A detailed piece of art by Tom Jung features on this US one sheet for the release of the 1975 Western Bite the Bullet. The film was written and directed by the late American director Richard Brooks who is best known for Blackboard Jungle (1955), Cat on a Hot Tin Roof (1958) and In Cold Blood (1967). The story was inspired by a 1908 horseback race that traveled 700 miles from Evanston, Wyoming to Denver, Colorado.

The nine contestants include a pair of former Rough Riders, Sam Clayton (Gene Hackman) and Luke Matthews (James Coburn) who are both out for the prize fund, despite their friendship. Also in the group is a former prostitute (Candice Bergen), a cocky kid (Jan-Michael Vincent) and an Englishman (Ian Bannen). A train containing the people from the newspaper who created the competition sets off along the route and meets up with the group at various points. We watch as they all suffer from various perilous situations, including attacks from bandits, large wildlife (bear!) and a group of dangerous prisoners. 

The film is a fairly lightweight but enjoyable watch and the main cast are all decent. Hackman and Coburn are, as usual, convincing in their parts and bring needed gravitas to their roles. A speech by Hackman recalling his time during the Spanish-American war is a particular highlight. Reviews were mixed, however, and I don’t believe the film was a great success as the box-office.

As well as the iconic one sheet for Star Wars, Tom Jung is also known for the style B one sheet for The Empire Strikes Back. He was a prolific designer and illustrator for film campaigns from the 1950s through to the 1980s. IMPAwards features a gallery of his work and his Wikipedia article has a selected list of the many posters he worked on. Rather unusually, at least in comparison to other film poster artists, Jung was also a designer of his posters as well as the artist. The other posters I’ve collected by him can be seen here.

This film is available to watch in its entirety on Vimeo.

An iconic image depicting David Byrne (Talking Heads) in his ‘big suit’, from Stop Making Sense, a documentary that is considered among the best live concert films ever released. Filmed over three nights by Jonathan Demme (Silence of the Lambs) it was the first film of its type to employ digital audio recording and is also unique in that it shows minimal footage of the audience, instead focusing on Byrne and the rest of the band as they join him on stage and build towards the crescendo at the end of the film.

It’s a simple but striking poster with what appears to be hand drawn type for the logo and credit block (if it’s actually a typeface I’ll happily stand corrected).

Update – as per John’s comment below, it’s likely that the text was done by graphic designer Pablo Ferro since it appears in the title sequence and is the same one seen in a number of his other works. Someone has even made a typeface called Pablo Skinny.

The photograph is by Adelle Lutz.

Here’s the (poor quality) original trailer.

A classic design by the great Bill Gold on this one sheet for Magnum Force, the second entry in the Dirty Harry franchise starring acting legend Clint Eastwood. The follow up to the 1971 original, this entry saw ‘Dirty’ Harry Callahan face off against a group of vigilante cops who have taken the law into their own hands and are bumping off criminals who manage to escape conviction. The film was helmed by Ted Post who had previously directed Eastwood in the TV series Rawhide and in his hit Western Hang ‘Em High (1968).

Bill Gold has had a working relationship with Eastwood that has lasted over four decades. He worked on the iconic one sheet for Dirty Harry and went on to design the American poster for every Eastwood film since, which includes the brilliant one for Clint’s last Western, Unforgiven (1992). Gold has also designed posters for some of Hollywood’s greatest directors, including the likes of Stanley Kubrick (A Clockwork Orange, with artwork by Philip Castle) and Alfred Hitchcock (Dial M For Murder).

Born in New York City in 1921, Gold studied illustration and design at the Pratt Institute before starting his professional design career in 1941 in the publicity department for Warner Brothers. One of his earliest designs was for the classic Humphrey Bogart film Casablanca and within a few years he went on to become the head of the studio’s poster department. In 1962 he started Bill Gold Advertising in New York and then spent the next four decades creating hundreds of memorable poster designs and collaborating with some of the best illustrators in the business, including the brilliant Bob Peak.

