Tag Archives: Staci Layne Wilson

Gainsbourg’s Girls, Garb ‘n La Gueule

16 Sep


Gainsbourg: A Heroic Life Movie Poster 

PLOT SYNOPSIS FROM FILMMAKER MAGAZINE: Gainsbourg: A Heroic Life is a live-action fantasy based on the life of über-French chansonnier and peerless provocateur Serge Gainsbourg (embodied by look-alike stage actor Eric Elmosnino), whose Russian-Jewish background and almost mythic love affairs with Brigitte Bardot and Jane Birkin (whose orgasmic moans made famous their 1969 duet “Je T’Aime… Moi Non Plus”) he explores with eccentric charm, employing a kind of dream logic to connect different episodes from the singer’s life.

Sfar’s biggest conceit in Gainsbourg, which was released to great acclaim last year in France (it won a César for best debut feature), centers on an incident that occurs early in the film: walking through Occupied Paris, a school-age Lucien Ginsburg (who later adopted his stage name) is alarmed to see a horrifically anti-Semitic caricature and, in the shock of self-realization, sees it spring to life, a monster that morphs into eerie alter ego (played by Doug Jones of Pan’s Labyrinth), his shadow id and (occasionally misguided) conscience.

Sfar’s depiction of the iconic composer captures many facets of Gainsbourg’s persona, including the self-abuse that he seemed to parade as proudly as his smuttiest compositions, but it’s the elements of comic-book-inflected fantasy (the director enthuses equally about F.W. Murnau and Peter Jackson by way of explaining his visual technique) that differentiate the film from standard-issue music biopics.


PERSONAL PERSPECTIVE FROM ME: I first learned of this most unusual biopic a couple of years back from Doug Jones, who acts in the film as “La Gueule” — a fanciful manifestation of Serge Gainsbourg’s impish Id — and I really wanted to see it. Not because I was especially interested in the life of the infamous French songwriter and soused celebrity but mainly due to the way Dougie described it as a fantasy moving picture adaptation of a graphic novel as directed by the artist. (check out my most recent interview with Doug, along with my cohort/co-host Matt Raub, for “This Week In Horror” right here)

I am generally very receptive to biopics (and am an avid reader of biographies and autobiographies), especially the ones that color outside the lines (prime examples are my favorite biopic of all time: Todd Haynes’ Bob Dylan parable I’m Not There, as well as Kevin Spacey’s take on Bobby Darrin and George Clooney’s adaptation of the bizarre Chuck Barris tell-all, Confessions of a Dangerous Mind).

It seemed like forever and day before G:AHL finally made it from France and Europe to we Stateside cinefiles. I had to miss the preview press screening of G:AHL on August 24 (only because I was working on directing a short film… such a flimsy excuse, I know!). I was disappointed to miss it as a journalist, but vowed to see it as a fan regardless. So, last night at The Landmark in L.A., I finally fulfilled my wish. G:AHL is now playing in select theaters, in a limited engagement (yada, yada — basically, see it on the big screen now, before it’s gone!).

My dear Dougie is really great in the film as the tyrannical muse of the troubled troubadour. There is something about Doug himself in real life that’s very muse-like. As Guillermo del Toro can certainly attest to, since the autuer’s chosen to work with Doug as often as possible since first meeting him when he was directing his first big American debut, Mimic. (By the by, the director’s cut of Mimic is out on Blu-ray, and I reviewed it for Horror.com) Doug has a way of bringing nightmares, dreams and figments to life. This is him below, augmented as the Serge Id.

Doug was even my muse for a day. This was last year when I undertook a massive project in which, diligently over two months, I photographed a variety of people separately but in the same location (the Korean Friendship Bell in San Pedro, CA).

It was fascinating for me to discover how each one’s personality and vibe transformed the static stone and steel structure into something different every time. The morning Doug arrived was unexpectedly rainy and quite blustery, creating climate calamities I wasn’t too thrilled about in the moment, but which stimulated some of the most arresting images in the series (water-spots on the lens, and all).

Doug is his own amazing muse, on occasion — check out the incredibly compelling self-portrait he contributed for my now-defunct “Blog I’d Like to Fuck [BILF]” on said subject, a few years back (you’ll have to scroll down, after downloading the PDF – totally worth it, promise!)

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Fashion Photo Frenzy – Finito!

29 Jul


Yes! Feeling so accomplished. I worked till midnight and I finished my massive undertaking of photographing myself in EVERYTHING I own, from nightgowns to evening gowns, bikinis to business suits, and from mod minis to twill trench-coats (plus many, many things in-between).

I did two full days last week, then worked Comic-Con, and came back to the rest of the clothes, camera, and good old self-timer. There are over 1,000 images to go through — so, I’m not **really** done. Now that I have separated out every garment and accessory I am going to sell, even more work comes in the form of photographing those pieces on my mannequin and finally (yay!) launching my Etsy store.

I’ve been playing with the photos I took, just a little bit. I am going to post one of every single outfit in my personal Picasa album once I get everything organized, but I have a question: Should I post the pictures “as-is” or should I use the diffusion filter?

Plain (left) – Diffused (right)

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Diffused (left) – Plain (right)


With the white, you can see the yellowy ivory of the satin and the lace detail better. I don’t see a lot of difference in the black fabric. The unvarnished photos do show the details of the clothes better and the colors are richer, but I think the diffusion makes the picture itself a lot prettier (and also nicely hides the closet door, where my framing was a little off).

