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Killing Them Softly Full Movie

Jean Kilbourne, creator of Killing Us Softly: Advertising’s Image of Women, discusses ‘The Dangerous Ways Ads See Women’ at TEDxLafayetteCollege conference. Below is the full transcript of the TEDx Talk.

Listen to the MP3 Audio here: The dangerous ways ads see women by Jean Kilbourne at TEDxLafayetteCollege

TRANSCRIPT:

I started collecting ads and talking about the image of women in advertising in the late 1960s. As far as I know, I was the first person to do this. I tore ads out of magazines, put them on my refrigerator, and gradually, I began to see a pattern in the ads, a kind of statement about what it meant to be a woman in the culture. I put together a slide presentation and began traveling around the country.

In 1979, I made my first film “Killing Us Softly: Advertising’s Image of Women”, which I have remade three times since then.

These were some of the ads in my original collection long time ago. “Feminine odor is everyone’s problem.”

“If your hair isn’t beautiful, the rest hardly matters.”

“Honey, your anti-antiperspirant spray just doesn’t do it.”

“I’d probably never be married now, if I hadn’t lost 49 pounds.” Which, one woman told me, was the best advertisement for fat she had ever seen.

I am going to do a very abbreviated version of this talk, of course, today, but I want to begin with a question that I most often get asked, which is: “How did you get into this? What got you started?” Many factors in my life led to this interest. I became active in the second wave of the women’s movement right away in the late 1960s. I’d worked in media. I spent a year in London working for the British Broadcasting Corporation, and a year in Paris working for a French film company. This sounds much more glamorous than it was — I was a secretary. In those days, options for women were very limited. I was a secretary, I was a waitress, but I did have one other option that I rarely talk about. I was encouraged to enter beauty pageants and to model. This is artfully cropped to make it look as if I won. I was, in fact, the runner up. This was my first ad, and I think the car tells you something about how long ago this was, and this ran in a London newspaper.

So modeling was one of the very few ways that a woman could make money in those days. It was very seductive, but for me it was also alienating, it was soul-destroying. There was a whole lot of sexual harassment that came with the territory, so I didn’t follow that path. But it left me with a lifelong interest in the whole idea of beauty and the power of the image.

Since that time, advertising has become much more widespread, powerful, and sophisticated than ever before. Babies at the age of 6 months can recognize corporate logos, and that’s the age at which marketers are now starting to target our children. At the same time, just about everyone feels personally exempt from the influence of advertising. So wherever I go, what I hear more than anything else is: “I don’t pay attention to ads, I just tune them out. They have no effect on me.” I hear this most often from people wearing Abercrombie T-shirts, but that is another story. The influence of advertising is quick, cumulative, and for the most part, subconscious. Ads sell more than products.

Now, in many ways, we have obviously come a long way. But from my perspective of over 40 years, the image of women in advertising is worse than ever. The pressure on women to be young, thin, beautiful is more intense than ever before. It’s always been impossible. Years ago, the supermodel Cindy Crawford said: “I wish I looked like Cindy Crawford.” She couldn’t of course, no one can look like this. But it’s really impossible today because of the magic of Photoshop, which can turn this woman into this woman and then try to make us believe that an anti-aging cream can do this.

Now, she is a beautiful woman, but older women are considered attractive in our culture only insofar as we stay looking impossibly young. We learn to read men’s and women’s faces very differently. Here we have Brad Pitt and former supermodel Linda Evangelista, about the same age, each one of them in an ad for Chanel, but he gets to look like a human being, and she is transformed into a cartoon.

Now sometimes, every now and then, a celebrity resists. As you may know, just this week Lorde sent out a tweet with an unretouched photograph below the photoshopped version, and she tweeted: “Remember, flaws are OK.” Good for her, but this doesn’t happen very often.

Men are photoshopped too, but when men are photoshopped, they are made bigger. Andy Roddick laughed when he saw the bulked-up arms on this cover photo, and suggested they should be returned to the man they belong to.