Gold started to design less posters towards the end of the 1990s, with only a handful of posters for Eastwood films being credited to him. His last poster was for the 2011 film J. Edgar (directed by Eastwood), which Gold agreed to work on after an unsuccessful period of retirement following the poster he worked on for Mystic River in 2003. He continues to live in Upstate New York and in 2011 a book was released to coincide with his 90th birthday called Bill Gold Posterworks, which features 450 pages worth of his incredible designs and details his creative process. Unfortunately, it has an eye-watering price tag that has prevented me picking a copy up but I hope that one day a more affordable version will be released.

To see the other posters I’ve collected that were designed by Gold click here.

In August 2011 I was lucky enough to visit the island of Cuba for a ten day trip, which was a fantastic experience. It really does feel like a country stuck in a time warp, circa 1965, particularly once you leave the capital and head into the countryside. It’s a stunningly beautiful island with very hospitable people but the relative poverty of the country is clear to see. It’s often said that the government is likely to relax the current freeze on foreign (particularly Western) investment once ‘Comandante’ Fidel Castro passes away, although with his brother Raul currently in charge very little has changed. This article on the BBC gives you an insight into the current situation.

The Cuban people’s love for film and cinema-going is legendary and our guidebook claimed that at the end of the 1950s there were over 300 cinemas in the capital Havana alone. Today, these great old buildings continue to thrive and whilst there I witnessed the queues of people lining up to see the latest releases. I took this picture of the Yara cinema in the Vedado area of Havana.

Whilst in Havana I visited a bookshop that was selling original Cuban propaganda posters printed in the 1950s and 60s by OSPAAAL. They also had a handful of screen-printed film posters, all of which were reprints of the original Cuban cinema posters or re-imagined designs by local artists. They are officially screen printed by the ICAIC (Instituto Cubano de Artes Industrias Cinematografia) in Havana.

This poster for Stanley Kubrick’s classic Clockwork Orange was designed by the Cuban artist Nelson Ponce (full name Nelson Ponce Sanchez) who was born in 1976 and is a graphic designer and illustrator who also teaches at the ISDI (Instituto Superior de Diseño Industrial) in Havana. His re-imagined poster for the Cuban film Vampiros en la Habana, which was released in 1999, won him acclaim from both the design community and the Cuban public.

The Havana Cultura website has a great interview with the designer.

Whilst at the shop I also picked up a couple of other film posters and a handful of original propaganda posters which I plan to post on the site in the coming months.

Quentin Tarantino‘s Kill Bill was originally planned and filmed with the intention of releasing it as one long movie. At a certain point in post-production the decision was taken to release it as two separate films, which allowed Tarantino to include more material in each one rather than be forced to make cuts to shorten the running time at the studio’s request.

The longer cut, known as The Whole Bloody Affair, has long been on many film fans’ wish lists of ‘unreleased alternative cuts of films they’d love to see’ and until last year it had only been screened once, at the Cannes Film Festival in 2006. In March 2011 the New Beverly Cinema in Los Angeles (check the billboard), which is owned by Tarantino, screened TWBA and allowed fans of the film to finally catch this elusive version. A report from that screening can be read here.

The first showing coincided with Tarantino’s birthday and people on his production team decided they’d put together a secret present for him in the form of a specially commissioned poster by the team at Mondo. Ace artist Tyler Stout was given the opportunity to illustrate his take on the film and the result is one of his best posters yet, in my opinion. As with his Akira print I wanted to interview Tyler about its production. He kindly agreed to answer my questions and also sent along a series of alternative images that were changed during production.

The article can be read here.

The next non-poster addition to the site is this original program (brochure) for Stanley Kubrick’s legendary 1971 film Clockwork Orange. I believe that it is from the film’s original release, although (frustratingly) it is not dated to confirm this. It would likely have been given away, or perhaps sold, at particular performances or cinemas and features a short write-up on the film, a cast-list and then a series of quotes alongside imagery from the film.

The cover displays British artist Philip Castle‘s iconic illustration of Alex (Malcolm McDowell) that was used to promote the film around the world, and the brochure also features images of other illustrations that Castle painted for the film (the illustration of the glass and teeth, for example) that were not printed as posters. The lurid pink colours make some of the text hard to read and it’s an odd design choice, although I expect it was intended to convey the ‘shocking’ nature of the film itself.

If anyone has any definitive information as to when this program would have originally been used to promote the film please get in touch.

