"Well, um, what is a movie poster," "Is a question I get asked quite often." "What is a movie poster?" "Certainly, artwork prepared to sell a movie." "But from the collector side, it has many, many different connotations." "Joe Dante:" "Well, when I was a kid, the first connection you would have with a movie is seeing the poster." "Because when you're a kid, you don't know what's coming out." "You don't know much about what's going on." "But I had a neighborhood theater." "And when I would go to the movies, they would have a hall where they had six or seven posters for pictures that were coming." "And that's how you could gauge what you were going to do with the next couple of months of your life." "As a 10-year-old to 12-year-old, you know," "I was very much into "MAD" Magazines, and "National" "Lampoon Magazine."" "So any type of hand-drawn poster, whether it be "Police Academy" or "National" "Lampoon's Vacation," really sucked me into the movie." "And sometimes the movie wasn't quite as good as the poster was." "But that's what really initially drew me into a movie." "In the 1970s and in the '80s, illustrated poster art was everywhere." "The actual video cases themselves lined up in rows for miles." "When you're a kid, it looked like this endless art gallery of really cool, really lurid stuff." "I would pick up a box, and stare at it, and have my own movie play out in my head." "I mean, these are amazing images that just transport you away to fantastic worlds." "And they promise you, you know, a great escape, a great adventure." "David Byrd:" "It was just such an exciting time." "It seemed to me like a golden age." "Where the hell did it go?" "They all had to do with the invention of lithography." "In 1798, Alois Senefelder, this playwright, was trying to figure out a way to copy his scripts." "And I don't know how he figured this out." "But he figured that if he wrote in grease pencil on the limestone in his mother's courtyard," "And if he wet it and then rolled it with ink, ink would only stick to the written part." "Sheree is studying with Senefelder in London." "He developed a studio in about 1860." "He started printing his famous Chéret posters." "The Chéret girl, who was known as la Chérette, and she," "You know, she was the symbol of Belle Epoque Paris." "The whole movie poster movement" "At the turn of the century took kick off" "Because advertisers decided that they wanted to use lithography." "And so the momentum was built, not just as an artwork, but as the advertising." "The movie studios would get a group of a dozen or so people and give them stills of the movie." "From that, they were to create an illustration." "First, they were small mock-ups, pencil drawings, oil pastels." "That's what would be approved." "But by the time it actually hit the point of being an actual movie poster, it was a full-blown painting." "Now those paintings are lost forever." "And the artists were never allowed to sign the beautiful artworks that were so" "That are so embedded in our minds." "Now when we think of the movie." "And when we think about "The Creature" "From the Black Lagoon," we don't necessarily think about one part of a black and white movie, we think about the movie poster that was out front, the thing that it was that made you buy the ticket" "and go in to see the movie." "Mike Orlando:" "When I started collecting," "I got a lot of, are you crazy?" "Why would you want that stuff?" "This is in the '70s." "And then as the '80s and '90s evolved," "Auction houses started to get a little more interested." "And, you know, an original "Frankenstein" going for half a million dollars, all of the sudden it's like, oh, jeez, this is not just a hobby anymore." "This is like big business, depending on what you collected." "I mean, anything Universal monsters original is going to fetch a ton of money." "And the funny thing about that is that a lot of the craziest pieces you'll see were like found in a barn, or like bought at an auction." "And it was in the back of a crate or something like that." "And someone unearths like a "Bride of Frankenstein"" "six sheet that's never been seen before." "In the last few years, people had been renovating houses from the '20s and '30s and '40s have actually found posters in the walls that were stuck and there for insulation." "They weren't treated as pieces of art." "They were just tools for marketing." "Mike Orlando:" "Most people don't realize this, but for any given movie going back as far as even 1916, the studios were prepared to spend quite a bit of money on promoting that film." "And they would make a vast array of different sizes for any given film, starting with a basic set of lobby cards, which are basically 11 by 14 sort of hard cardboard, where each one shows a different scene from the movie." "They come in sets of eight." "Then moving up in no particular order, there was a window card size, which is 14 by 22, which had a blank spot at the top of." "And they would appear in the local stores." "And they would write in the top what local theater it was playing for." "An insert size, 14 by 36, again, a sort of heavy stock cardboard." "A half sheet size, 22 by 28." "And then the most familiar one to most collectors and film goers is the one sheet size, 27 by 41." "Joe Dante:" "These posters all come folded in the same way, the vintage ones." "And that's because they were meant to fit inside the 35 millimeter film canisters." "And they would just get shipped around the country with the actual film prints." "Tal Zimerman:" "So when you're looking to collect, and you say, well, wait a minute." "Why does this poster have creases?" "Well, they all had creases." "Mid '80s, it changed to the kind of roll and a smaller, more uniform orientation." "So if you have a one sheet, then you have things like the two sheet." "Especially foreign posters, a lot more common to have two sheets, and four sheets, up to six sheets, 24 sheets that would have gone on the side of a building." "In France, you have door posters." "So it's basically the dimensions of a door to fit over a door." "Joe Dante:" "Movie poster design was quite a bit different in the '50s than it is today." "Very often, the poster was more exciting than the movie, particularly in the kind of movies that I used to like, which were low budget and science fiction movies, where it didn't cost you anything to put it on the poster." "It cost you a lot of money to try to put in the movie." "And very often, the posters were drawn by terrific artists like Reynold Brown, and Al Kallus, and people like that, who actually did, you know, works of art." "Prior to about 1965, they never really gave the artists credit for their work." "Probably the most famous non-acclaimed artist is Reynold Brown, who did most of the fantastic horror sci-fi stuff from the '50s, just routinely pumped them out, pumped them out." "They have become the most collected sci-fi posters from that time period." "He never really got the credit he should have got for his fantastic artwork." "There were a few other famous people who did film posters from time to time." "Rockwell is credited with about eight movie posters, "Magnificent Ambersons"" "being the most famous." "But it wasn't until the '60s where the studios started hiring actual artists to do their posters." "I think Bob Peak might be amongst the first." "I remember in the '50s, I was aware of Bob" "Peak when I was in high school." "It was like a new kind of expressionism." "And he used very flat plains and very hot colors." "Bob Peak was the premier movie poster artist, one sheet artist." "And with work like "Camelot" and "My Fair Lady,"" "he was blowing everyone's minds." "He was changing motion picture one sheet art forever." "And so we all aspired to that level." "They had taken an illustrator who was extremely successful and popular doing magazines and things like that." "And he did "Apocalypse Now" and "Rollerball."" "And he had a very distinct style." "One thing that has really kind of influenced me is how Bobby Peak can adapt." "You know, whether it's a romantic comedy, or "Star Trek," he, he's able to kind of make his work malleable to fit and still communicate the right tone." "One film campaign he worked on that was the one that he was probably most proud of was the work he did for Francis Ford" "Coppola for "Apocalypse Now."" "He worked on that film on and off for over a year." "And he did several" "I mean, he would do dozens and dozens of sketches, eventually tighten those up, and then come in with color comps." "And then he ended up doing like four or five finished paintings." "Robert Duvall and Francis Ford Coppola really weren't getting along well." "And at one point, it came to a head on the set." "My father did the finished piece." "And it has Martin Sheen on top left, where