{"id":885,"date":"2011-02-16T10:10:00","date_gmt":"2011-02-16T18:10:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/2011\/02\/social-network-producer-mike-de-luca.html"},"modified":"2011-02-16T10:10:00","modified_gmt":"2011-02-16T18:10:00","slug":"social-network-producer-mike-de-luca","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2011\/02\/social-network-producer-mike-de-luca.html","title":{"rendered":"Social Network Producer Mike De Luca"},"content":{"rendered":"<div><span>From the outside, The Astaire Building, the early-\u201890s structure on the Sony lot where Michael De Luca Productions is housed, is about as rock \u2018n\u2019 roll as the dancer which lends the edifice its name.<\/p>\n<p><\/span><\/div>\n<div><\/div>\n<div><span>But De Luca\u2019s office \u2013 which includes the usual neat stacks of scripts on the desk, scattering of books, and LCD television \u2013 shows that something a little more personal is at work here. <\/p>\n<p><\/span><\/div>\n<div><span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/p>\n<p><\/span><\/div>\n<div><span>The mod rug that evokes the work of Charles and Ray Eames, crisp <\/span><i><span>Mad Men<\/span><\/i><span>-style couch and framed black and white photographs \u2013 selections from California pop artist Ed Ruscha\u2019s photo-doc of the mid-\u201860s Sunset Strip \u2013 suggests that this guy has style. And maybe some taste, too, for classic modernism\u2019s austere intellectualism and sharp edges. <\/p>\n<p><\/span><\/div>\n<div><\/div>\n<div><span>\u201cI like those clean lines,\u201d says De Luca, who once lived in a sleek modernist house above Sunset Plaza when he was the bad-boy production head of New Line. \u201cMy wife doesn\u2019t, though, so we\u2019re living in a Cape Cod-style house in Brentwood right now. This is an homage,\u201d he says with a little smile, neither boastful nor embarrassed, \u201cto the bachelor pad I had to give up.\u201d<\/span><\/div>\n<div><\/div>\n<div><\/div>\n<div><span>A lot has changed for De Luca &#8212; and the industry &#8212; since indie\u2019s heyday, when he developed <\/span><i><span>American History X<\/span><\/i><span><span>, <\/span><\/span><i><span>Menace 2 Society<\/span><\/i><span><span> and <\/span><\/span><i><span>Boogie Nights<\/span><\/i><span><span> \u2013 and helped convince the ambitious little studio to put aside unprecedented sums for <i>The Lord of the Rings<\/i> trilogy.<\/span><\/span><\/div>\n<div><\/div>\n<p><span>Or has it? Industry buzz has De Luca, now 45<\/span><b><span> <\/span><\/b><span>and father of a 2-year-old girl, on the verge of a comeback, or the early stages of roll of great movies. <\/span><i><span>The Social Network<\/span><\/i><span> &#8212; directed by David Fincher, whom De Luca helped break with <\/span><i><span>Seven<\/span><\/i><span> \u2013 has become the most talked about film of last year, showing off a half dozen great performances and one of the most admired scripts in memory.\u00a0<\/span><\/p>\n<div><\/div>\n<p><span><br \/><\/span><br \/><span><a href=\"http:\/\/www.hollywoodreporter.com\/news\/producer-michael-de-luca-says-99899\">Here<\/a> is my Hollywood Reporter Q+A with De Luca, who talks about past, present and future.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>From the outside, The Astaire Building, the early-\u201890s structure on the Sony lot where Michael De Luca Productions is housed, is about as rock \u2018n\u2019 roll as the dancer which lends the edifice its name. But De Luca\u2019s office \u2013 which includes the usual neat stacks of scripts on the desk, scattering of books, and [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[122,76,40,29],"tags":[],"class_list":{"0":"post-885","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-90s","7":"category-film","8":"category-indie","9":"category-west-coast","10":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/885","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=885"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/885\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=885"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=885"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=885"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}