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Killing Them Softly: How A Screenwriter Murdered His Own Protagonist

Character Analysis by Jamie Wynen

Andrew Dominik’s (The Assassination of Jesse James, Chopper) latest film is an adaptation of the novel 1973 crime novel Cogan’s Trade, starring Brad Pitt as the excitingly dangerous Jackie Cogan, Animal Kingdom veteran Ben Mendelsohn, and the implausibly named Scoot McNairy. No really, that’s his actual name. It sounds like the punch line in a dirty limerick, but you’ll recognize him from TV land (Bones, The Shield). Unfortunately, despite a variety of strong characters, the story has more cogs missing than a clock tossed into a minefield.

If you’ve got a powerful, flawed, empathetic protagonist, why would you introduce him well into the second act?

After two junkies stage a daring heist on the local crime syndicate, the crime lords decide to fix everything by the expedient method of wholesale murder. Pitt, looking as though he stepped off the set of Fight Club by way of a boutique leather fetish store, plays a professional hitman with an aversion to people begging for their lives, which is about as blatantly ironic as you can get. Yet Pitt creates a compelling, mysterious, and ultimately empathetic character that I wanted to see more of.

Which is the first problem with this script. If you’ve got a powerful, flawed, empathetic protagonist, why would you introduce him well into the second act? I spent the first thirty minutes thinking it was the trainwreck junkie Mendelsohn’s story, which is just bad writing when you’ve got Brad Pitt tearing through the city firing off twelve-gauge shotgun rounds and pithy one-liners like a homicidal Jerry Seinfeld. This is an extreme case of failing to enter the scene as late as possible – we’ve entered the entire film far too early, at the expense of a well fleshed-out third act.

But this amazing protagonist is still further mistreated – by which I mean he is indulged. Cogan has got everything under control, identifying problems and avoiding all conflict with smooth, masterful manipulation. When he does choose to step in and get his hands dirty, his strikes are surgical and precise, as calm and routine as a day at the office photocopying contracts. Sure, there’s more blood and teeth lying around afterwards, but Cogan is never challenged, never given the stimulus to grow. He never leaves his ordinary world. Not once did I feel like Cogan was in danger. The character would’ve been so strongly improved by the addition of just one powerful confrontation at the climax. Instead, he gets his way, almost every time.

The strongest major conflict in the film never comes to a head, and is resolved offscreen.

Obstacles, instead of being presented through powerful visual metaphor, are delivered via dialogue. A spokesperson for the crime syndicate blandly mumbles his way through exchanges that should have been burning with tension. The strongest major conflict in the film – a potential challenge from another assassin – never comes to a head, and is resolved offscreen. We only find out through dialogue. This is the kind of epic, tense clash of titans that cinema was meant for! Instead we’re watching characters sit in cars and tell us about it. Cinema is a visual medium, with dialogue functioning best when giving action contrast, context and reinforcement. When vital conflicts are occurring in quiet, bloodless conversation, your audience is going to drift off and miss it.

But how can obstacles be important if there’s no reason to overcome them? Cogan doesn’t seem to want anything, except to kill a bunch of guys for money. That’s not compelling, because there are no stakes. The only people with stakes are his prey, the soon-to-be-corpses who exhibit the understandable but ultimately futile wish to keep their blood inside their bodies. By contrast, what has Cogan got to lose? What has he got to gain? What makes us side with him? All he has to gain is money, which is fine as an intermediate goal but is pretty dull and uninteresting as a long-term desire.

Even the most realistic film is still a story being told…

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Desire and need drives a film, and Cogan can’t supply those things because he doesn’t have a character arc. He’s not going anywhere except murder town. Though Cogan shows flashes of a human soul beneath the calculating murder-robot façade, it’s never expanded on, and that’s garment-rendingly frustrating.

Having said all that, I actually loved Killing Them Softly. The world is rich, devastated, and tragically beautiful. The characters are nuanced and well-directed, the fighting shockingly visceral to behold. This is a dark film, with aspirations of grittiness, realism, and the experience of living with despair. But even the most realistic film is still a story being told, and whatever cinema magic is to be found in this film didn’t come from the script.

Killing Them Softly is out 11 Oct 2011.

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[box] Jamie is a Communications graduate who has been writing since he was nine years old, and writes at this same high standard today.

Killing Them Softly Screenplay Pdf

He is generally to be found working on short films and webseries (webserieses?), and writes and shoots for The Story Department.[/box]