Pic of the Day: Mondo poster for Green Room (2016)

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Prints of Oliver Barrett’s new poster for Jeremy Saulnier’s Green Room (2015) will be released today by Mondo. The time of the sale will be announced on Mondo’s Twitter feed.

To read more about the making of the film, check out this interview I did with Green Room cinematographer Sean Porter (Kumiko the Treasure Hunter, 20th Century Women) for Filmmaker Magazine.

 

Pic of the day: German poster for Chinatown (1974)

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American artist Richard Amsel, best known for his original Raiders of the Lost Ark poster, crafted this German ad for the release of Roman Polanski’s Chinatown (1974).

Read the third draft of Robert Towne’s Oscar-winning screenplay here. Below, check out Towne’s opening scene between private eye Jack Nicholson and cuckolded husband Burt Young below:

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The Art of Matt Ryan Tobin

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Canadian artist and musician Matt Ryan Tobin fell into the world of design through necessity. Back in 2003 Tobin’s former band Dead and Divine needed t-shirts to sell at shows but didn’t have the money for them to be professionally designed. So Tobin volunteered to create the merch and soon found himself doing the same for other bands. That ultimately evolved into alternative film posters and commissioned work for outfits like Mondo and Odd City.

Check out Tobin’s website and buy something. For more Deep Fried Movies poster artist profiles, click here.

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Pic of the Day: Rambo posters by Italian artist Renato Casaro

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Today’s pic features a pair of posters from one of my favorite artists Renato Casaro, who in his long career created movie ads for James Bond, Schwarzenegger and Stallone, and Italian legends Dario Argento, Bernardo Bertolucci, and Sergio Leone.

Further reading: Film on Paper’s interview with Casaro

Pic of the Day: From Here to Eternity (1953)

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(Above) French-language poster for Fred Zinnemann’s 1953 Best Picture winner From Here to Eternity, an advert immortalizing Burt Lancaster and Deborah Kerr’s adulterous oceanside kiss. The film is based on the 1951 debut novel of James Jones, which features some autobiographical elements from Jones’ time stationed in Hawaii on the eve of World War II.

Here’s Zinnemann on concessions made to the Army in order to receive its cooperation in making the film. From the book Fred Zinnemann: Interviews:

Certain things the Army objected to, particularly two things. One, the inside of the stockade. The book contained many scenes showing the rough life inside the stockade. The Army said that if that was shown, there would be no cooperation. The second point was the character of the captain, Deborah Kerr’s husband, who was ineffectual and a bad officer. The Army wanted to see the man get his comeuppance and be courtmartialed and forced to resign. In the book he was promoted to major.

Now the whole point then became: is it worth making that sort of arrangement? I felt that it was. As it turned out, I was sure that it was not necessary to go into gruesome details about the inside of the stockade, because one could see in the escape and the death of Sinatra sufficient proof for what was going on inside and leave room for the audience’s imagination.

I personally would’ve liked to see the captain being promoted, because it was a fine sardonic touch. But it was a sacrifice that had to be made.