Tag Archives: Back to the Future

My Golden Age of Movie Posters

Note: Click on all the images to see them full size.

If you love movies as much as I do, there’s a good chance that you love movie posters too. You probably have them on your walls, use one as your desktop wallpaper, and perhaps even collect movie posters like some people collect Picassos. I have a few myself, and why not? Some movie posters truly are works of art. Or at least, they used to be. Perhaps I’m wrong, perhaps I’ve got another case of that rose-tinted nostalgia-vision, but it seems that the hand-crafted movie poster has become an endangered species.

Growing up in the eighties, I spent my childhood in awe of the great movie poster illustrators, the artists whose work embellished the films I worshipped. I was a budding artist as well as a movie fanatic, and the eighties may have been the heyday of the movie poster artisan. It was, I see now, the perfect time for me to grow up in. Part of the excitement of any new movie, particularly those by the likes of George Lucas and Steven Spielberg, was that first glimpse of the new artwork by Drew Struzan or Richard Amsel. These were artists who created posters upon which their signature was redundant. You knew who had created it simply by the style of the illustrations. They were in a league of their own, and in my opinion will remain so.

Star Wars reinvigorated the movie poster, accentuating the concept of the one sheet as a collectible piece of artwork. That’s not to say movie posters weren’t collectibles before then but, as it did with so many other things, Star Wars set the bar a little higher. The movie poster was suddenly romantic and energetic again, and the best designs for Star Wars ably captured the film’s wonder, sweep and spectacle. The posters were not just promotional tools, but important artistic creations in their own right. Perhaps, the most famous is the image of heroic Luke Skywalker, complete with accentuated physique, holding his lightsaber aloft, with the giant head of Darth Vader in the stars behind him. Known as Style A, this was a poster design interpreted first by Tom Jung (who would create posters for all three of the original Star Wars trilogy) and then by The Brothers Hildebrandt, with dramatically differing styles.

Drew Struzan’s poster for the film, in collaboration with airbrush artist Charles White III, was a nostalgic piece harkening back to the Saturday morning serials upon which the movie was based. It has a torn poster on plywood effect that only came about because the original design had no room for the movie credits. The romantic design ethic continued with The Empire Strikes Back. Roger Kastel illustrated the classic poster for the Star Wars sequel (see below), having previously created the iconic image for Jaws. Again, it is an evocative illustration encompassing a montage of scenes and characters. The fantasy and romance pours from the poster and the colours beautifully reflect those of the movie. Tom Jung also created his own poster for the movie, featuring a striding Darth Vader holding out his hand, a pose reflecting the movie’s famous and oft-quoted line, ‘I am your father’.

…….………….

Richard Amstel produced two wonderful illustrations for Raiders of the Lost Ark, having earlier worked on the poster for Flash Gordon (above). The Indiana Jones series, a natural successor to the romantic nostalgia of Star Wars, followed suit in utilising great artists to render promotional materials. Amsel’s work on Raiders still ranks among my favourites of all time (see his alternative version at the top of this page). The beautifully realised image of Harrison Ford lifting out of the sandstone (a mix of watercolour, acrylic, airbrush and coloured pencils) is not only iconic, but sets the tone and setting of the film perfectly. Again, Drew Struzan was given the chance to create his own design for the film, for its 10th anniversary re-release. Sadly, Richard Amsel died in 1985, only 38 old. Struzan then became the go-to guy for the Indiana Jones movies, as well as many others connected with Spielberg and Lucas, such as the Back to the Future trilogy and the Star Wars prequels.

It would be remiss of me not to mention that there were many great artists working during this period. John Alvin created the famous poster for E.T. the Extra-Terrestrial which portrays the fingers of the alien and Elliot touching. The idea paid homage to Michelangelo’s The Creation of Adam (suggested by Spielberg). Alvin was also responsible for the paws emerging from a box for Gremlins and the original poster for Blade Runner. Bob Peak created the art for each Star Trek movie poster, throughout the eighties. They, and many more like them, are the reason why movie memorabilia from that period is among the most sought after.

These days things are different. The ease and speed at which a poster can be knocked together using Photoshop means beautifully hand-rendered movie posters are a far rarer beast. To the men signing the cheques, it’s far cheaper to hire someone to sew together a couple of head shots or do a photo montage on the computer. I understand it, this is a business after all, but there was something about those old posters that fired the imagination and stoked the sense of wonder as you awaited your first screening of the next celluloid dream. They produced the kind of artwork that cannot be achieved with a mouse and keyboard, any more than an Impressionist masterpiece can be. The industry no longer seems to need the artists the way it once did, and it is always sad when an art form becomes surplus to requirements.

