This is the UK video poster (note the 18-rating emblem) for the release of Eight Million Ways to Die, a crime drama that was to be the final film by the late Hal Ashby. The director was associated with the American New Wave that started in the 1960s, lasted until the 1980s and saw a younger generation of filmmakers invading tinseltown, forever changing the way films were shot, edited and released. The Wikipedia article on the period gives you a good idea of the kinds of directors that were part of the new wave, which included the likes of Woody Allen, John Cassavetes, Martin Scorsese and Steven Spielberg.
Ashby began his career as an editor, with credits including In the Heat of the Night and the original Thomas Crown Affair, but he was encouraged to begin directing in 1970 with The Landlord, a critical success that was largely ignored by audiences at the time. This was quickly followed by Harold and Maude , an offbeat comedy that has a sizeable cult following today. Ashby embraced the hippie lifestyle of the early 1970s and his films featured main characters that were on the edge of ‘normal’ society. His biggest hit would prove to be the 1978 romantic drama Coming Home that was set against the backdrop of the Vietnam war, and would see him garnering a Best Director nomination at the Oscars that year, whilst the two main stars, Jon Voight and Jane Fonda, both won the main Best Acting gongs.
Eight Million Ways to Die was based on a book by the prolific American author Lawrence Block whose most famous series of novels focused on the private investigator (and recovering alcoholic) Matthew Scudder. The screenplay was written by Oliver Stone with help from R. Lance Hill and an uncredited Robert Towne. The actor Jeff Bridges was given the part of Scudder (Ashby had previously directed his brother Beau Bridges in The Landlord) and Rosanna Arquette appears as Sarah, a call girl who is central to the story. The film’s plot is described thusly on IMDb:
Scudder is a detective with the Sheriff’s Department who is forced to shoot a violent suspect during a narcotics raid. The ensuing psychological aftermath of this shooting worsens his drinking problem and this alcoholism causes him to lose his job, as well as his marriage. During his recovery through Alcoholics Anonymous, he meets a mysterious stranger who draws him back into a world of vice. In trying to help this beautiful woman, he must enter a crime-world of prostitution and drugs to solve a murder, while resisting the temptation to return to his alcohol abuse.
Unfortunately for all concerned the film was a critical and commercial flop and was yet another disappointment for Ashby, who by then had garnered something of a reputation for prolific drug-taking and eccentric behaviour during the post-production of his films. He would never again direct a film, despite efforts to turn things around, and would sadly die of cancer in 1988, aged just 59.
The artwork on this UK video poster is by the British artist Brian Bysouth and the art has been trimmed somewhat for the poster as his truncated signature can be seen towards the bottom right-hand side. Bysouth is one of my favourite poster artists and he was responsible for many classic posters from the 1960s to the 1980s, including the final painted poster for a James Bond film, The Living Daylights. In 2012 I was fortunate to meet and interview Brian for this site and the article can be read here.
The other posters I’ve collected by Brian can be seen by clicking here.
As the depressingly poor fifth entry into the Die Hard franchise hits cinemas this month, it’s very clear that the series will never again hit the heights of the original 1988 classic. Regarded by many film fans as the best action movie of all time, Die Hard stars Bruce Willis in arguably his most iconic role (certainly the part that made him a megastar) as John McClane, the good cop having a very bad day when a terrorist group takes control of Nakatomi Plaza, the office building in which his wife works. John McTiernan was the right director to deliver excitement and unremittingly violent thrills since he’d proven his skill with the superb Predator (1987) and the action in Die Hard continues to escalate to a nail-biting crescendo, with several unforgettable set-pieces.
Alan Rickman delivers an iconic performance as the leader of the terrorists, Hans Gruber, who meets his demise in an oft-parodied, slow-motion manner. What makes the film work so well is the perfectly-balanced script that features a great mix of nerve-shredding action with just the right amount of humour and a series of well-realised characters. The other thing the script does well is to not make the character of John McClane an unstoppable, invincible superhero – he’s a flawed man with his own set of problems and he bleeds when cut just like the rest of us – think the glass on the floor!
This is the UK quad and features an image of Nakatomi Plaza and its exploding roof, with the face of a concerned-looking Bruce Willis. The advance American one sheet features a sweaty Willis clutching a gun but I much prefer this darker image that also features on the final American one sheet (note the different spelling of storeys/stories).
