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David Poland

By David Poland poland@moviecitynews.com

Exit Through The Gift Shop, producer Jaimie D’ Cruz, editor Chris King

15 Responses to “Exit Through The Gift Shop, producer Jaimie D’ Cruz, editor Chris King”

  1. t.holly says:

    Let’s see if they answer my question in this interview, namely, the name of Thierry’s successful thrift shop the film made such a big deal about for making it possible for Thierry to finance his doc in the first place. Never been ID’ed — not in the film, not on the internet, nowhere. Why?

  2. t.holly says:

    And then, amazingly, he broke his ankle (BOGUSLY); they even got *authentic* x-rays nicely edited into the story. [No, they didn’t mention that, yet.]

  3. IOv3 says:

    Hey T.holly! How have the last four years treated you?

  4. t.holly says:

    Thierry is cured! He doesn’t film anymore. (Guess he filmed all the time, but didn’t film much in his very successful L.A. thrift store or any store signage, though I think I did see Beck in the tiny bit of unidentified footage of Thierry in the store used in the doc.)

  5. t.holly says:

    IOv3, tired, overworked and obsessed.

  6. t.holly says:

    OK, so Banksy wanted the complete cut of Thierry’s film REMOTE CONTROL as an extra on the DVD. There will be an edited version of it. If the thrift shop exists, maybe it’ll be revealed. Enter through the gift shop, exit through the art show.

  7. West says:

    The World of Vintage T-Shirts
    7701 Melrose Ave
    Los Angeles, CA 90046

    Took me 5 seconds on Google to find the address

  8. t.holly says:

    Thanks West for the lead, the real MBW starts to stand up from this resume. http://www.linkedin.com/in/dvjdust

    New Media Artist
    MBW (Media Production industry)
    September 2001 — February 2010 (8 years 6 months)

    Mr Brainwash (aka) Thierry Guetta was my benefactor, my landlord, my boss, and my best friend for over a decade… a documentary film by Banksy originally conceived and shot by Thierry and formally a 3E Films production for which Thierry and I where partners.

    For over a decade we worked on myriad of advertising campaigns for people like Christian Audiger, Ed Hardy, Von Dutch, and Swissa Miller to name a few.

    Media Consultant
    TMP Enterprises LLC
    (Privately Held; Online Media industry)
    September 2001 — December 2004 (3 years 4 months)

    TMP Enterprises stands for Thierry, Marco, and Patrick Guetta a Licensing Apparel and Real-estate company. My responsibilities included but not limited to Electronic Pre-Press, Leasing Agent, Closed Circuit Surveillance Systems, Fashion and Apparel Design.

    Some clients included Too Cute, World Of Vintage T-Shirts, Bright Pink Mickey, Harvey Entertainment, Vogue Trimmings, Aztecha Productions, Blue Holdings, Disney, and Warner Brothers.

  9. Mrs Brainwash says:

    The guy on the right is Banksy.

  10. Mr T says:

    I kinda believe Mrs Brainwash. This guy is Banksy!

    1. Chris King is not credited. Just checked the film’s ending credits.

    2. At 6’30” / 7’00” he really talks as if he was Banksy.

    3. The way he moves his hands is very similar to the movie interviews.

  11. Adam says:

    @ Mr T: Isn’t Chris King the ginger guy on the left in all black? I agree that he isn’t credited, but I think the guy speaking at 6:30 is Jaimie.

  12. dust says:

    haha. internet sleuths. actually the store in the film was on the 800 block of la brea / melrose. thierry re financed his home in order to come up with the equity to make the film possible.

  13. matt crawford says:

    Jaimie d’cruz is banksy same bracelet in this interview and exit through gift shop

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch