We know D.C. Get our free newsletter to stay in the know.

Morning, y’all! Last night, I discovered the trailer for the new Jeff Bridges movie Crazy Heart. As far as trailers go, this one looks promising. Bridges, playing an alcoholic country star, has the Bocephus thing nailed down tight; Maggie Gyllenhaal, as the reporter who helps Bridges turn his life around, looks smart and womanly; christ, it’s got Colin Farrell and Robert Duvall, too. But then I thought back to the trailer for Men Who Stare at Goats, a Bridges vehicle if ever there was one, and the pile of broken dreams that movie turned out to be. Will it happen again with Crazy Heart?

Anne Thompson at Indie Wire thinks no. According to Thompson, Fox Searchlight initially intended to roll out Crazy Heart in spring 2010, but with Amelia looking less and less likely to pick up an Oscar nomination, Crazy Heart will now have a limited release next month. Thompson has seen a rough cut of the movie, and says it’s a contender. I’ll take that.

More arts shit after the jump.

– RIP Daul Kim: According to the Daily Mail, the international model was found hanged—”an apparent suicide”—in her Paris apartment.

– Gibson Guitars—maker of the Les Paul, the Flying V, the Thunderbird and the Firebird—hosted a federal raid at its Nashville plant this week. According to the Tennessean, “Federal officials declined to say whether anything was removed from Gibson’s plant or what specifically the agents were trying to find. But some exotic hardwoods traditionally used in making premium guitars, such as rosewood from the rain forests of Madagascar and Brazil, have been banned from commercial trade because of environmental concerns under a recently revised federal law.”

– The Guardian has a great piece on rockstars writing film scores. “Although there’s next to no money to be made in writing for film, and all along the line the musician’s vision is subordinate to that of directors, editors and producers, the chance to be a mere cog in a much larger machine seems to offer welcome relief from the essentially solipsistic nature of songwriting. All that autonomy, freedom of expression and relentless self-analysis can be burdensome,” writes Graeme Thomson. Much to my disappointment, I found no mention in Thomson’s article of Jonny Greenwood‘s stellar work on There Will Be Blood.

OK folks, go seize that day!