This is the original Thai poster for what is regarded by many film fans as the best action movie of all time. Die Hard stars Bruce Willis in arguably his most iconic role (certainly the part that made him a megastar) as John McClane, the good cop having a very bad day when a terrorist group takes control of Nakatomi Plaza, the office building in which his wife works. John McTiernan was the right director to deliver excitement and unremittingly violent thrills since he’d proven his skill with the superb Predator (1987) and the action in Die Hard continues to escalate to a nail-biting crescendo, with several unforgettable set-pieces.
Alan Rickman delivers an iconic performance as the leader of the terrorists, Hans Gruber, who meets his demise in an oft-parodied, slow-motion manner. What makes the film work so well is the perfectly-balanced script that features a great mix of nerve-shredding action with just the right amount of humour and a series of well-realised characters. The other thing the script does well is to not make the character of John McClane an unstoppable, invincible superhero – he’s a flawed man with his own set of problems and he bleeds when cut just like the rest of us – think the glass on the floor!
This Thai poster was painted by the artist Tongdee Panumas (he signs his posters with just his first name) who was an incredibly prolific Thai film poster artist during the 70s, 80s and 90s but I’ve been unable to find out much about him, other than that he was born in 1947. If anyone has any more information please get in touch. A knowledgeable collector of Thai posters told me that the artists would rarely if ever see the film they were creating the poster for and would instead paint images based on still photos or posters from other countries. This led to some wild designs and even some artwork with characters and elements that didn’t even appear in the actual film!
The advance American one sheet features a sweaty Willis clutching a gun but I much prefer the darker image that features on the final American one sheet and the UK quad.
This is the US one sheet for the first (and my favourite) Roger Moore-starring James Bond film, Live and Let Die, featuring artwork by the great Robert McGinnis. Along with the others in the series I probably saw the film on TV about fifteen times and can vividly recall many of the best scenes. Like British comedian and director Joe Cornish admitted when interviewing Roger Moore, his Bond films are responsible for many of my first ‘awakenings to the delights of the female form’ (being a young teenager at the time it would have been shown). The gorgeous Jane Seymour who plays ‘Solitaire’ is definitely responsible for putting at least a couple of hairs on my chest, as it were.
McGinnis is responsible for some of the best Bond posters, including Thunderball, The Man With the Golden Gun and Diamonds are Forever as well as multiple other classic posters from the 60s, 70s and 80s.
You’ll notice that this particular poster has ‘East Hemi’ written at the bottom. This page on Learn About Movie Posters explains what the significance of that text is. An excerpt:
[Albert] Broccoli met with [Harry] Saltzman and tried to acquire the rights but Saltzman refused to sell. They instead decided to co-produce them. [….] After some success they decided to divide the production credits and entered into a contractual agreement for top billing and so was created the Hemi’s. [….] They divided the world into hemispheres. Harry took the East Hemisphere and Albert took the West Hemisphere. So Saltzman would get the European countries and Broccoli would get the Americas.
This is the Japanese B2, featuring artwork by the great Robert McGinnis, for the first (and my favourite) Roger Moore-starring James Bond film, Live and Let Die. Along with the others in the series I probably saw the film on TV about fifteen times and can vividly recall many of the best scenes. Like British comedian and director Joe Cornish admitted when interviewing Roger Moore, his Bond films are responsible for many of my first ‘awakenings to the delights of the female form’ (being a young teenager at the time it would have been shown). The gorgeous Jane Seymour who plays ‘Solitaire’ is definitely responsible for putting at least a couple of hairs on my chest, as it were.
Robert McGinnis is responsible for some of the best James Bond posters, including Thunderball, The Man With the Golden Gun and Diamonds are Forever as well as multiple other classic posters from the 60s, 70s and 80s. He was born in Cincinatti, Ohio in 1926 and was given an apprenticeship at Walt Disney studios before studying fine art at Ohio State University. After serving in the Merchant Marines during World War II, he started work in the advertising industry and later moved into painting book jackets for several notable authors, as well as editorial artwork for the likes of Good Housekeeping, TIME and The Saturday Evening Post. McGinnis’ first film poster was the now iconic one sheet for Breakfast at Tiffany’s, painted in 1962, and he went on to paint over 40 others during his career, including one for The Incredibles in 2004.