actually" "Robert Duvall was actually on the top right of that piece as well." "But because of the relationship, and the lack of relationship that Francis Ford Coppola had with Robert Duvall, he actually made my dad take it out of the final piece." "Andrea Alvin:" "Well, if you went to Art Center when we did," "Bob Peak was an Art Center person." "Everybody was drawing like Bob Peak." "Everyone was doing those bubbly acrylic washes that Bob Peak did." "And John always called him the Godfather of the movie poster, because he admired him." "So it was kind of natural that he ended up being the big influence." "You know, there's so much more to making a great movie poster than people realize." "It's education." "It's design style." "It's all these things that come together." "And it's doing it over, and over, and over again, which is what people like John Alvin, and Drew, and Steve" "Chorney, and Amsel, and Bob Peak, all those guys, they all knew how to make a composition interesting and compelling visually." "The first movie poster that John did was "Blazing Saddles."" "They based it on a famous Roy Rogers" ""Life Magazine" cover, with Roy Rogers on the back of Trigger rearing up, and then started adding elements." "Because this movie was a crazy movie." "So John finished the poster, turned it in." "It was sent immediately to the printers." "We get a call the next morning waking us up saying, you've got to come down to Hollywood." "There-- this-- your poster is everywhere." "It's unbelievable!" "So quick, we get dressed." "We go down to Hollywood." "We drive down." "And there are posters stuck on every imaginable surface." "From that point forward, he just didn't stop working." "Probably his biggest success, in terms of just numbers, was "E.T."" "Spielberg wanted the finger to be touching Elliott's head." "And everyone said no, no, no." "It looks like a gun to his head." "Someone came up with the idea of the Sistine Chapel." "They had the art director from the film do a drawing of the hands so that John could work from that." "And the other hand is our daughter's hand, which he posed for Elliott's hand." "Like John was able to meet with the filmmaker at that time." "That was essential." "You could find out what the filmmaker wanted to portray, you know, what did he" "What was he trying to say?" "So like with the "Blade Runner,"" "I remember he was talking about how he sat in on a meeting." "And John was inspired by the architecture." "To him, he thought it was another character in the movie, and that it was a really important aspect, that if he was going to make the poster, he needed for there to be the architecture represented." "And it just like totally struck a nerve with Ridley Scott, and inspired him." "And that's the reason why John wound up doing the poster." "Andrea Alvin:" "Every major studio was calling him and every major film maker." "But he wasn't allowed to sign a lot of pieces." "The studios didn't want a signature." "Film artists, you know, historically, have had to be people who could put away their ego." "Because the studios and the design firms that were hiring them didn't want them to get the credit." "Even when he could sign it, sometimes they would take it off." "So "E.T.," he buried it in the curvature of the earth." "And on "Blade Runner," it's in one of the buildings." "Is just a little Alvin, you know." "And he kept it very subtle." "But that's probably why people don't know who he is." "The style came through." "I mean, if you look at all of the work from "Blazing Saddles" on through, you can see John in them." "There's no doubt." "That is magic." "That's artistic magic." "And it's a kind of artistic magic that you won't find anywhere else but in film art." "When you think of a movie, and you think of the poster instead of a scene from the movie" "So when you think of "E.T."" "you always think of that, you know?" "When you think of "Jaws," you always think of the girl swimming and the shark." "And that's Roger Kastel." "Roger Kastel:" "One of my clients was Bantam Books." "Oscar Dystel was their publisher." "And he ran out." "And he got the hardcover of "Jaws."" "And I said, basically, it has to be realistic." "It can't be like that." "And I went to the Museum of Natural History where I had done a lot of research for other things." "It was lunchtime." "No one was working in there." "And I had my camera with me." "And I took the great white body, the most vicious teeth I could find." "And it was a combination of that." "And you know, the paperback took off." "And then later on, he said, Universal is interested in using that for the poster." "The painting they asked for it out in Hollywood." "And that was the last I saw it." "I never got it back." "We're still looking for it, so." "Leslie Combemale:" "Well, one of the things they think is funny about Roger's work is that people don't know that he did that "Gone with the Wind" "Empire Strikes Back" poster." "And it is, certainly, for "Star Wars,"" "It's almost everyone's, one of their favorite posters." "They didn't explain the movie at that time." "But they just had us sign contracts." "And they handed out stills." "And I loved that image, this image." "And so I said, well, God, that's the poster." "And I took it in." "And when we were to meet the art director, which was that next meeting, and no one looked at it or anything." "He said, well, George Lucas loved the "Gone with the Wind"" "poster." "And he wants the romance." "And I was shocked." "I said, ok." "Got that into the painting." "Then I did sketches for them." "And they picked one." "So I still have the original pencil sketch anyway." "I don't have any of the others that I did, but I have that one." ""Raiders of the Lost Ark," when I first saw it as a kid, just knocked my socks off." "And I remember when the film was re-released in 1982, and being very, very excited, to hear about that, and looking through the newspapers, and seeing just a black and white bad Xerox reproduction in the newspaper." "But even then, that just knocked my socks off." "I'm like, my God." "It was an illustration by an artist by the name of Richard Amsel." "I eventually would see that poster in the theater marquee, and instantly recognized his name every time I would see his illustrations from numerous "TV" "Guide" covers to other movie posters like "The Dark" "Crystal," "Flash Gordon," "The Shootist," and "Mad" "Max Beyond Thunderdome."" "Amsel was a superstar in illustration in the '70s." "When you decided on illustration, what made you-- you know, what are your influences?" "Well, what was yours?" "Do you want me to start?" "Yeah." "Well, first of all, I like movies a lot." "I think that the movies have influenced my work." "I do a lot of movie posters." "David Byrd:" "You know, he was a handsome guy, but very shy, and kind of quiet and strange." "And I was just a big hippie nut." "And we just got along really well." "And he did the "Hello Dolly" poster with Barbara Streisand when he was a senior in art school." "So I mean, he was" "I mean, he was" "When I was a senior in art school, I was doing crap." "You know, I had to have everything lined up, all the little watercolors, everything." "I did tests." "And I did-- he never did anything." "He just went, hey, I got a job." "Bah, da, do, de, mah!" "Jesus." "How does he do this?" "Adam McDaniel:" "And that he was able to, not just achieve success, but do such a stunning work, you know." "When he was barely in his 20s, he had achieved more than most artists can ever aspire to." "And a lot of times, I posed." "You know, I would be Robert Mitchum." "And my friend Amy would be Faye Dunaway or whoever, you know?" "I remember back in the '70s, there was this real focus on super photo-realism." "Richard and I would look at some of this art, and say like, God, you can't even see a brush stroke." "Isn't that like depressing?" "I mean, just to show that you can do something that is as good as a photograph, well, fuck you." "Art is something that can't be done." "You know, it can be done with a camera," "But that's the difference thing." "That as a completely different thing." "With Richard Amsel to look at his work, you know that it was the end product of someone taking pencil, and pen, and brush to paper, and making magic." "It was just such an exciting time." "It seemed, to me, like a Golden Age." "Marketing Directors actually gave a damn about how their films were going to be represented." "And by, I think, the late 1980s, it drifted more into manipulating photographs." "It went back to, let's just throw a few floating heads out there, or photographic type posters." "It got to a point into the '90s where people started" "As things were shifting" "They'd say, well, if it's illustrated, it looks like an animated film." "That created a different kind of movie