Struzan is still working, however rarely, and still producing immaculately hand-drawn posters. Hellboy was graced with his work along with, naturally, Indiana Jones and the Kingdom of the Crystal Skull. However, the golden age of he and his peers is long gone. At forty, I may grumble about my age, but I will always be grateful to have spent my formative years during the heyday of these unsung artistic giants. And I will always remember how I was just as influenced and inspired by the artistry they used to promote the movies as I was by the movies themselves. Thank you, guys.

.

Drew Struzan’s website

A wonderful site dedicated to the work of Richard Amsel

Tom Jung’s page at IMP Awards

John Alvin’s website

 


Cool Stuff – Mondo Back to the Future Posters

Great Scott! Cool, cool and thrice cool, with an extra helping of cool on the side and smothered in cool relish.

Mondo, purveyors of exquisite and ever-popular alternative movie posters, have just released these three posters for the Back to the Future trilogy. Designed by Phantom City Creative, they are designed to sit side-by-side, giving full view to the legendary time traveling DeLorean.

I would offer subtle hints to anyone who’ll listen about the date of my birthday but, knowing that these things usually sell out faster than steaks when Lady Gaga is looking for a new dress, I won’t waste my breath. Sigh.

Click on each poster to view it in all its geek-pleasing glory.

And the combined version…

 

 

 

 

 

 

 

 

Seek them out at Mondo, although you may have to intercept a delivery, mug someone or just print these pics really big to have your own at this point. Good luck.

 

 

 

 


Top Ten: Father and Son Stories

The relationship between father and son has been the basis of storytelling as long as stories have been told. Shakespeare was rather fond of this particular riff himself, and so are the movies. I’ve always had a soft spot for these tales. In fact, the best screenplay I ever wrote, which won the BAFTA New Writers Forum in 2008, was a father/son story. It was also the most fun to write. The story of a father and son can be tragic, inspiring and often hilarious. It can take in redemption, discovery, reconciliation and ponder the age-old question of whether we are destined to become our parents.

Here are my favourite ten movies which explore these themes. Please, feel free to suggest your own. Or, indeed, any mother/daughter stories you feel resound with the same emotions. Enjoy!

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10. Frequency

It may be cheesy as hell, but there is something genuinely touching about Gregory Hoblit’s tale of a man who discovers he can talk to his dead father through a time-travelling ham radio signal. Jim Caviezel is the cop communicating with his fire-fighter father Dennis Quaid on the same radio, in the same house, 30 years apart, attempting to alter history in order to save his father’s life. Naturally, it all goes wrong before it all goes right, and despite the rather ordinary serial killer sub-plot, Frequency throws in some neat time-travel tricks as father and son work together across a generation.

Issues resolved: Dead father (twice), murdered mother, new appreciation for father’s hobby.

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9. Finding Nemo

Hey, fish are dads too. After losing his wife and all his unborn kids, save one, over-protective Marlin is relentless in his search for Nemo, his only child. Pixar have a flawless way of portraying the complexities of human emotion through the use of toys, monsters or cute animals, and they don’t disappoint here. Marlin’s single-minded pursuit of Nemo, with no thought of ever quitting or assuming the worst is something that any parent could probably relate to. Just as Nemo’s exasperation with his over-bearing father is something that any child could equally relate to.

Issues resolved: Father learning to let go, son learning to appreciate his father’s love, mutual appreciation of those with crap memories.

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8. Field of Dreams

Phil Alden Robinson’s adaptation of the novel Shoeless Joe is rooted in a father/son relationship, despite the fact that the two never interact until the closing minutes of the picture. Ray Kinsella (Kevin Costner) is an inexperienced farmer, living with his unresolved estrangement from his dead father. When he starts to hear voices telling him to remove his crop and build a baseball field, Ray begins a zig-zag journey towards reconciliation. Everyone thinks Ray is insane but, let’s face it, voices that say ‘build it and he will come’ are a lot better than those that say ‘kill them all’.

Issues resolved: Son’s resentment of his father, never playing ‘catch’, imminent bankruptcy due to the farm not actually having any farmland left.

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7. Return of the Jedi

And you thought your dad was bad. Poor old Luke Skywalker has the kind of father issues that no amount of therapy will cure. Aside from finding out that his dad is not dead, as he was told, he also has to deal with the fact that the old man is an intergalactic despot, murderer and looks like a badly boiled egg with eyes. You have to wonder if you’ll turn out the same, right? Luckily for this galaxy, Skywalker Jr. has a heart the size of a death star and is able to turn his father back to the light. Not that this brings back the countless hundreds Skywalker Sr. force strangled on a whim.