The artwork on this B2 poster isn’t identical to the US one sheet (the art of which was used worldwide) and it’s not clear whether the original art was painted over or whether it was repainted entirely. Some examples on the Japanese poster include the ‘Devil’ missing the doll from her hand and the alligator being given a yellow eye.
To see the other posters I’ve collected that were painted by McGinnis click here and to see the other James Bond posters in the Film on Paper collection click here.
Unique artwork features on this Thai poster for the release of Lucio Fulci‘s classic horror The Beyond (1981). Nicknamed The Godfather of Gore, the late Italian director is responsible for several memorable entries in the horror genre and The Beyond is one of what are often considered to be the big four Fulci films (the others being Zombie Flesh Eaters, The House By the Cemetery and City of the Living Dead), which were all made within two years of each other. The director tried his hand at various genres, including westerns and comedies, but it was horror where he found the greatest success and for which he is best remembered.
The Beyond is the second film in the unofficial ‘Gates of Hell’ trilogy of Fulci films that began with 1980s City of the Living Dead and ended with The House By the Cemetery. British actress Catriona MacColl, star of the other two films, plays New Yorker Liza Merril who has inherited a run-down Louisiana hotel and decides to spend her savings on renovating the place. What she doesn’t realise is that it was built over one of ‘Seven Doors of Death’, which are direct pathways to hell, and when people involved in helping her repair the hotel begin to die horribly she is helped by a local doctor (David Warbeck) and a mysterious local blind woman called Emily (Cinzia Monreale). It soon becomes clear that the pathway is letting supernatural evil out and creating bloodthirsty zombies of the dead and Liza must fight for her very survival.
As with many of Fulci’s films, the story plays second fiddle to the striking visuals and gory set-pieces as the body count ramps up. It’s never less than memorable and is often cited by Fulci fans as their favourite of his films. The Beyond also features a great score by regular Fulci collaborator Fabio Frizzi. The film was butchered heavily for its original US release (as ‘7 Doors of Death’) and was missing most of the gore scenes and a different soundtrack. The UK release was originally heavily cut, despite being granted an ‘X’ certificate. It was finally passed fully uncut in 2001.
This montage featuring some of the more memorable moments of gory violence from the film was painted by a Thai artist called Noppadol about whom I’ve been unable to discover very little, other than a few of the other film poster titles he worked on (including Saturn 3 and Evil Dead). If anyone knows any more details please get in touch.
Although folded and not in amazing condition this is a very scarce poster and one that’s getting increasingly hard to find. I’ll continue to try and locate one without the fold lines but suspect it won’t be easy. The blue ink marks on the bottom of the poster relate to showings at specific times in specific cinemas and were stamped on after the original printing.
An entry into the Italian zombie horror genre, Burial Ground (AKA The Nights of Terror) is unquestionably in the shadow of Lucio Fulci’s superior Zombie Flesh Eaters, released only a year before in Italy. The film features several shameless cribs from Fulci’s film, including a scene where an actress is pulled slowly into a broken window, face first. The film features little in the way of a plot with the bare minimum in the way of exposition before the zombie carnage begins. It opens with the spectacularly bearded Professor Ayres unwittingly unleashing a horde of shuffling zombies whilst exploring a crypt in the cemetery behind his mansion. A group of his friends (some colleagues?) arrive shortly after, having been invited to view his discoveries, and there follows a rambling sequence of events in which the guests spout inane dialogue, potter around the mansion and get naked (only breasts, of course) before the first zombie shuffles into their view.
The zombie make-up and gore effects are, for the most part, absolutely atrocious with some of the zombies not even resembling humans in terms of facial features and others looking like some Italian bloke painted grey with a few bits of bacon stuck to his face. There are some undeniably creepy moments and the sets are well utilised but the film is nearly ruined by the appalling music, half of which sounds like it was taken directly from a 1950s ‘space sounds’ record, with bizarre bleeps, bloops and other sci-fi noises happening every time anything remotely exciting happens on screen. One of the most bizarre elements of the film was the decision to cast a 26-year-old dwarf named Peter Bark as Michael, the 11-year-old son of Evelyn (Mariangela Giordano) who has some sort of oedipal relationship with him, made even weirder by the actor’s real age and facial appearance. It has to go down as one of the strangest casting decisions ever made.
