Word: luc
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...directly from posters in London's main rail terminals. Fifty bus-shelter ads in Britain for the movie Alien vs. Predator prompted 500,000 riders to vote for who would win the celluloid battle by pushing a button on the signs. "That's what I call engagement," says Jean-Luc Decaux, a co-ceo of JCDecaux North America. Entertainment isn't the only thing being advertised on digital signs. When Lancôme launched its new fragrance, Hypnôse, in France last summer on bus-shelter signs, cell-phone users with Bluetooth could download coupons for a sample...
...Cambridge Public School Committee unanimously passed the district’s annual budget yesterday, after a committee newcomer proposed a last-minute motion to allot an additional $50,000 to each of the city’s elementary schools. Although the motion introduced by first-term committee member Luc Schuster failed by a 5-2 vote, it raised concerns about the budget drafting process, complicating yesterday’s final vote on the $125 million school budget. Committee member Patricia M. Nolan ’80 originally proposed a similar motion late last month, recommending that an extra...
...directly from posters in London's main rail terminals. Fifty bus-shelter ads in Britain for the movie Alien vs. Predator prompted 500,000 riders to vote for who would win the celluloid battle by pushing a button on the signs. "That's what I call engagement," says Jean-Luc Decaux, a co-CEO of JCDecaux North America. This month the Paris-based firm will place ads with 19-in. LCD screens in five Chicago bus shelters, allowing riders to watch a movie trailer...
...saying that looming deficits made Nolan’s proposal impractical. Nolan, who then distributed a handout to the board detailing funding proposals, said she was not advocating additional spending. “This is a redeployment, not an adding,” Nolan said. Another new committee member, Luc D. Schuster, calendared the motion, preventing a vote from being taken tonight. —Staff writer Natalie I. Sherman can be reached at nsherman@fas.harvard.edu...
...nagging sense that they were cranking out movies while their European brethren were hand-crafting films, had begun to forge a distinctive adult American cinema. Few thought in terms of box office megamillions. The idea was to earn enough to entice someone into financing your next picture. (Jean-Luc Godard had done this successfully in France in the 60s; Robert Altman adopted that model for his pioneering 70s works.) Most films by the most gifted Americans were present-day dramas that picked at some social scab until, in the last reel, it burst...