poster." "No, you cannot just tell me that I don't get it right." "Because I know what I'm doing, yeah, and I'll put up a fight." "I'm on the edge of something new." "Pick up the paper." "Bring me a pen." "But don't ask no questions." "I'm going to say this again." "I'm on the edge of something new." "We're on the edge of something new." "I'm on the edge of something new." "We're on the edge of something new." "David Byrd:" "Forget about art." "Don't get artists." "Use Photoshop." "Take pictures." "Big face, that's what people want to see, big face, big tits." "Shit, this really sucks." "The curse of the star portrait started to take over the idea of posters, so that, basically, it was just a photo of Tom Cruise or somebody with a harried look on their face." "Gone were the posters of the '60s through '80s, where everything was fun and adventurous, had promise." "It told you that this movie would take you somewhere and show you something." "Suddenly, it was just poster after poster of someone's face, or some many faces." "So you get an idea of who is in the movie, but you had no what the movie was about." "It was just, oh, Will Smith's in this movie." "What's it about?" "It seemed like they were making the same movie poster over and over and over, a big photograph of the star, face half in shadow, face half in light." "I saw that so many times I was just sick of it." "It was so unimaginative." "I mean, everyone knows it's the three-headed Photoshop, you know, job of floating in the air with some kind of image at the bottom." "Every movie has that poster." "And it's not special." "Here's, you know, Taylor Swift head." "And then here's Taylor Swift's other head, because she's playing twins." "It's the guy running down the street with buildings crumbing in the background." "Or it's half John Travolta's face and half Nick Cage's face." "Travolta, Cage." "William Stout:" "I ran into Drew Struzane." "And Drew Struzane told me the story that Guillermo del" "Toro had personally commissioned him to do a poster for "Hellboy."" "And Drew had finished the poster, a gorgeous poster." "And Guillermo came to Drew's home, and looked at the poster." "And he was just gushing over the poster." "And he said, oh, my God, I can't wait to see this as the one sheet for the film." "And Drew patted Guillermo on the shoulder." "He says, oh, Guillermo, you're about to find out how little power you have." "And then about two years later, I was at Comic-Con." "And there was a panel promoting "Hellboy 2."" "And a kid in the audience raised his hand." "And said, I just saw the Drew Struzane art for "Hellboy 2"" "that Guillermo commissioned." "Is that going to be the one sheet?" "And the response was, nah, it's not." "It looks too much like art." "Well, should I buy a gun and just get it over with now?" "I think one of the reasons is that it's a little bit easier to sell a movie by defaulting to the star's face." "You have like your main character that is making the most money in the film, big and outspoken." "And then, you know, you'll have your secondary characters." "But some of these people will say like, I don't want those drop shadows on me, because it makes me feel like I'm personally in the shadows." "And I make more money than that guy, so take that shadow off me, right?" "The producers and the actors became very, very powerful." "The celebrities, the stars of the movies, and their publicists have such a tight rein on their appearance on the movie poster, and the appearance of those celebrities and their Photoshopped beauty, their perfection that that doesn't necessarily exist." "That image of the celebrities needs to be so perfect, and so honed, that an illustration leaves too much room for things to go awry." "I'm not front" "I'm not like hitting on any nails here on the graphic designers." "Because they're just doing their job." "They're technically speaking, they're pretty good." "I think really the biggest influence on the change of design has been the tools." "And I'll tell you, there's something scary about the computer." "It doesn't take away from your art." "It adds to your art." "It's another tool." "It's like when the guy discovers that if you glue some animal hair on the end of a stick you got a brush." "Eh, you got a brush." "Ooh, this is scary, a brush." "No, it's not." "It's a new tool." "Narrator:" "Using a digitizing tablet," "MIT artist Ron McNeill chooses from a palette of colors and pre-programmed images to create a collage that exists only in the computer's memory." "Before ever seeing a canvas, it undergoes some dramatic transformations." "Robert McNeill:" "And with this, I can paint images, and put graphics, combine graphics, photographic images, and text on the screen." "I can also, for instance, do things like turn the image upside down." "Or I can also flip flop the image this way here." "I got a job at a video store when I was 17." "And I used to do-- as you were saying," "You were like in line to get the posters." "Being the guy that was behind the counter when the poster showed up, I would earmark all the ones" "I wanted to take home, like "Raiders of the Lost Ark."" "That influenced, certainly, some of my early poster designs." "And what I was sort of fascinated by was that taking that illustrated style of all those posters and the elaborate sort of collage nature of them, and then applying that using digital technology." "First poster I designed was in 1995 for a movie called Rude." "It was really interesting doing this sort of that digital assembly." "I think on that one too we took a transparency from the film." "It wasn't digital stills or anything like that." "So we took a transparency and had that drum scanned." "And then we had all these other random components." "And the poster, we had to finish it on a Quantel Paintbox." "Narrator:" "In 1981, Quantel sparked off a revolution." "The new artistic freedoms it brought were eagerly seized on by a fast-growing band of graphic designers." "The vehicle for this revolution was the Quantel Paintbox." "Paintbox's cut and paste made it possible to achieve the impossible." "The possibilities became endless." "When I first started doing posters," "I think we probably did eight in a year." "Now it's-- we probably produce 30 posters, or 40 a year." "And the turn-around time on them is anywhere from three days to maybe a month for a longer one." "So I think the technology opened up more possibilities." "You know, when the "Raiders of the Lost Ark" poster came out, we were all standing in line waiting to get into the film." "There was time to sit and stare at." "And every time you looked at it, you'd notice a different piece of it." "And you could ponder it, and think about it." "And it was big, you know, a big poster size." "Now things are tiny." "You're looking at them on your iPhone." "You're looking at them on a computer screen, your TV screen." "And you have a blink." "You blink and you miss it." "So it's difficult now." "You have such a short amount of time to get somebody's attention and make them commit to your project." "So if it's a romantic comedy, it's the two love birds in mid-kiss." "Or if it's a horror, it's a clear, nice image of the monster's face, or a hand with an axe, whatever it is." "You have to be able to read it in 10 seconds or you're not going to get that click at that time." "When you're using illustrated art, there is a stigma attached to it." "There's a certain age clientele that will look at that and assume that it's an old film." "They won't even pick it up and look at it." "That, that spark, that love of art and color is gone." "There's nobody doing it, except you mentioned these guys in Austin." "And I'm so glad to hear that." "It gives me hope." "There is a movement that you've mentioned that I think in some of our pre-conversation about the simplifying of the artwork, and whether illustrated posters are the right thing to do or not." "Mitch Putnam:" "So about 10 years ago, as part of the Alamo Drafthouse, Tim League started Mondo Tees as an iron-on t-shirt shop." "And it was the ticket booth." "It was this very, very small, like, if you extended your hands out, you could touch the walls type of space." "Yeah, this was mid-2000s." "And almost every single movie poster you would see at the movie theater where Mondo was located was photo montages, floating heads, a lot of blue and orange." "Everything looked the same." "Rob Jones came to Tim League and said, hey, why don't you start doing screen prints for the movies that you're showing at the theater?" "All of the Mondo stuff was sort of a reaction to the reintroduction of gig posters into kind of illustrative society, and that sort of mainstream thing." "People kind of thought, well, what if we did movie posters that were like gig posters?" "And that was the kind of