The artwork on this one sheet for the 1986 American release, five years after the original Italian debut, is by an American artist called C. Winston Taylor, about whom very little can be found online. The Lost Video Archive blog has a post on the artist that features images of some of his other posters and video covers. In the 1990s the artist was hired to paint the covers for a Quantum Leap comic book series and a gallery of those images can be viewed on this site, which also features three images of the artist himself. Comicbookdb.com features a small profile of Taylor with the following mini-biography:
C. Winston Taylor always knew from a young age that he would communicate through his drawings. Fighting in the jungles of Vietnam, where he earned two Bronze Stars, helped solidify this vision. After graduating with honors from the Art Center College of Design, in Los Angeles, he quickly became a well-respected illustrator. His work has received numerous awards and he served as the president of The Society of Illustrators of Los Angeles.
The other posters I’ve collected with artwork by him can be seen by clicking here.
This is the original UK press kit for the release of John Carpenter’s sci-fi classic Escape From New York. I’d have a hard time choosing my favourite of the three (fictional) characters Carpenter and Kurt Russell created together; R.J. MacReady (The Thing), Jack Burton (Big Trouble in Little China) and Snake Plissken (EFNY). The latter is the gruff former war hero and convicted bank robber who is sent onto the island of Manhattan of an alternative 1997, which has been sealed-off as a lawless prison, in search of the American President whose plane crashed there after a terrorist attack. He’s arguably the coolest of the three and is a character much imitated in other lesser films featuring a reluctant hero.
As the name suggests, a press kit was supplied by the film’s distributors to members of the press for the purpose of promoting the release. It offers an outline of the story along with details of the cast and filmmakers involved. This kit also included four 8×10″ stills from the film, with each one having a short cast list and synopsis taped to the back. Some press kits are significantly larger and more detailed than this one so I suspect there may have been other parts to it, but I’m not certain.
The rest of the John Carpenter posters I’ve collected can be seen by clicking here.
A striking portrait by the artist Vincent Topazio features on this one sheet for the US release of Veronika Voss. The film was the penultimate one by the legendary German director, screenwriter, producer and actor Rainer Werner Fassbinder. It was released the year of his untimely death (he was only 37) and his final film as director, Querelle, was released posthumously the following year.
The film was an entry in what Fassbinder named the BRD Trilogy; three films all focusing on a single female character and set in West Germany following World War II. BRD is an acronym for Bundesrepublik Deutschland, which was the official name of the country during that period. The first of the trilogy, The Marriage of Maria Braun, was released in 1979 and then, rather confusingly, Fassbinder named Lola (1981) as the third film in the trilogy before Veronika Voss was released in 1982. The films have no narrative connection but have thematic consistencies, with all three focusing on a particular woman in a post-war BRD during the ‘economic miracle’. All three of the stories were originated by Fassbinder but the screenplays were written by frequent collaborator Peter Märthesheimer and his then partner Pea Fröhlich.
Veronika Voss is loosely based on the ill-fated life of actress Sybille Schmitz and the titular lead is played by Rosel Zech. Set in Munich in 1955, the film finds Voss struggling to reclaim former glories and unable to win the kinds of roles she played whilst working for the UFA production company during the war. One night she bumps into sports journalist Robert Krohn (Hilmar Thate) who isn’t aware of her past. The pair strike up a romance, despite Krohn being in a relationship with girlfriend Henriette (Cornelia Froboess). Soon he realises that Voss is addicted to opiates that are being administered by a mysterious neurologist called Dr. Marianne Katz (Annemarie Düringer) who Voss believes is caring for her. When Krohn begins to investigate he realises that Katz is actually bleeding Voss of her finances and is keeping her doped up and under control.
The art on this one sheet is by Vincent Topazio and, although it doesn’t feature his unique signature, he is credited for it on the vinyl release of the film’s soundtrack. Very little is known about the artist and there’s barely any information about him online. He looks to have worked on only a handful of film posters, most of which were for independent/arthouse features. Perhaps his most famous poster is the one he worked on for Paul Verhoeven’s The 4th Man.
Adrian Curry highlighted some of Topazio’s work for his Movie Poster of the Week column on Mubi.com. Other titles include the sequel Zulu Dawn and the 1985 American drama Smooth Talk. Curry notes that he believes Topazio was working from the mid-1970s into the 1980s and also created art for magazine editorials. Emovieposter.com has a number of his posters in their archive. If anyone has any more details about him please get in touch.
