SCRIPTS
I LOVE EACH VERSION AND THINK THEY EACH HOLD SCENES IN THE FILM WHAT I GOT FROM THEM IS THE LOGIC OF THE SHOOT
BECAUSE THE COMMERCIAL MUST BE COMPLETED, CINDY SUBMITS TO THE PROCESS.
BECAUSE SHE SUBMITS, THE PRODUCTION DISCOVERS SOMETHING USABLE IN HER.
IT DISCOVERS SOMETHING USABLE, IT DEMANDS MORE.
IT DEMANDS MORE, CINDY BEGINS RESISTING, PERFORMING, MANIPULATING, OR SURRENDERING.
SHE CHANGES, THE COMMERCIAL ITSELF CHANGES.
BY THE END, NO ONE KNOWS WHETHER CINDY IS MAKING THE ADVERTISEMENT OR THE ADVERTISEMENT IS MAKING CINDY.
THE EXTERNAL OBJECTIVE IS: FINISH THE FUCKING PERFUME CAMPAIGN.
THE INTERNAL PROBLEM IS: CINDY HAS SPENT HER LIFE TRANSFORMING HER APPEARANCE WITHOUT NECESSARILY TRANSFORMING HERSELF.
THE DIFFERENCE BETWEEN TRANSFORMATION AND DEATH, OR A KIND OF DEATH.
I THINK THE JUMPING-OFF POINT IS THAT THE INTERVIEW BEGINS AS SOURCE MATERIAL AND BECOMES A MECHANISM THROUGH WHICH MEMORY ENTERS AND DESTABILIZES THE SET.
THE PRODUCTION’S PROFESSIONAL ABSURDITY ALLOWS EVERYONE TO DENY THE HORROR LONG AFTER IT HAS BECOME OBVIOUS.
OTHER LOCATIONS THAT COULD EXIST IN THE FILM:
THE BACKSEAT OF A LIMO
CINDY’S HAMPTONS HOUSE
LOS ANGELES
THE CLOSET
THE INTERVIEWERS APARTMENT
AN INTERVIEW IN THE PRESENT TENSE, FROM WHICH THE ENTIRE DAY UNFOLDS AS A RECOLLECTION.
TO BE DEVELOPED IS THE WHOLE STORY THE SHOOT SITS IN
WRITTEN BY OTTESSA MOSHFEGH
OCTOBER 29, 2025
WRITTEN BY OTTESSA MOSHFEGH
SEPTEMBER 25, 2024
WRITTEN BY OTTESSA MOSHFEGH
SEPTEMBER 30, 2024
WRITTEN BY OTTESSA MOSHFEGH
OCTOBER 14, 2024
WRITTEN BY OTTESSA MOSHFEGH
OCTOBER 31, 2024
FOR
BAG LADIES
CINDY SHERMAN AND CHLOE SEVIGNY
SCRIPTS
FORM
A PERFUME AD
STYLING
CASTING / CHARACTERS
CINEMATOGRAPHY
THE SET
MAKEUP
CAMERA
PRODUCTS / THE BOTTLE
THE SMELL / FLORA AND FAUNA
SCREENS
FOOD / THE KNIFE
VIGNETTES
THE CORRIDOR / RUNWAY
CHOREOGRAPHY / MOVEMENT
MUSIC / SCORE / BIRTHDAY SONG
THE BAG LADY
EDITING
THE INTERVIEW