You Searched For: Art%2BMalik

The Living Daylights / one sheet / USA

17.05.11

Poster Poster
Title
The Living Daylights
AKA
007 zona pericolo [Dangerous area] (Italy)
Year of Film
1987
Director
John Glen
Starring
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé
Origin of Film
UK | USA
Genre(s) of Film
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé,
Type of Poster
One sheet
Style of Poster
--
Origin of Poster
USA
Year of Poster
1987
Designer
David Reneric
Artist
Art direction by Jeffrey Bacon, photography by Jim McCrary
Size (inches)
TBC
SS or DS
SS
NSS #
870004
Tagline
Living on the edge. It's the only way he lives.

The Living Daylights / quad / UK

24.05.13

Poster Poster
Title
The Living Daylights
AKA
007 zona pericolo [Dangerous area] (Italy)
Year of Film
1987
Director
John Glen
Starring
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé
Origin of Film
UK | USA
Genre(s) of Film
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé,
Type of Poster
Quad
Style of Poster
--
Origin of Poster
UK
Year of Poster
1987
Designer
Brian Bysouth | Bernie Goddard | Mike Bell | Stephen Laws
Artist
Brian Bysouth
Size (inches)
30 1/16" x 39 14/16"
SS or DS
SS
NSS #
--
Tagline
The new James Bond... living on the edge.

The Living Daylights was the first of two films in the long-running James Bond franchise to feature actor Timothy Dalton as the legendary spy. Dalton had been offered the role following Roger Moore’s decision not to reprise it in the wake of the disappointing performance of 1985’s A View to a Kill. The film sees Bond caught up in an international conspiracy after the abduction from a London safe-house of a recently defected KGB officer, which sees the agent travel to Czechoslovakia, Morocco, Austria and eventually Afghanistan in search of the missing man. The spy uncovers an arms-dealing plot with global ramifications and he must work with the Russian girlfriend of the missing KGB officer to get to the truth and prevent the conspirators from fulfilling their plans.

This is the UK quad and it features artwork that was used across the globe to promote the film. It’s unquestionably the last truly great Bond poster and was also the last to be entirely hand painted. The man responsible is the British artist Brian Bysouth and the poster was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”

The article also features pictures of the original artwork and initial sketches for this poster.

The Living Daylights / one sheet / international

17.05.11

Poster Poster
Title
The Living Daylights
AKA
007 zona pericolo [Dangerous area] (Italy)
Year of Film
1987
Director
John Glen
Starring
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé
Origin of Film
UK | USA
Genre(s) of Film
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé,
Type of Poster
One sheet
Style of Poster
--
Origin of Poster
International
Year of Poster
1987
Designer
Brian Bysouth | Bernie Goddard | Mike Bell | Stephen Laws
Artist
Brian Bysouth
Size (inches)
27" x 40 13/16"
SS or DS
SS
NSS #
--
Tagline
The new James Bond... living on the edge.

Unquestionably the last truly great James Bond poster was painted by the British artist Brian Bysouth and the design was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”
The article also features pictures of the original artwork and initial sketches for this poster.

A Passage to India / B1 / Poland

22.04.15

Poster Poster

This is the Polish poster for the release of British director David Lean‘s final film behind the camera, 1984’s A Passage to India. Lean hadn’t helmed a feature film since 1970’s Ryan’s Daughter, the poor reception of which had put him off directing for a few years, and an abandoned attempt to make a pair of films based on the Mutiny of the Bounty also took up several years of Lean’s life. The film is an adaptation of English author E. M. Forster’s novel of the same name and also a stage production of the book by Indian-born American playwright Santha Rama Rau.

Set in India during the 1920s when there was a growing Indian independence movement in the British Raj, the film sees young British woman Adela Quested (Judy Davistravel to India to visit her fiancee Ronny Heaslop (Nigel Havers) who is serving as a magistrate in the town of Chandrapore. Accompanying her on the trip is Ronny’s mother Mrs Moore (Peggy Ashcroft). The pair spend time in the company of British colonials but when Mrs Moore meets a local doctor named Aziz Ahmed (Victor Banerjee) they see the opportunity to experience ‘the real India.’ Aziz agrees to take them on an expedition to the remote Marabar Caves (actually based on the real life Barabar Caves) but when Adela is attacked and almost raped, Aziz is accused of the crime and relations between the natives and the British quickly break down.

