Consider it a hybrid demolition derby/motocross event on steroids. A giant fire breathing robotic creature lifts a truck off the ground, chomps down on it, causing it to break into two and burst into flames, the wreckage falling to the ground.
In the background, we hear a couple of fans in the stands. One notes that they’re “not even in the right seats.” As the next prospective vehicular victim, a red Toyota Tacoma appears in the arena ring, one of the guys comments, “Red Taco.”
The robot’s claw grabs the Tacoma and lifts it off the ground. We hear the arena announcer bellow out, “Tastes like chicken” as the claw brings the truck up to the robot’s metal mouth. The robot bites down hard on the Tacoma and destruction ensues–but not of the truck. Instead the robot short circuits, it’s head bursts into flames and the Tacoma falls to the ground, fully intact and ready to rev. The charred remains of the robot’s head also hit the ground. Against the backdrop of the Tacoma next to the destroyed robotic head appears a super that simply reads, “Tacoma.”
An end tag carries the Toyota logo and the slogan “Moving forward.”
“Robosaurus” was directed by Rupert Sanders of bicoastal/international MJZ for Saatchi & Saatchi LA in Torrance, Calif.
The Saatchi creative ensemble consisted of executive creative director Harvey Marco, creative director Steve Chavez, associate creative director/art director Dino Spadavecchia, writer Napper Tandy, director of broadcast production Damian Stevens and senior producer Jamil Bardowell.
Lisa Rich and Jeff Scruton executive produced for MJZ, with Karen Chen serving as producer. The DP was Chris Soos.
Visual effects were done at Method, Santa Monica, where Alex Frisch was the lead artist and Christine Schneider the producer.
Editors were Paul Martinez and Patrick Griffin of bicoastal Lost Planet. Colorist was Stefan Sonnenfeld of Company 3, Santa Monica. Audio mixers were Eric Ryan and Scott Burns of RavensWork, Venice, Calif.
Sound designer was Brian Emrich of Trinitite, New York.
Review: Director Jon M. Chu’s “Wicked”
It's the ultimate celebrity redemption tour, two decades in the making. In the annals of pop culture, few characters have undergone an image makeover quite like the Wicked Witch of the West.
Oh, she may have been vengeful and scary in "The Wizard of Oz." But something changed — like, REALLY changed — on the way from the yellow brick road to the Great White Way. Since 2003, crowds have packed nightly into "Wicked" at Broadway's Gershwin Theatre to cheer as the green-skinned, misunderstood Elphaba rises up on her broomstick to belt "Defying Gravity," that enduring girl-power anthem.
How many people have seen "Wicked"? Rudimentary math suggests more than 15 million on Broadway alone. And now we have "Wicked" the movie, director Jon M. Chu's lavish, faithful, impeccably crafted (and nearly three-hour) ode to this origin story of Elphaba and her (eventual) bestie — Glinda, the very good and very blonde. Welcome to Hollywood, ladies.
Before we get to what this movie does well (Those big numbers! Those costumes!), just a couple thornier issues to ponder. Will this "Wicked," powered by a soulful Cynthia Erivo (owner of one of the best singing voices on the planet) and a sprightly, comedic, hair-tossing Ariana Grande, turn even musical theater haters into lovers?
Tricky question. Some people just don't buy into the musical thing, and they should be allowed to live freely amongst us. But if people breaking into song delights rather than flummoxes you, if elaborate dance numbers in village squares and fantastical nightclubs and emerald-hued cities make perfect sense to you, and especially if you already love "Wicked," well then, you will likely love this film. If it feels like they made the best "Wicked" movie money could buy — well, it's... Read More