Not Quite Hollywood is an excellent, raucous documentary looking at the Ozploitation genre of films – the low budget horror, action and comedies packed full of sex, violence and swearing that were made following the introduction of the adult ‘R’ rating by Australian censors in 1971. Featuring just about every surviving filmmaker and actor, the film intercuts new and archive interviews with footage from a huge list of titles that were made during the roughly 15 year period that the genre flourished. Writer/director Mark Hartley has a clear abiding love of the genre and wants to treat the viewer to as many clips and details as possible – you certainly won’t be bored watching this documentary.

Featuring films such as the action/horror Road Games, the dystopian horror Turkey Shoot, the telekinetic coma patient on rampage flick Patrick and the post-apocalyptic action classic Mad Max, it also has interviews with fans of the genre such as director Quentin Tarantino who admits to becoming obsessed with several of the films in the genre. He is interviewed both alone and alongside his friend the Anglo-Australian director Brian Trenchard-Smith (BMX Bandits, Dead End Drive-In) and these sections are particularly entertaining. I guarantee that you’ll come away from watching the documentary with a list of films to check out as soon as possible – I know I did!

This poster, which features several images from the original posters of the films, was put together by Marcus Cobbledick who is the ‘Theatrical Art Director’ at the film’s distributor Madman Entertainment. He is interviewed about his job in this article and mentions this particular poster:

‘Not Quite Hollywood was a special title as I was involved in the project before pre-production and worked many hours on the film itself. We had access to thousands of wonderful production stills and vintage posters from the archives so we were spoilt for choice when selecting images for the poster montage.’

Mark Hartley was interviewed on the (now defunct Media & Culture Australia) site and mentions that Cobbledick also had a hand in the opening title sequence for the film:

‘I had collected, over the years, so much poster art, and we had amassed an amazing amount of stills when we were doing the research. I said to [our graphic designer] Marcus Cobbledick: We just need to keep a real 70s feel, because all the poster art was so great. It’s a lost art. So I wanted everything to have that sort of sensibility to it, and he ran with it. He was getting briefs that no-one really gets: We need to get a photo of such-and-such, and then vomit on her’

Bonus points if you can name each film featured on this poster!

Stanley Kubrick’s classic 1971 dystopian sci-fi, A Clockwork Orange, was met with controversy as soon as it was released in 1971, despite being a hit with UK and US audiences and earning box-office profits several times its original production budget. Unfortunately for UK audiences, the film was withdrawn from distribution in 1973 at the insistence of Kubrick himself following a number of death threats that were apparently received by the director and his family. These threats had been the result of the film being implicated, or at least referenced, in several high-profile criminal cases, including one in which an elderly vagrant had been kicked to death, mirroring an infamous scene in Kubrick’s film.

Despite being freely available across the rest of Europe and in the US, the film remained out of UK cinemas and, during the 1980s, off British video rental shop shelves. When the legendary London cinema the Scala Film Club decided to show the film in 1993 they were sued by Warner Bros at Kubrick’s insistence. The studio won the court case and the cinema club was effectively bankrupt, with plans for expansion quickly shelved. The club produced its last ‘what’s on’ calendar in May 1993 and the Scala converted to a music venue towards the end of the 1990s.

When Kubrick died in 1999 the ban was relaxed and the film was finally made available on VHS and DVD. A limited cinema run also took place and this quad was produced at the time. It uses part of the original artwork that featured on posters for the film around the world, which was painted by the renowned British artist Philip Castle. The final one sheet for the film is one of the most iconic posters of all time, with the same painting being used to promote the film all over the world, and it continues to be used to promote the film to this day. The original UK quad features more of Castle’s artwork and a more muted colour scheme, but features the same tag-line.

Born in London in 1943, Philip Castle’s design career has seen him working on album covers for some of the biggest names in British music, including Wings, Mott the Hoople and Pulp. His skills were utilised for the famous cover for David Bowie’s Aladdin Sane, which saw him airbrushing over a photograph by Celia Philo. He also worked on the cover for the legendary computer game Elite. In 1987 Kubrick and Castle would collaborate once more on the poster for Full Metal Jacket, which again proved to be a seminal piece of work. There’s an interesting interview with Castle available to watch on YouTube in which he discusses his work with Kubrick.

This page features several examples of his brilliant work and there are multiple images tagged on Tumblr. The posters I’ve collected by him can be seen here.