This poster was painted for the first release of the film in Poland in 1988 and was created by the Polish artist Wiktor Sadowski who was born in Olendry in 1956 and later graduated from the Academy of Fine Arts in Warsaw. Sadowski has painted hundreds of film posters during his career and has won several prestigious awards, including a gold medal at Poster Biennale of Poland in 1984 and a gold medal from the New York Society of Illustrators in 1994. There are multiple galleries of his work online, including this one on the Polish Poster Gallery website and this one on Polishposter.com that both clearly show the quality of his artwork.

The Living Daylights / one sheet / teaser / USA

17.05.11

Poster Poster
Title
The Living Daylights
AKA
007 zona pericolo [Dangerous area] (Italy)
Year of Film
1987
Director
John Glen
Starring
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé
Origin of Film
UK | USA
Genre(s) of Film
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé,
Type of Poster
One sheet
Style of Poster
Teaser
Origin of Poster
USA
Year of Poster
1987
Designer
Unknown
Artist
Keith Hamshere (photo)
Size (inches)
27" x 41 1/16"
SS or DS
SS
NSS #
--
Tagline
The most dangerous Bond. Ever.

The Living Daylights / one sheet / Australia

17.05.11

Poster Poster
Title
The Living Daylights
AKA
007 zona pericolo [Dangerous area] (Italy)
Year of Film
1987
Director
John Glen
Starring
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé
Origin of Film
UK | USA
Genre(s) of Film
Timothy Dalton, Maryam d'Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbé,
Type of Poster
One sheet
Style of Poster
--
Origin of Poster
Australia
Year of Poster
1987
Designer
Brian Bysouth | Bernie Goddard | Mike Bell | Stephen Laws
Artist
Brian Bysouth
Size (inches)
27" x 40 1/16"
SS or DS
SS
NSS #
--
Tagline
The new James Bond... living on the edge.

Unquestionably the last truly great James Bond poster was painted by the British artist Brian Bysouth and the design was discussed during my 2012 interview with him:

“The last painting I did was for The Living Daylights. There were a number of us involved with the initial design ideas for that poster, including Bernie Goddard, a freelance designer who often worked with FEREF. Mike Bell and Stephen Laws also produced some concept roughs. Using the original Bond spiral gun barrel idea was a concept that featured on some of the designs and Bernie submitted one using it. The final concept was an amalgamation of ideas and I was tasked with composing the montage that became the poster. I produced the final colour rough that was sent to the client and we were all very glad when it was approved and I was able to start the finished painting.

I came across the rough a little while ago and it’s in reasonable condition considering it’s age.

That design ended up being used around the world and, as Sim Branaghan disclosed in his book, you were paid the highest fee ever given to a British film poster artist for that.
[Laughs] I probably shouldn’t have told Sim that! I don’t know if it was the highest fee ever paid, as I have no idea what other artists in Britain were getting for their work. But later I read somewhere that Bob Peak was being paid up to $50,000 for one poster at the beginning of the 1980s, and other artists such as Drew Struzan were perceived as being extremely well rewarded. I used to charge a day rate and always felt there was a downward pressure on the fees I charged. I was aware that as a director of the company I felt obliged not to inflate my prices, always making allowance for the company mark-up.  With the wisdom of hindsight, maybe I was wrong and I should have charged more. Anyway, I remember being content at the time.

I never knew how much FEREF were charging the client and I never thought to enquire. I decided that I was going to charge £3000 for my work on The Living Daylights because I had been working on the campaign for weeks. The fee was agreed and that was fine. Looking back in retrospect at an illustration that was used around the world to market a James Bond film do you really think that was a lot of money? It’s peanuts! Especially in comparison to the enormous budget the studio would have allotted to the marketing in total. Finally, I hope I am right in believing the client thought well of FEREF because we didn’t ridiculously inflate the price of the work we did for them. We sincerely believed we were the best at what we did, and it was upmost in our minds that we had to be competitive with our charges.”
The article also features pictures of the original artwork and initial sketches for this poster.