disco5.jpgBetween 1990 and 1998, Whit Stillman made three films. They formed a loose trilogy, featuring chatty, monied young New Yorkers doing very little aside from chatting in monied environs. Chris Eigeman co-starred in all of them, in three different variations on the same loveable prick. The first film, Metropolitan, earned New Line it's first Oscar nomination for Best Original Screenplay. The third, The Last Days of Disco, was annexed by Stillman into a subtle meta-novel, The Last Days of Disco, With Cocktails at Petrossian Afterwards, in 2000.

And then ... nothing.

So what the hell happened?


 The Last Days of Disco was semi-sucessful, and after it's release Stillman was initially attatched to adapt Red Azalea, Anchee Min's Maoist memoir, for Killer Films. When that project fell through, he tried to develop a historical drama, but struggled to convince financiers that his talk-heavy portfolio qualified him to write and direct a big-budget epic. That project was eventually overshadowed by Roland Emmerick's history-as-popcorn blockbuster, The Patriot, which covered similar narrative territory. He's since moved to Paris, where he's written articles for The Wall Street Journal, and has guest edited The New York Post's gossip spread, Page Six.

Now, according to an article that appeared earlier this year in Fade In magazine, Stillman is hard at work on Winchester Races, an adaptation of two unfinished Jane Austen novels, The Watsons and Sanditon. It's a fitting project, if there's any truth to it - Stillman's scripts are full of great, subtle depictions of the way the upper classes police themselves.