the change." "And it seemed like this like mind fuck of thing, like, you could do that." "And it was" "I mean, it was pretty informal." "It was really like low expectations at first for Mondo jobs." "I mean, there were no expectations really." "I mean, it was a new thing kind of then in the early 2000s." "Three years later or so, I came in." "And Justin Ishmael came in." "And we sort of started working on larger licensed products with larger artists." "And it just kind of exploded." "Bryan Rose:" "MondoCon is kind of a gathering of fans and artists really together celebrating kind of the Mondo brand." "It's a lot of their artists putting out their work." "And it's a lot of us fans waiting in line for days, waiting to have the chance to own it and interact some of the artists, which is kind of the coolest part, too." "You probably have, I'd say, at least between 100 and 130." "You've got about 30 or 40 framed on our wall, just because that's pretty much all the wall we have left right now." "But yeah, I mean, everything else we have we have stored away until we can get more wall, or build more wall, or buy more wall to hang it all, so." "Interviewer:" "All right, man, so tell me what this guy is for?" "Carrying lots and lots of posters." "Woman:" "Yeah, we already got that." "6 inch and two 4 inch tubes." "Brian Stark:" "One big aspect of the poster collecting is the online community and the friends that you make on there." "And it's great to just swap stories with them, or trade prints, or help each other out." "It's great to be a poster buddy for someone else in the community." "And I might help a guy get a print here." "And then he's at Comic-Con in San Diego, and he can grab something for me." "And it's just a great way to build a community with those that you normally wouldn't ever interact with." "Uh, just came in for the Laurent Durieux Show." "Big fan of "Back to the Future" and his prints that he's made for that were really awesome, so." "Yeah, I'm definitely a big fan" "I'm really just a Hitchcock fan too, and also "Back to the Future."" "That's my favorite movie of all time, so, it's a ritual thing." "And you get to meet great people, especially online." "Then you get to meet them down here for the first time." "Overall, I mean, there's a good bunch of guys here." "And you can see it today again." "Everybody's turned up." "Everybody hangs out." "Last night, we all went out for drinks last night afterwards." "So it's a good community." "How are you doing?" "Thank you guys for coming." "I'm going to buy this one, the frame, the 375." "And so I'm from Oklahoma City." "So I'm not going to be able to take it home with me." "It's really weird, but can you sign my dollar?" "I'm going to put it on the back just for that." "Because I mean, it's got a bird on it, so." "Man:" "That's the first time he signs a dollar." "Yeah." "And." "They're just amazing works of art." "And it's relatively affordable." "Like I mean, to buy an original painting, not a lot of people can afford that." "But if you can buy a screen-printed version of that painting that's limited, then, yeah, why wouldn't you want to have that?" "Justin Erickson:" "Rob Mondo is great." "He is the art director's art director." "He could take any poster, make one tweak, or a small few tweaks, and make it the best possible poster." "Oh, Rob?" "Rob's the best, man." "Because we had to do "Pacific Rim"" "a long time ago far, far away." "And we asked JC Richard." "We say, hey, man, can you do some "Pacific Rim" shit?" "And he goes, yeah, sure, sure." "And he did this." "I know, isn't it pretty?" "Anyway, Guillermo's like, I need you to make it so it would give you a boner." "So JC's like, I don't know if I got that in me, man." "Shit, I might have to walk off this mother fucker." "The best thing about dealing with Rob is definitely the late night phone calls." "I'll do gmail chat with Mitch, because that's how he prefers to talk." "How Rob prefers to talk is to call me at 4 o'clock in the morning having no regard for what time it is." "And then he's usually taking a shower while he talks to me, or he's doing something." "Like suddenly the phone will get kind of distant, and kind of fuzzy." "And then you're like, oh, he's just in the shower." "Rob Jones:" "Hey, man." "You're getting kind of awkward." "He always calls at like 2:00, 3:00, 4:00 am." "That's the only time Rob will call you." "Mumbles a few sentences out like," "Hey, you want to make our "Repo Man" poster, motherfucker?" "We write the artists, and say, hey, do you want to do this poster?" "They say, yeah." "And they send in." "And me, Mitch and Eric Garza look over it and go," "Ehh or, I don't know." "And then, if it goes, ehh, then we keep at it until a poster's made." "What are you looking at?" "Huh?" "Get back in your cabbage crates." "I guess the best way to get noticed is to be extraordinarily awesome, like freakishly awesome." "And that doesn't have be like just some natural born talent, that's something that can be developed." "There are plenty of people we've seen they were like, eh, that's pretty good, but I don't know." "And then a couple years later, like, whoa!" "You got better." "Wow!" "Do you want to do some shit?" "So just be super awesome." "If you're super awesome, then that will most likely catch Mr. Putnam's eye." "Paige Reynolds:" "After Mondo came out and started doing all these amazing artistic posters, a lot of other companies came out." "And artists and galleries started popping up, and just to feed everyone's demand." "People just wanted more art." "And the screen print world really blew up." "My first purchase was from Mondo, as far as screen prints go." "And it was a Tyler Stout cut "The Warriors" set." "After that, it was the Gary Pullin, "Street Trash."" "So from there, after I bought my first two initial Mondo prints," "I basically took off like a rocket." "And I was just buying prints left, right, and center." "And Brock got into it too." "And we were buying prints like it was going out of style." "So we thought to ourselves, what are we doing spending all this money on prints when we could be basically creating our own?" "This was one of the earliest Skuzzles releases." "So this is a Rhys Cooper." "You start to get some of the metallics on the inks popping out in the green on both titles and the reds." "I think we saw an opportunity, as far as breaking into the scene, when a few of these smaller companies started popping up." "And we thought, you know, why can't we do this ourselves, do some different, amazing things that Mondo and necessarily the other companies weren't really focusing on?" "We've been pretty lucky also with like the licenses that we've been able to score." "You know, I mean, yeah, the studios were taking a chance on us." "But I think when they did, it really just kind of all came together." "And I think the posters that we make are very different." "You know, you don't really see like "The Graduate" being done, or a "Cannibal Holocaust" poster being done." "But I think that's what people really like about it, you know?" "And we want to keep doing that." "Adam Martin:" "After I started collecting," "I realized that I wanted something that was a little different than what a lot of other people were offering out there." "Being a collector, I wanted to offer that experience to other people." "And I wanted to be able to reward the collectors with a personal touch, you know?" "This collector base in Los Angeles is just amazing." "And so they'll come." "They'll set up the shows." "If there's something that we need outside, they'll be a part of it." "People come here." "And they'll just hang out all day long." "It's like you're like hanging around in a comic shop, or at a video arcade, or you're just hanging out watching movies at home." "But you're doing it with your fans, and your friends, and everything." "I don't know." "That's really why we do it." "Wes Winship:" "Screen prints are a lot different than regular movie posters." "And I think that's part of why they're so successful." "And we have a ton of people that order their first screen print for Mondo seeing just an online jpeg." "And that's how they get hooked on screen prints, because they've never really had one before in their hands." "And they open it and they're like, wow," "I've never seen a poster like this before." "Matt Tobin:" "It's tangible." "It's something you can feel." "You can feel the work in it." "Like you said, picking it up, and you feel that cardstock, and you feel the different inks." "And you can see the layers." "And it's done there." "There are going to be imperfections." "It's not going to be perfect." "And like we said before when we are talking, there's charm to that." "So the printer did its thing." "We're going to take this piece of film and attach it to