A striking image by the British designer Paul Derrick features on this UK quad for the release of maverick director Werner Herzog‘s 1984 drama Where the Green Ants Dream. The film was the directorial follow up to what many consider to be Herzog’s masterpiece, Fitzcarraldo, and is set in the Australian outback. Co-written with the Australian screenwriter Bob Ellis, the film deals with the contentious issue of aboriginal land rights that has existed ever since the British established a settlement there in the 18th Century. A mix of facts and fiction, the film features a number of aboriginal activists who had been involved in a real-life court case
Bruce Spence, who is best known as the Gyro Captain from Mad Max 2, plays Lance Hackett, a geologist working for a mining company that is carrying out a series of tests on some land that they intend to mine for Uranium. The title refers to the insects that the aborigines believe to be sacred and they fear will be disturbed by the blasting and drilling. One of the tribal elders, as featured on this poster, explains that this disturbance could bring about the end of the world. Lance is instructed to spend time with the activists and try and work out a deal with them so that the mining company can carry on their testing. When that eventually fails, even after they are given a large army plane as part of an attempted deal, the case goes to the courts.
Paul Derrick’s official website can be viewed here and, according to the short biography on the site, he has been working for many years on publishing and visual identity projects for a wide range of clients, including arts and educational organisations as well as government clients. He also says that he is ‘experienced in undertaking, and art directing, documentary photography to create visual narratives and storytelling.’ There are a few examples of posters he worked on and the British distribution company Artificial Eye is listed in the projects section.
This is the final poster for the German release of John Carpenter’s sci-fi classic Escape From New York, released as Die Klapper-Schlange (Rattlesnake). I’d have a hard time choosing my favourite of the three (fictional) characters Carpenter and Kurt Russell created together; R.J. MacReady (The Thing), Jack Burton (Big Trouble in Little China) and Snake Plissken (EFNY). The latter is the gruff former war hero and convicted bank robber who is sent onto the island of Manhattan of an alternative 1997, which has been sealed-off as a lawless prison, in search of the American President whose plane crashed there after a terrorist attack. He’s arguably the coolest of the three and is a character much imitated in other lesser films featuring a reluctant hero.
The artwork featured is unique to this poster and I’m unsure who is responsible for it, but I’m assuming it was painted by a German artist. If anyone has any clues please get in touch.
I also have the German teaser poster in the collection and that can be viewed here.
The rest of the John Carpenter posters I’ve collected can be seen by clicking here.
Lurid artwork by the late, great Tom Chantrell on this UK quad for the release of Italian director Umberto Lenzi‘s 1980 entry into the then burgeoning cannibal subgenre of horror, Eaten Alive! (here just Eaten Alive). This is not to be confused with Tobe Hooper’s 1976 film of the same name about a redneck killer with a pet alligator. Eaten Alive wasn’t Lenzi’s first foray into the subgenre and the director is regularly credited with kickstarting it all with his film Deep River Savages (AKA Sacrifice!) in 1972. This film was released the same year as Cannibal Holocaust, directed by fellow countryman Ruggero Deodato, which is today considered to be the pinnacle of the genre and remains notorious to this day. Not to be outdone, Lenzi filmed one of the subgenre’s most unapologetically nasty entries, Cannibal Ferox, only a year after this film was released, but by that point the subgenre was beginning to fade and only a few more obscurities were made during the 1980s.
Unlike Ferox and Holocaust, Eaten Alive is more of a jungle adventure film and isn’t told in the pseudo-documentary, mondo style of the other films. Not only did Lenzi utilise stars from other cannibal films, including the American pornstar-turned-actor Robert Kerman (who appeared in Holocaust and Ferox) but he also borrowed footage from other films such as his own Deep River Savages and The Mountain of the Cannibal God. Like other entries it also depicts scenes of real animal torture and killings which have always proved controversial and are deeply uncomfortable to sit through today (at least for this viewer). Eaten Alive sees an American woman called Sheila (Swedish actress Janet Agren) who travels to remote New Guinea in search of her missing sister Diana (Paola Senatore) accompanied by Vietnam veteran Mark (Kerman). They discover that Diana has joined a cult deep in the jungle which is being led by a Jim Jones-style guru called Jonas (cannibal flick regular Ivan Rassimov) who rules over his subjects and the local natives using physical and sexual abuse. Sheila, Mark and Diana attempt to escape from the cult’s clutches and there follows several scenes featuring all manner of barbarities.