Since the album of self-portraits is not meant to sell clothes (those pics will be on the mannequin, and posted to Etsy) — I’m thinking diffusion. Which do you prefer?


As people who know me are aware, I love self portraiture. Not just mine, but the whole concept in general. I won’t rehash my thoughts on that, but here’s a blog and my most-recent series for anyone who’s interested. My favorite self-portraits are by female artists — such as Leonor Fini, Frida Kahlo, and Floria Sigismondi. (Though Dali took some AWESOME self-portraits; his may actually be the best, overall.)

I have never undertaken anything like this, when it comes to self portraits though. Usually, they are just for fun with no real purpose. In this case, I wanted to document all my clothes, and it turned out to be more difficult than I’d anticipated. Now, of course I know I have a lot of clothes (some in storage unearthed for this, two chests of drawers full, two sides of a bedroom closet, and a very big antique armoire stuffed to capacity), but what I hadn’t figured on was not really having a “holding area” for the clothes. So, I just did them little by little, in sections, which meant towards the end of the shoot I would up with a lot of orphans — random shirt and skirts which don’t go together at all (but I’d already photographed the pieces they DO go with, and had put them away). As a result, there are a few bad apples in the bunch. Oh, well!

I am not proud of this, but I found out I still fit into the first bra I ever bought (at Bonnie’s Happy Look in Idyllwild, in 1980). And I am definitely not proud of this: I do not fit into my favorite little pair of size 0 tight jeans anymore. Just last year, they were snug but easy enough to hop into; now, I couldn’t even dream of wedging one thigh in. Time to go on a SERIOUS DIET and get back to my exercise routine (my abs and biceps are gone – sob!). All in all, it wasn’t too bad, though… out all the stuff I have, even things I wore as a teenager and 20s, there were only about 4 or 5 things that were impossible to even try.

It was truly fun for me to go back and revisit some of the outfits I have not donned since my days in the corporate work world — Ally McBeal power suits with should pads and miniskirts. They’re cool again, and they still fit, so maybe I’ll move one or two to the front of the closet. And then there are some gorgeous, beautiful, amazing things I have kept over the years but that either a) don’t fit me quite right, b) don’t go with anything, or c) that I just never wear… I keep thinking, “Someday, I’ll need that!”

But, a lot of things are going on the auction block. Some really stunning things, vintage stuff, even a few of my mom’s old dresses from 60s, one-offs, and designer labels. Can’t wait to get started. I’m really hoping my friends will help me spread the word; with a million other clothes-peddling sellers to compete with, reputation and recommendations will be what really makes or breaks Staci-Style.com

Back Issue Blog: Slashin’, Fashion & Random Passions

29 Apr


Today’s blog is about…

• Slashin’ – With Jackie Earle Haley as the new Freddy Krueger in A Nightmare on Elm Street.
• Fashion – My latest finds (and two things I never thought I’d wear).
• Mashing – Found some more vintage pin-up mags with my mom in them.
• Ka-Ching! – A few of my articles and magazine cover-stories published.
• Flashin’ – Flashing back on the superlative style of Mr. William Powell.

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It’s always fun to see a project come to fruition that I saw being filmed — and prior to that, was told about by the producers. And prior to that, saw the original film. (If I go back much further, I’ll have to fill out an AARP application!)

The Nightmare has filled my every waking hour this week, and it won’t quite be over until Friday, when I can finally post my detailed review. It is under embargo by Warner Bros., which is a bit of a bummer. However, WB’s Orna was kind enough to give me double slots at the junket (for Horror.com and also SciFiWire) and good red carpet placement at the premiere the next day — so I can hardly complain.

Here are some screencaps beginning with the press day, and culminating in today.

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Early in the day, I interviewed Brad Fuller and Drew Form, the producing team of A Nightmare on Elm Street. We’ve been friendly acquaintances since 2003 when they came out with their first horror remake, Texas Chainsaw Massacre and we met on the press line. I really liked that movie; I haven’t always liked their movies (and they’re realistic about that), but that one is a fave. So is Friday the 13th and now A Nightmare on Elm Street.


Here is that interview


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Back Issue Blog: Clash of the Titans Red Carpet – in 3D!

2 Apr



I covered the red carpet premiere of The Clash of the Titans, and this time I was all ready for my nemesis, Liam Neeson (aka the God Zeus). But he was a no-show. Too bad, ’cause I had my Medusa-glare down-pat!


You see, I’ve had enough unpleasant exchanges with Mr. Neeson over the years to make it so that I prefer to avoid him. (And it’s not just me, I’ve witnessed his withering, condescending remarks aimed at other reporters on the red carpet, too). But for this film, I would’ve had to: he’s essential.

The first time I talked to him was for that submarine movie he made with Harrison Ford. I hadn’t screened in advance (there were no press showings), so I was just keeping it general. He asked me if I’d seen the film, I said no, and he barked back, “Well, maybe if you’d taken the time to watch it you could ask the right questions!” Then he stalked off. After he left, the reporters next to me said, “Wow, what a jerk!” I agree.

But the other night I could have said, “I’ve seen The Clash of the Titans TWICE!” Of course, he probably would have said, “Yeah, but did you see it on Mount Olympus?”

Since I didn’t have Mr. Neeson to snap at me, I spent some time snapping pics of the guests’ and actors’ shoes between interviews.

Here’s Cheryl Moana Marie and Antonio Sabato Jr.


Here’s Sarah Hyland and Matt Prokop


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