one of the screens." "So this is light sensitive." "And it's light sensitive in the way that right now, if you spray this thing with water," "All this stuff will just rinse out." "But once you hit it with enough light, this stuff stays in place." "So the stencil's on there." "So here is the part where we shine a really bright light at it." "Think of this as a screen door, you know?" "It's just the threads are way smaller." "But that's essentially what it's doing." "So ink is going to be able to get through there." "Matt Tobin:" "Was this a nine color?" "Eight or nine color screen print." "Obviously, you're seeing many more colors than eight or nine colors." "Edmiston isn't" "I wouldn't classify him a portrait artist." "And I wouldn't classify him a caricature artist." "He does realism." "But you can always tell it's an Edmiston piece." "It's got a feel to it." "James Edmiston:" "I build the colors in layers." "Usually, I limit myself to seven or eight colors." "And each color is added on top of each other, sometimes opaquely, and sometimes transparently." "It really creates almost like a painting would." "If you were to paint each color on a piece of glass," "And a really high resolution, they kind of build up to create this one painting when it's flattened altogether." "I was doing a lot of parody movie posters, you know, Godzilla parodies, and giant monster parodies for advertising agencies." ""Iron Chef" had a campaign using the chefs as giant monsters battling each other over the city." "Ben Scrivens from the fright-rags, he introduced me to Mondo." "They asked me to do "Maniac Cop 2."" "I like anything horror." "And that was a great title, just kind of strange one to start my screen print career with." "Tom Whalen:" "A buddy and I were putting together a little Zine going to comic book conventions." "On the side of those, at our table at the convention," "I did a little prints of like pop culture characters." "And they took off." "I eventually got to a point where" "I had like a little portfolio of those." "And I actually came here to the Colonial." "Some nights they do cult stuff." "They do "Fifth Element."" "They've done "RoboCop," "Terminator,"" "all the stuff I love." "So that little series of posters that I did for here was kind of a calling card." "And it all kind of came together at one time." "And then the Mondo work came after that." "Paul Ainsworth:" "It's more of a side gig for me, personally." "I know some people that do it full time." "And they're having a great time." "But it's kind of that's the thing." "They're in the big leagues." "And we're just trying to make our little signature, and try to hopefully get to the big leagues." "But I was always a comic book kid." "And I wasn't a great reader." "My mother would say, you know what, it's comic books." "There's words in there." "He's reading it." "It's reading." "But I was more interested in the artists themselves." "You know, even in high school, I was drawing on exams." "This has been really, really quickly turned around into something big." "Like there's guys in Mexico." "There's guys in Spain that are doing amazing work." "You feel about like that big, because you're just like-- you're in a sea of talent." "And you're like, how the hell do I poke my head out kind of thing, right?" "Most illustrators come out at either out of art school, or they come from a painting background." "I actually came from it out of the CG world." "I was a texture artist for years out of college, getting random commissions and jobs from people that would notice me on the Internet, and things like that." "That's where I got noticed by companies like Mondo." "And that's where I got into the full-blown 24 by 36 thing." "I have a background in visual effects compositing and motion graphics." "And Justin has a background in illustration and graphic design." "And we're both fine artists and illustrators." "So we just decided to do something together and combine our talents." "Justin Erickson:" "Actually, my "Godzilla" poster was the first poster released for the remake." "Since it was the first, and they hadn't released anything of the monster yet, they wanted to keep their big reveal for their poster later." "So I had to show the Godzilla without showing Godzilla." "I get a call from Rob Jones." "And the first thing he says is, they're going to hate it." "And I was like, ok." "What do you mean they're going to hate it?" "He's like, they're just" "No matter what you do, they're going to hate." "And I was like, ok, so what is it?" "And he says, "Vertigo," and he says, do you know why they're going to hate it?" "And I said, well, it's Saul Bass' poster." "I mean, probably one of the greatest posters ever designed." "I mean, you know, no pressure, right?" "And he says, yeah." "So he's like, you got to come up with something really good." "So I went ahead and did a bunch of roughs." "And I sent them off to them." "And then the next day, you know, Rob called back." "And he's like, very good, very good." "So we want to do two of these ideas." "And I was like, oh, thank God, you know?" "You kind of feel naked by putting your ideas out there." "And you're just waiting for the response." "But that was a lot of pressure." "I mean, you know, I wanted to create something that was a nod to the original, but also kind of bring yourself into it a little bit, too." "So that's kind of what he told me." "He saw the staircase idea." "And he said, what I like about that one is that, this one, it's totally your idea." "It's totally you, whereas the eyeball idea was sort of like a homage to Saul Bass." "And so they said, why don't you do both?" "I started a band in 2003 called Dead and Divine." "And it was like a real band." "We were playing real shows." "And it was cool." "But you know, when you're in a band, you're broke." "And we needed merch." "He needed to have a t-shirt." "You have band shirts." "And so what really got me into designing to where it became almost like an everyday thing, and creating, was creating merchandise, creating our band shirts." "I found like it wasn't allowing me to be as creative as I wanted to be." "When I realized that people were doing this, I was like, well, film is one of the most important things to me." "I mean, I was raised on film." "I probably learned how to speak due to "Bill and Ted's Excellent Adventure."" "That was the first movie I ever saw." "So being an important thing to me, and there's so many films that I loved that I would love to bring to life in that kind of form, how do I do that?" "How can I do that?" "How can I put my love and my interpretation of a film and express it in this kind of format, and how people see it, you know?" "It's purely a love thing." "I definitely feel like it's filling a void." "As a collector, I gravitate towards the things that you can get a lot of." "So it was just naturally for me to kind of fall into collecting posters." "And of course, my wife was like, man, you're spending a lot of money on these things." "You don't have to get every one of them." "There was a gentleman who had asked me to do" "He wanted me to redesign his website." "And it turns out he had like 1,000 prints in his house." "He had like Shepard Faireys, Tyler Stouts, some Banksys, like all kinds of stuff." "And I was like, wow, you're so cool." "And he was like, yeah, I like your illustration work." "I saw it online." "Why don't you do a poster for my company and we'll take it to trade shows?" "So I did this poster for him not knowing anything about how to color separate." "How does screen printing work?" "I had no idea." "And I did it." "And he sent it to the printer." "And I got the product back." "And I was like, holy crap." "This is a tangible thing that I've created." "It's like the things that I love so much that I'm collecting myself." "I think I'm going to take the plunge and make that initial investment." "And it just has grown into doing dozens of prints per year, getting commissions." "It's a whole new ballgame now." "Kaley Luftig:" "This is Jeff Sato "Fantasia" from the Disney" "Mondo show, and then Anne Benjamin "Snow" "White and the Seven Dwarfs," and then Toronto's own." "Matt Sullivan:" "Again, Martin Ansin just doing great." "I love the shadows, how you have the human forms and the shadows up there." "There are other counterparts." "There're the counterparts that are under the spell." "Kaley Luftig:" "Patrick Connan's "How" "To Train Your Dragon," which is one of my favorite, favorite movies." "It's such a good representation of the movie." "There's a lot of hidden gems in there." "Another one of my favorites is "My Fifth Element"" "from Paul Ainsworth, which is fantastic printed." "And it's got an incredible glow-in-the-dark layer." "And the Ken Taylor "Hellboy" is really a showpiece for me." "If you can see, it's signed by both Mike Mignola, the creator of "Hellboy" but also Ron Perlman, on the left, who played Hellboy in the films." "This poster is a perfect poster to me." "It's almost kind of like a show and tell where you get to show your stuff off." "And it does feel good to have something that not a lot of people can get." "I know a lot of people complain about the rarity of these things." "But that's also part of the draw to it." "But you know, I'm a huge collector period." "So I love music collectibles." "I love film collectibles." "And so I love that they're all numbered." "I love that it's a commodity, that if you can grab it in time, sometimes they go really fast, that you really do have a true collectible." "Once they're gone, once they're in someone's hands, really, the only way to get it is in the aftermarket." "And you're paying an arm and a leg for it if it's really popular." "Matt Sullivan:" "And now you got a Tyler Stout "Goonies."" "For me, this is my first ever variant from Tyler Stout to ever get, and one of my first to ever get for cost, not having to buy on the aftermarket, which is very nice." "It's nice when you don't have to pay $400 to get a Tyler Stout poster." "I don't think it was the intention, but it's become a very well-designed industry now, where they are selling out." "And they're almost immediately going on eBay and that second market, and, you know, for like 10 times the money." "Since maybe like 2012 or whatever," "I think it's like whoosh." "Tracie Ching:" "It's both really exhilarating and really nerve-wracking." "Because you want, being a person in this community too, you know, have these other people be as passionate about it as you are." "And so you're really excited." "Because I love seeing the newer artists come out." "Because there's always something to learn, always something to be seen from these fans, as well as the artists." "And so that's really exciting." "And it's great." "But then on the flip side of that, you're always a little worried." "Because you're afraid, you know, is our market going to be over-saturated?" "Is it going to be a bubble that pops?" "And then it will be no more." "And then I will be left with this love for this thing that's dead." "And so it's really exciting." "And you want it to just run as long as it possibly can." "And I think the more artists, and the more, you know, of the industry, in terms of film, get involved, the longer it'll stay." "And so the saturation will just feed the demand, rather than kind of superseding it." "And so I think many of us kind of just cross our fingers and hope that the latter is what ends up winning out in the end." "You know, I get a lot of crap from some collectors for" "Like "Change into a Truck" has been in print, in March, it'll be in print for five years straight." "And most people, they put out a poster." "They release it." "And they're done." "And then the secondary market comes in, and that drives up the value." "I would rather sell 1,000 copies of something to a bunch of people who just want something cool than sell 100 copies of something that people that just want to flip it." "And if that means I'm not considered as collectible as some other artists, that's fine." "But while that one artist sold 100 copies," "I sold 1,000 copies." "And you know, I have a mortgage." "I have kids." "I have, you know" "I want to make a business out of it." "I'm not a hobbyist." "Part of what's driving the popularity is the secondary market." "You know, they'll buy a poster from me or one of the other galleries." "And they'll put it online on eBay and try to sell it immediately." "And so you've created this culture of, essentially, day traders and pop ephemera." "Treating any commodity that's essentially a collectible as something to base your retirement or your child's college fund on is very dangerous and short-sighted." "And I could see the bubble popping." "The problem is, I make my living in that bubble." "When I started out, this didn't exist." "This little niche thing did not exist." "So the fact that we're even existing in it, you know, and garnering any kind of success at all is amazing, and should be cherished, and protected, and just treated like that pretty little pet," "you know?" "You just don't want to break it." "Daniel Danger:" "There's a limited fan base." "Even with the swarm of people coming in the last couple of years, there's still limited number of people." "There's a limited number of galleries." "There's a limited number of money to go around." "And I think a lot of people saw this because of the explosion on the Internets, and the fact that Tumblr exists." "And we're like, I could do that too." "And then they kind of swarm in." "Maybe they don't get it." "They don't get that there is like a licensing thing involved in this." "And then if you're not licensing things, you're kind of just stealing it." "People sometimes ask us, like, why don't you do this movie, or this movie?" "And I think it's just important to note that these are licensed posters." "We go after the posters that we want to be working on, we know the fans want to see, but there is the legalities tied to it." "And we can only be doing so much, and covering so many titles." "Personally, there's some fine lines that we just don't want to cross." "We'd rather purchase something or create something that's tied to the actual studio itself or the entity that owns the rights." "Doing art work with permission is like smoking pot with your mom." "It's like there's no edge to it." "You know, I think it's dangerous to become an industry of just permission seekers." "Because that gives power to middlemen." "And it's part of my philosophy on it all." "Like the artist should always be the most powerful person in this industry." "It shouldn't be the gallery." "It shouldn't be the license holder." "It's the artist." "Because without the artist, the whole thing falls apart." "You know, it's like that's great, you got all the permission in the world." "But if the artwork's no good, it doesn't matter." "And I think working from that position is dangerous." "Because then the artwork suffers." "And then you end up with just your typical Hollywood movie poster that nobody wants to begin with." "The arguments aren't bad." "It's a good thing." "I worry when people stop even worrying about it, and just say, I can just take this shit." "And you're going to like it, or it's mine." "You know, I'm old enough to know that it isn't yours." "But I'm also practical enough to understand that there are certain artists that are at a certain level that see that as a shortcut." "And do I blame them for using it?" "I can't." "It's not" " I can't judge them." "It's not my position to." "You know, that's between the copyright holder and them." "And it gets to the heart of like who owns our culture?" "You know, like, sure, George Lucas created "Star Wars."" "But "Star Wars" wouldn't be anything without the fans." "And the fans all added to this thing." "It's like we're all building this pyramid of pop culture together." "We're all pushing the stones in place." "We're all-- somebody might be the architect, but this guy put this block in place, you know?" "And they're all working together to build it." "But in 100 years time, we have as much ownership of that pyramid we built as the slaves who built the actual pyramids." "Like it's just there." "And it exists." "And, you know, the people who created will be long dead or long gone." "But this thing we all made together" "I mean, honestly, we all made it together." "It's, you know, who owns that?" "Daniel Danger:" "You know, I'm trying to, here working with this company trying to get this property." "Because I want to do a poster for this movie, or this TV show." "And we're working really hard for this." "And then you're going through the legal ways to do it, and the proper ways to work with their side of things, and their creatives, and their creators." "And then..." "Swoops in, here's a bunch of other people who are like, we're not going to bother to ask." "We're just going to do a whole show of it," "And then sell them all and hope no one sends us a cease and desist." "I mean, look at things like "League of Extraordinary Gentleman," or even" "I haven't watched it-- but that show" ""Once Upon a Time" or whatever, it's all based on these myths, and legends, and fairy tales, and stuff that people created and have informed our pop culture." "Whereas now, it's almost impossible to create a story without it being owned by a corporation." "No company on earth has ever done everything completely licensed completely by the book." "Our thing is, if something's out there that we can do legit, we try to do it legit." "It's the people that start an entire business doing nothing legit, and that's the basis of their company