Issues resolved: Father being a psychotic mass murderer, finding out the girl you lusted after is actually your sister, the embarrassing fact that dad looks way better in black than you.

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6. Indiana Jones and the Last Crusade

Keen to further the character of Indiana Jones for his third outing, Spielberg and Lucas pulled off one of the casting coups of the century by securing Sean Connery to play the archaeologist’s estranged father, Henry Jones Sr. The pairing is inspired. Bookish, uptight and pompous, Henry is the polar opposite of his adventurous offspring and their bickering is thoroughly entertaining. Well aware of the irony that we all end up like our parents, Ford integrated some of Connery’s mannerisms into his performance of the older Indiana Jones in Kingdom of the Crystal Skull.

Issues resolved: A remote and inattentive father and discovering you’ve both slept with the same woman.

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5. Transamerica

Possibly the only father/son story where the father is played by a woman. Felicity Huffman is astounding as transsexual Bree, forced to bond with the son she didn’t realise she had as a prerequisite to being granted a sex-change operation. Toby, her son, has had a traumatic childhood and simply wants someone to connect to. Bree is reluctant to tell Toby the truth, instead telling him she is a Christian missionary. The developing relationship between them, though complex and difficult, is handled with such charm, honesty and wit that you cannot fail to be drawn in by them as they embark on a road trip from New York to Los Angeles. Magical.

Issues resolved: Father is almost a woman, son is a male prostitute, the list is extensive in this one.

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4. The Godfather

Essentially a father and sons story, The Godfather is almost Shakespearian in its tale of a King and his three vastly different heirs. Central to the story, however, is the relationship between Don Corleone (Marlon Brando) and his youngest son, Michael (Al Pacino). While Sonny and Fredo have followed their father into the ‘family business’, Michael shuns his father’s attentions and ambitions for him, determined to follow his own path. This, of course, makes him far more his father’s son than the others will ever be and Michael’s subsequent descent is both inevitable and tragic. Rinse and repeat with Godfather III.

Issues resolved: Resentment of father’s interference in son’s life, acceptance of inescapable destiny to inherit father’s crown.

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3. Back to the Future

Marty McFly has never really looked up to his father, a weak-willed man who, by his own admission, is ‘not very good at confrontations’. Fortunately for Marty, his crazed friend Doc Brown inadvertently gives him the opportunity to build a better dad when Marty is sent back to 1955. Befriending the teenage McFly Sr., Marty sets about trying to teach his feeble patriarch how to truly win the heart of his mother. Further incentive is added by the fact that the other options are incest or ceasing to exist. Marty chooses the easy option and George McFly discovers that, sometimes, punching someone really hard in the face is the right thing to do.

Issues resolved: Lack of respect for ineffectual father figure and threat of being erased from history.

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2. Road to Perdition

There are multiple father/son stories running through Road to Perdition. Irish gangster Michael Sullivan Sr. (Tom Hanks) is forced to flee with his eldest son after the rest of his family are murdered by Conner, the son of his boss, and surrogate father, John Rooney (Paul Newman). Aware that Michael Jr. looks up to him, Sullivan is aloof and reserved, fearing that the son will become the father. Their journey toward mutual acceptance is both warm and moving, but the relationship between Michael Sr. and John Rooney is heart-breaking, building to one of the most poetic and beautiful gunfights in modern cinema.

Issues resolved: Accepting your father for who he is and still loving him and protecting your son from all dangers, especially yourself.

__________________________________________________________________________________

1. Big Fish

Edward Bloom (Albert Finney/Ewan McGregor) is a great teller of tall tales, much to the frustration of his son, Will (Billy Crudup), who feels he’s never really known who his father is. When Edward discovers he is dying, Will comes to see him with his pregnant wife Joséphine (Marion Cotillard). Edward tells Joséphine the seemingly outrageous story of his life from his deathbed while Will tries desperately to reconcile with his father. With flawless performances from all, Tim Burton’s Big Fish has a big heart and the final scenes, as Will comes to understand and appreciate his father for the first, and last, time are incredibly moving.

Issues resolved: That sometimes the details of the journey don’t matter as much as the destination.

__________________________________________________________________________________

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My Golden Age of Movie Posters

Note: Click on all the images to see them full size.

If you love movies as much as I do, there’s a good chance that you love movie posters too. You probably have them on your walls, use one as your desktop wallpaper, and perhaps even collect movie posters like some people collect Picassos. I have a few myself, and why not? Some movie posters truly are works of art. Or at least, they used to be. Perhaps I’m wrong, perhaps I’ve got another case of that rose-tinted nostalgia-vision, but it seems that the hand-crafted movie poster has become an endangered species.

