As far as we’re concerned, it’s perfect timing – we were just remarking on primetime’s unfortunate scarcity of Jazzy scooter jokes.

We can’t wait to see what these silver-haired scamps will get up to next. In the meantime, we’ve put together just a few of Betty’s best moments in honor of her birthday, and her absolute refusal to get any less entertaining.

The Mary Tyler Moore Show (1973 – 1977)

Betty got a big break on The Mary Tyler Moore Show playing her most villainous role – snide and scheming Sue Ann Nivens, who was sweet on the outside and mean to the core.

Golden Girls (1985 – 1992)

Betty is best known for her role as loveable, ditzy Rose, a drastic departure from Sue Ann, and one that would set the tone for the rest of her career.

The Proposal (2009)

Despite Sandra Bullock and Ryan Reynolds’ combined star power, Betty’s hilarious one-liners as randy Grandma Annie were what made this romcom memorable.

Snickers Super Bowl Ad (2010)

Betty stole the show at the 2010 Super Bowl by popping up in a Snickers commercial with fellow octogenarian Abe Vigoda.

Community (2010)

Betty guest-starred as a kooky anthropology professor with a penchant for blowguns, rapping, and her own urine.

Saturday Night Live (2010)

In May 2010, Betty became the oldest person to ever host SNL after a grassroots Facebook campaign convinced the producers to invite her on. She adeptly walked the line between vulgar and adorable, making her one of the most popular hosts of the year, and cementing her status as a national treasure.

Hot In Cleveland (2010 – 2012)

Betty was only supposed to have a guest spot in the pilot episode of TV Land’s surprise hit Hot In Cleveland, but she charmed her way into a lead role as snarky Elka, a caretaker whose shenanigans keep her tenants on their toes.

Last comment: Jan 26th 2012 4 Comments