is like, I'm going to make all the movie prints I want, and I don't care about licensing," "and make like a full income for them and their family, that's when it's kind of a bummer." "If there is an actor's likeness rights that are included in the poster, I mean, sometimes studios are very finicky about having that actor look just right." "And I get that." "The actor wants to be portrayed in the right way, too." "So yeah, there's a lot of approvals that have to be met before you can just say, ok, it's done." "We're going to put it out and sell it." "I think that also makes it its absolute best too." "Because you know it's going to turn out right in the end." "Justin Erickson:" "Likeness rights have always been an issue with posters since forever." "For example, Charles Bronson would not approve a poster likeness unless one particular vein was popping or bulging out of his bicep." "I did this Mondo poster for "Night of the Hunter,"" "which is an amazing American film noir starring Robert Mitchum." "They actually sent us this big, huge package of all of the legalities." "And we finished it." "And then we discovered we did not have the likeness rights for Robert Mitchum." "And at this point, we can't make a new poster." "It's too far gone." "It's too late in the game." "So we're wracking our heads, me and Rob, how to fix this problem." "And in the movie, the shadows are essentially a character themselves." "So I thought, let's just cover his face with a shadow." "It's just his eyes." "And then he can totally skip past the likeness right issue." "This is the "Abominable Doctor Phibes" by Gary Pullin." "We had two posters." "And when Gary presented us with the design, we couldn't turn down either." "And we couldn't pick a favorite." "So we decided, we got to print them both." "It's licensed through MGM." "So we're not allowed to use Vincent Price's likeness." "And we weren't allowed to put his name on the film." "I felt it was really important to have at least his name on there." "So what I did was I had met Victoria" "Price, which is his daughter." "I said, why not, you know?" "So I emailed her." "And I said, hey, you know, I explained the situation." "We're doing a licensed print." "It's all official." "It's through MGM." "But we're not allowed to put Vincent Price is, or starring" "Vincent Price, on the poster." "Is there anything you can help us out with?" "Are you the people we should be talking to?" "And she said, yes, we are." "And absolutely, we'll work with you on this." "And so all it took" "It never hurts to ask." "Over the last few years, we've won a few awards." "And the awards are essentially the Oscars of movie marketing." "We got to talk to a lot of the poster houses." "And they are just like us." "They want to make really good posters." "But their hands are tied." "The artwork and the trailer are the largest determining factors, I think, for people to put cash down to watch a movie." "I love that there's being more art being created, definitely." "But I feel like with the wave of people doing it retroactively, they're kind of like, well, you movie posters, you guys aren't cutting it." "So we're doing these better things." "And I think if they had the chance to work with studios and these clients, they would also have different restrictions." "So it's really frustrating sometimes when you hear people complaining about the art." "Well, why didn't they do this?" "And you think, well, I would have loved to have done that if I had $50,000, and a photo shoot, and, you know, the time to hire a great Mondo artist to recreate that for me." "But I don't." "I have X amount of budget." "And I have to do what I can." "And sometimes it's difficult, because you can have really great art that wins awards in the advertising world, or the graphic design team can put it in for awards, and that doesn't mean it sold very well at Walmart or HMV." "They actually have a lot of say." "There are a lot of retailers that will just say," "I don't like it." "It needs to have" "I want the floating heads on the top." "Then I want the title treatment." "Then I want an image of the girl riding away on a horse on the bottom." "And they make those demands." "Because they want the consumer to easily recognize the star, or easily recognize what they're getting right away." "So you look at all the Disney movies, you look at the "Pirates of the Caribbean," it's got the cast heads across the top, "Pirates of the Caribbean,"" "and then an image at the bottom." "And that format was used a lot in rental." "Rental retail really, really liked that." "And unfortunately, it stuck, the little floaty head business." "I do see illustration-type art coming back into fashion, if you will, coming back into the mainstream." "I think a younger generation of moviegoers and film lovers are embracing that." "And they're more open to having that." "And again, it's what their parents didn't have." "So of course, they like it more than what their parents appreciate, if you will." "I think it will find its way into the consciousness of the public." "And because of the sort of design culture that movie posters" "That artists that create the movie posters are." "And we want to influence our clients." "And those are also super fun projects to work on." "So if you've got a niche that will get excited about your movie because your poster is a collector's piece, that's a great marketing tool." "But I think we'll see more and more films experimenting with alternative poster campaigns, and all that sort of stuff, to sort of get that extra buzz." "Joshua Smith:" "Like they have their alternate posters." "That they have the Comic-Con stuff." "They have the IMAX." "So it's like they're testing the waters very slowly to see what the reaction is and how it affects their bottom line." "There's been a couple of good examples of studios recognizing that this whole artistic movement catches eyes." "It was a VP from MGM that gave us a call." "They mentioned that some of your prints that you guys have been creating, we have hung up in the studio, in MGM." "So execs have our posters hung up." "And the marketing team, which is why they contacted us, basically said, we got to give them some illustrator artwork, something collectible, something that unique and not everybody has, right?" "We said yes." "Yeah." "Crazily." "We'll do it." "Yeah, we'll do it." "The first thing I saw were I thought, wow, this could really come back in a big way, was Tom Hodge's" ""Hobo with a Shotgun" piece." "They used it for all the marketing, and the DVD covers, and all that." "And I think that it just was a great way to capture that film." "I saw the trailer for "Hobo with a Shotgun."" "And I absolutely loved it." "So I just worked my balls off, and produced that key art." "And they loved it." "And it was like, holy shit." "I think his quote was, "Holy shit, I nearly crushed the car."" "This stuff's so fucking great." "Any chance I could, I was trying to do illustrations for any movies that had the smallest opportunity to do something illustrated." "And sometimes it wouldn't work." "But I would just keep pushing it and pushing it." "And eventually, one person caught on." "And then clients were more and more interested in illustrations." "And lo and behold, 10 years later, people now call me up to do illustrated posters." "We've worked with indie studios a lot of times." "And we do find them really accepting of more conceptual ideas, illustration." "They're definitely a big driving force in this new poster movement." "I don't know why more big studios aren't doing that." "I feel like maybe the trend from the '90s is just" "They're just a little bit scared to change it." "Tom Hodge:" "But it's funny, because you do this stuff, like I did obviously "The Heat" and "Spy."" "And they get it, but they don't really know what to do with it." "Best Buy, when they did their Mondo collection, when they" "Took a collection of films, of cult classic films and some newer titles, when they decided to recreate artwork in that Mondo art and get those established artist's name on it, they were very successful." "But if it's a new title that, again, doesn't necessarily have a star in it-- if it's not Quentin Tarantino's next film, and you don't have his recognizable name on the cover," "it's really hard to go with illustrated artwork right now." "I could probably make some assumptions, given the feedback we get when we send it out to our team, or a very select group." "And mostly what it comes down to is that people don't really want to be misled." "I'm really just sort of thinking about this now when you said that." "Like those posters of "Raiders of the Lost Ark,"" "or "Goonies," or "Apocalypse Now," or any of those ones, you would make the story of what you thought it was going to be based on this cool