Growing up in the eighties, I spent my childhood in awe of the great movie poster illustrators, the artists whose work embellished the films I worshipped. I was a budding artist as well as a movie fanatic, and the eighties may have been the heyday of the movie poster artisan. It was, I see now, the perfect time for me to grow up in. Part of the excitement of any new movie, particularly those by the likes of George Lucas and Steven Spielberg, was that first glimpse of the new artwork by Drew Struzan or Richard Amsel. These were artists who created posters upon which their signature was redundant. You knew who had created it simply by the style of the illustrations. They were in a league of their own, and in my opinion will remain so.

Star Wars reinvigorated the movie poster, accentuating the concept of the one sheet as a collectible piece of artwork. That’s not to say movie posters weren’t collectibles before then but, as it did with so many other things, Star Wars set the bar a little higher. The movie poster was suddenly romantic and energetic again, and the best designs for Star Wars ably captured the film’s wonder, sweep and spectacle. The posters were not just promotional tools, but important artistic creations in their own right. Perhaps, the most famous is the image of heroic Luke Skywalker, complete with accentuated physique, holding his lightsaber aloft, with the giant head of Darth Vader in the stars behind him. Known as Style A, this was a poster design interpreted first by Tom Jung (who would create posters for all three of the original Star Wars trilogy) and then by The Brothers Hildebrandt, with dramatically differing styles.

Drew Struzan’s poster for the film, in collaboration with airbrush artist Charles White III, was a nostalgic piece harkening back to the Saturday morning serials upon which the movie was based. It has a torn poster on plywood effect that only came about because the original design had no room for the movie credits. The romantic design ethic continued with The Empire Strikes Back. Roger Kastel illustrated the classic poster for the Star Wars sequel (see below), having previously created the iconic image for Jaws. Again, it is an evocative illustration encompassing a montage of scenes and characters. The fantasy and romance pours from the poster and the colours beautifully reflect those of the movie. Tom Jung also created his own poster for the movie, featuring a striding Darth Vader holding out his hand, a pose reflecting the movie’s famous and oft-quoted line, ‘I am your father’.

…….………….

Richard Amstel produced two wonderful illustrations for Raiders of the Lost Ark, having earlier worked on the poster for Flash Gordon (above). The Indiana Jones series, a natural successor to the romantic nostalgia of Star Wars, followed suit in utilising great artists to render promotional materials. Amsel’s work on Raiders still ranks among my favourites of all time (see his alternative version at the top of this page). The beautifully realised image of Harrison Ford lifting out of the sandstone (a mix of watercolour, acrylic, airbrush and coloured pencils) is not only iconic, but sets the tone and setting of the film perfectly. Again, Drew Struzan was given the chance to create his own design for the film, for its 10th anniversary re-release. Sadly, Richard Amsel died in 1985, only 38 old. Struzan then became the go-to guy for the Indiana Jones movies, as well as many others connected with Spielberg and Lucas, such as the Back to the Future trilogy and the Star Wars prequels.

It would be remiss of me not to mention that there were many great artists working during this period. John Alvin created the famous poster for E.T. the Extra-Terrestrial which portrays the fingers of the alien and Elliot touching. The idea paid homage to Michelangelo’s The Creation of Adam (suggested by Spielberg). Alvin was also responsible for the paws emerging from a box for Gremlins and the original poster for Blade Runner. Bob Peak created the art for each Star Trek movie poster, throughout the eighties. They, and many more like them, are the reason why movie memorabilia from that period is among the most sought after.

These days things are different. The ease and speed at which a poster can be knocked together using Photoshop means beautifully hand-rendered movie posters are a far rarer beast. To the men signing the cheques, it’s far cheaper to hire someone to sew together a couple of head shots or do a photo montage on the computer. I understand it, this is a business after all, but there was something about those old posters that fired the imagination and stoked the sense of wonder as you awaited your first screening of the next celluloid dream. They produced the kind of artwork that cannot be achieved with a mouse and keyboard, any more than an Impressionist masterpiece can be. The industry no longer seems to need the artists the way it once did, and it is always sad when an art form becomes surplus to requirements.

Struzan is still working, however rarely, and still producing immaculately hand-drawn posters. Hellboy was graced with his work along with, naturally, Indiana Jones and the Kingdom of the Crystal Skull. However, the golden age of he and his peers is long gone. At forty, I may grumble about my age, but I will always be grateful to have spent my formative years during the heyday of these unsung artistic giants. And I will always remember how I was just as influenced and inspired by the artistry they used to promote the movies as I was by the movies themselves. Thank you, guys.

.

Drew Struzan’s website

A wonderful site dedicated to the work of Richard Amsel

Tom Jung’s page at IMP Awards

John Alvin’s website