Today Eaten Alive is considered one of the lesser cannibal films, certainly compared to Holocaust and Ferox, but it’s not without merit for gorehounds looking for a slice of sleazy entertainment. It’s arguably worth a watch as a curio of a film that would never be made today, not least because of the animal cruelty and breathtaking levels of misogyny on display.
Tom Chantrell was a celebrated British artist whose dynamic and colourful work featured on hundreds of posters over a forty year period. His official website features a great biography written by Sim Branaghan, author of the must-own British Film Posters. Chantrell illustrated many classic poster designs, including several Hammer posters such as the brilliant quad for ‘One Million Years B.C.’, and was also responsible for the iconic Star Wars quad, the artwork of which ended up being used around the globe. I have a number of other designs by him on this site. The chunky title treatment is one of the artist’s specialties and features on several of his posters, which can be seen on his official site.
This is the original poster for the Thai release of John Carpenter’s sci-fi classic Escape From New York. I’d have a hard time choosing my favourite of the three (fictional) characters Carpenter and Kurt Russell created together; R.J. MacReady (The Thing), Jack Burton (Big Trouble in Little China) and Snake Plissken (EFNY). The latter is the gruff former war hero and convicted bank robber who is sent onto the island of Manhattan of an alternative 1997, which has been sealed-off as a lawless prison, in search of the American President whose plane crashed there after a terrorist attack. He’s arguably the coolest of the three and is a character much imitated in other lesser films featuring a reluctant hero.
This poster was painted by the artist Tongdee Panumas (he signs his posters with just his first name) who was an incredibly prolific Thai film poster artist during the 70s, 80s and 90s but I’ve been unable to find out much about him, other than that he was born in 1947. If anyone has any more information please get in touch.
The main illustration of Snake Plissken is unique to this poster but some of the other elements, especially the montage to the left, are based on the final US one sheet for the film that was painted by Barry E Jackson. The set of portraits in boxes are taken from the US advance poster that was painted by Stan Watts.
The rest of the John Carpenter posters I’ve collected can be seen by clicking here.
Unique artwork features on this German A1 poster for the release of Lucio Fulci‘s classic horror The Beyond (1981). Nicknamed The Godfather of Gore, the late Italian director is responsible for several memorable entries in the horror genre and The Beyond is one of what are often considered to be the big four Fulci films (the others being Zombie Flesh Eaters, The House By the Cemetery and City of the Living Dead), which were all made within two years of each other. The director tried his hand at various genres, including westerns and comedies, but it was horror where he found the greatest success and for which he is best remembered.
The Beyond is the second film in the unofficial ‘Gates of Hell’ trilogy of Fulci films that began with 1980s City of the Living Dead and ended with The House By the Cemetery. British actress Catriona MacColl, star of the other two films, plays New Yorker Liza Merril who has inherited a run-down Louisiana hotel and decides to spend her savings on renovating the place. What she doesn’t realise is that it was built over one of ‘Seven Doors of Death’, which are direct pathways to hell, and when people involved in helping her repair the hotel begin to die horribly she is helped by a local doctor (David Warbeck) and a mysterious local blind woman called Emily (Cinzia Monreale). It soon becomes clear that the pathway is letting supernatural evil out and creating bloodthirsty zombies of the dead and Liza must fight for her very survival.
As with many of Fulci’s films, the story plays second fiddle to the striking visuals and gory set-pieces as the body count ramps up. It’s never less than memorable and is often cited by Fulci fans as their favourite of his films. The Beyond also features a great score by regular Fulci collaborator Fabio Frizzi. The film was butchered heavily for its original US release (as ‘7 Doors of Death’) and was missing most of the gore scenes and a different soundtrack. The UK release was originally heavily cut, despite being granted an ‘X’ certificate. It was finally passed fully uncut in 2001.
A reader of the site got in touch to confirm that the poster was painted by Lutz Peltzer, a prolific German artist who worked on over 800 posters during his career. The German site Archiv für Filmposter features a biography and plenty of images of his work. It details that he was born in 1925 in Mannheim and passed away in 2003.