illustration." "And I think the closer you get to reality, people then get more upset if it's like, well, that looked so real, why wasn't that in the movie?" "I've had something, have a good chance of being an illustrated poster." "But it was thrown out by a focus group, because they thought an illustrated poster meant that it was an animated feature." "We've seen a lot of growth in illustrated movie posters among independent films." "We've seen a lot, in terms of nostalgic films, re-releases, things like that." "But if a studio goes into a focus group with two posters on the table, and one poster is painted, and the other poster is photograph-based, the reality is they're going to choose the photograph poster." "And what style there is better?" "It's choice" "Chase Reed." " A lot more clear?" " Yeah." " I like 2." " You like 2?" "The first one, this time, be serious." "So he's serious, big deal." "This one is very like graphic novel, very comic book." "I would be interested in the color." "Because the color is what catches your attention." " Because of the red?" " Yes, the red and" "But also, I wouldn't want to see style B advertised in like the subway or anything like that." " No?" " Why?" "Yeah, why not?" "In today's society, with things how things are going and all that, if someone sees that and they're not the right frame of mind, they get the ideas of bullets and everything." "The red reminds me of blood." "I'm going to go and spend my 13 bucks and see Chase Reed kill people." "Style B is now warming up to me." "I'm like looking at it more." "I'm like, yeah." "Can I change my vote?" "I think we have half an hour here." "What if you just look at the second one, like if you didn't see the first poster, you would think that it would be a cartoon movie though." "I don't know." "There's a lot of movies that use this kind of." "Well, for me, personally, I would think like just seeing that, I would think it's a cartoon movie." "Do you think style B would be more effective if they were real people instead of cartoons?" "Like the same style and everything, but just with real people?" "Yeah." "I think 1 and 2 actually." "I don't think it would be as effective for me." "I think it's more effective the way it is." "Yeah." "Yeah, B is more like going back in time too, like the "Terminator" days with Arnold Schwarzenegger," "Right?" "Yeah." "The covers for that and the posters was Schwarzenegger where he was like half man and half something else." "I can't remember." "It's almost like an art posture, style B." "Yeah, yeah." "I mean, the word poster is for like" ""Big Trouble in Little China," did they look like that?" " Yeah!" " Right?" "Like drawn and cartoonish." "Yeah, I remember that movie." "Yeah." "That's what comes to mind when I look at B." "Is it going to be a North American release?" "Because style A is what we would get here in North America." "Style B is what they would get in Europe, China, Japan." "They always get the more diverse, really stylistic looking posters." "And we just get streamlined classic." "We'll probably end up in Canada and American, style A. That's what we always get." "And then we go to the conventions." "We're like, what?" "That poster came out?" "It what?" "Really, it was the same movie?" "And then we pay extraordinary amounts of money for the same poster." "It's just we got" "Well, that's why I laugh." "Because you say you like B, but why do we get A then?" "Yeah, why do we get A?" "I think it behooves the studios to find these artists and get them to make original art that represents the movie." "Because look, I can't speak for everyone, but if I saw something by Chris Garofalo, or a Tom Whalen, or an Olly Moss that represented a new film," "I would want to see that film so much more." "Because someone took the care to create something original for this story they're trying to tell." "I think we have to band together a little bit, and say, like, ok, what is it about?" "Do I want to see this movie?" "And not just jump at the new movie of the week, you know." "See the movie that is sold to you in the coolest way, and most inventive way." "I think we need to dig a little bit." "Well, there's always that hope." "Because you know, everything goes in cycles and waves." "And it's the way life is, you know." "Well, the real revival you're seeing for illustrated art" "And it's happening now" "People own it a little more, you know." "It's not such a studio thing anymore." "It's more like a self-propelled kind of culture thing now." "And if people still love it, then, yes, it will stay alive." "And it will stay relevant." "And if it kind of falls out of fashion, or if it just falls out of fashion, then it does." "But it will pop up somewhere else." "Like people are always going to want to doodle, you know, and draw stuff." "And when machines die out, people are going to draw stuff." "Perhaps the most amazing thing about this resurgence of movie poster art is the idea that these images now stand on their own like they haven't for a long time." "And we're seeing it driven by fans, fans that want to be transported to these amazing worlds." "We want to see this art, so people are going to make it, whether that's a fan-made poster, something that Mondo is putting out, or an official studio poster, we're seeing it happening." "And it's really cool to see the way the tide has just starting to turn a little bit." "It doesn't have to just be a tool for selling movies anymore." "This poster art is art again." "And that's what's important about it." "I've been collecting movie poster prints for about eight years, I think now, which sounds crazy." "It's more than just art collecting." "It's more about the community aspect of it." "And that's what's kind of beautiful about the poster buddies and traders community." "There's some Olly Moss." "We got "RoboCop," "Die Hard," and "Last Crusade."" "And then make a right." "And on the other side, we have "Rocky" and "Jackie Brown"" "from the "Rolling Road Show."" "This room is kind of a mess, still moving in." "But we have the signed Tyler Stout "Star Wars" set." "And then here's a couple paper cuts." "We've got "Beetlejuice," and Adam West "Batman."" "I love that "Beetlejuice."" "And then this is my favorite right here." "This called Booba Fet." "So it's the Rebel Alliance symbol with boobs and a dick." "Thank you for giving me some time to go ahead and give you a couple pieces out of my collection." "Right here, definitely one of my faves, "Iron Man" on metal." ""Man of Steel" on steel, you can't really beat it." "And this is the fun wall right here." "Look at that "Big Trouble in Little China."" "It's a variant by Tyler Stout." "Another cool one, "Poltergeist" and Ken Taylor love." "Got to love him." ""Inglorious Bastards," again, Tyler Stout, thank you very much." ""Beetlejuice," there's just something about it." "I don't know what, the color, the movie," "Ken Taylor, all of the above." "What's going on?" "My name is Jeremy." "This is Amelia." "So first print we have this is the Whalen "Wreck-it Ralph."" "We have "The Little Mermaid."" "Did a little AP right here." "Thank you, Tom." "Love the way the colors match the room." "We got the Dave Pario "Jaws."" "You like pumpkins?" "You like pumpkins." "Say, yeah, I like "Halloween 3."" "Shout out to Chris Garofalo for hooking it up with the shirt." "That was actually the first print I ever got." "Hm, I wonder why I like this print of Robert Baratheon by Olly Moss so much?" "I am Jada." "And I'm three years old." "And I like "Star Wars,"" "And Darth Vader, too, and Chewbacca and Hans Solo, and Luke Skywalker, and Princess Leia, and Obi-Wan Kenobi." "Man:" "Wow, and what are the other characters?" "Um, a little Darth Vader who is killing someone." "Hey, Chester, "Copper Bones, Triple Stones."" "I've got treasure in my backyard." ""Guardians of the Galaxy," "Avengers" "Age of Ultron," "Avengers."" ""Kill Bill," got to love that movie." "Just one of my faves." "Sorry, this is probably terrible to watch on the big screen." "Everyone is probably throwing up right now." "I really liked the movie except for the end where I started throwing up." "And then my favorite piece in my collection" "Which Olly Moss has said it's his favorite paper cut as well" "Is my "Ant Man" paper cut." "I mean, that is just too cool, man." "Even Marvel started copying when they started advertising the movie." "Phantom City Creative, "The Burning,"" "Um, again, one of my favorite posters, the "Halloween."" "The variant on the back." "Hi, I'm Jada." "And this ine is made by Ken Taylor and Tom Whalen." "And these are my favorite movies." "Matt Ryan Tobin, you, sir, are like killing it right now." "You're en fuego (on fire)." "You included this one for free for me, so much appreciated." "And I thought it would be appropriate to end it on that."