After John Carpenter’s original horror classic Halloween made over $70 million at the global box-office on a budget of $325k – earnings equivalent to $250 million adjusted for ticket price inflation – it was only a matter of time before a sequel was put into production. Carpenter passed on the chance to direct Halloween II, but offered to both produce and write the screenplay (and apparently even direct a few scenes) and the film was put into production with a significantly increased budget of $2.5 million. A relatively unknown director called Rick Rosenthal was offered the job and filming got underway with a targeted release date of Halloween 1981.

This is one of those sequels that picks up immediately after the events at the end of the previous film and Laurie Strode (Jamie Lee Curtis) is being loaded into an ambulance having survived the attack by Michael Myers who was shot by Dr Sam Loomis (Donald Pleasence) before escaping into the night. We follow Myers as he stalks the neighbourhood, murdering an unlucky teenager as he searches for the whereabouts of Laurie. Dr Loomis and the Haddonfield police desperately hunt the killer as the true extent of his actions in the previous film come to light. Meanwhile, Laurie arrives at the town’s hospital and soon falls into a catatonic state thanks to the shock of her ordeal. When Michael learns of her whereabouts after overhearing a news broadcast he heads towards the hospital and the carnage begins again.

Rosenthal is definitely no Carpenter but it’s still a strong horror film, which has several creepy moments despite upping the body count and leaning towards quick, gross-out murders rather than tense, drawn-out pursuit sequences. It’s interesting to see the aftermath of the events in the first film and the hospital makes for an excellent location for Myers to stalk his prey. At the time, the explosive ending seemed to draw a line under the story of Michael Myers and, infamously, Halloween III made no mention of him, but when that film was something of a box-office flop the producers of the next sequel brought the man in the mask back from the dead.

This is the original cinema program that was sold at Japanese screenings of Steven Spielberg’s classic 1975 horror, Jaws. The instantly recognisable image was painted by the American artist Roger Kastel and was originally commissioned for the paperback cover of Peter Benchley’s novel, but when Universal saw the artwork they bought the rights to use it for the poster and following the worldwide success of the film it would go onto become one of the most imitated and parodied images of all time, as well as a merchandising product in its own right. Kastel also painted the ‘Gone with the Wind’ style one sheet for The Empire Strikes Back. Check out his official site here.

I also have the original US one sheet which can be seen on my site here.

Note that this program features images of and details about the production, the director and several of the actors. It also includes a hand-written message especially for Japanese ‘movie buffs’.

Lurid artwork features on this Turkish poster for Steven Spielberg’s 1975 masterpiece Jaws. Apparently the film wasn’t actually released in Turkey until 1981 which explains why the enterprising designer of this poster has used American artist Lou Feck’s illustration of a shark from the poster for Jaws 2 (1978) and inserted a bikini-clad victim into its mouth (as well as blood dripping from the shark’s teeth). Feck’s illustration was used around the world to promote the sequel after originally appearing on the front of the Jaws 2 novel and I have the Japanese B2 in the Film on Paper collection.

The US one sheet’s instantly recognisable image was painted by the American artist Roger Kastel and was originally commissioned for the paperback cover of Peter Benchley’s novel, but when Universal saw the artwork they bought the rights to use it for the poster and following the worldwide success of the film it would go onto become one of the most imitated and parodied images of all time, as well as a merchandising product in its own right.

Friend of the site Steve Guariento got in touch to point out that the bikini-clad lady was also adapted from another piece of art, namely the Italian four sheet for the Hammer film Dracula AD 1972 (click here to see it) that was painted by one of my favourite artists, Renato Casaro. The designer of the poster clearly had a Turkish artist paint some open eyes and an open mouth over the original art since the woman is asleep on Casaro’s poster. All of which makes it a bit of a Frankenstein’s monster of a poster!

I’ve waited many years to add this iconic one sheet for Steven Spielberg’s masterpiece Jaws to the Film on Paper collection as I wanted to find a rolled copy, which is no meant feat considering the film’s popularity and the fact that it was released in the mid-1970s (rolled posters from this period are rare). I finally won this copy in an auction earlier this year and what’s notable is that when other rolled originals of Jaws appear they almost always have the same NSS information layout at the bottom as this one, which many dealers and collectors believe means they originate from the Cleveland, Ohio NSS office. CineMasterpieces have a number of Jaws one sheets in their inventory (many already sold) and you can compare the different layouts of the NSS information (here’s an example).

The instantly recognisable image was painted by the American artist Roger Kastel and was originally commissioned for the paperback cover of Peter Benchley’s novel, but when Universal saw the artwork they bought the rights to use it for the poster and following the worldwide success of the film it would go onto become one of the most imitated and parodied images of all time, as well as a merchandising product in its own right.

Collector’s Weekly published a fascinating article about the creation of the poster and the events that led up to Kastel being commissioned to work on the poster. The artist recalls the day the project dropped into his lap:

“I had just delivered a painting to Bantam’s art director, Len Leone,” he says. “Bantam was just loaded with great artists at that time, and Len really gave Bantam its look. I was sitting in Len’s office when Oscar Dystel, Bantam’s publisher, came in. He said, ‘Wait a minute. Don’t leave. I have a great book for you to read’. And he ran out and came back with ‘Jaws.’”

A cover had already been painted by the renowned book cover illustrator for the Doubleday hardback edition of the book but as Kastel remembers it Dystel wasn’t happy with the first cover:

“He wanted me to read the book to pick out a new part to illustrate. But, of course, the best part was the beginning, where Chrissie goes into the water nude.” Turns out the Doubleday concept, if not the execution, was not so bad after all. Kastel did a sketch for Dystel and Leone to critique. “The only direction Oscar and Len gave me was to make the shark bigger, and very realistic.”

Kastel visited his usual go-to source for reference material, the Museum of Natural History in New York, but came up short:

“They didn’t have anything I could use, so I asked if they had a shark exhibit. They said they did but that it was closed for cleaning. It was lunchtime, so I went upstairs anyway, and there were all these different stuffed sharks, just laying on boards. I had my camera with me so I took a few pictures. The shark in my painting developed from there. I just tried to paint a ferocious-looking shark that was still realistic.”

When the book was released the graphic nature of the image saw the paperback banned from shelves in Boston, Massachusetts, and St. Petersburg, Florida, but Bantam didn’t mind the publicity as it greatly boosted sales. The cover also caught the attention of the film studio who were developing the story for the big screen:

“Apparently Universal had tried other poster ideas, but in the end they picked mine. They changed the color of the ‘JAWS’ lettering, added the actor names and other credits, and blurred the girl’s breasts with some foam.”

Kastel is unsure what fate befell the original oil painting (which was approximately 20″ x 30″) and the last time he saw it was when the paperback was first released:

“It was hanging at the Society of Illustrators in New York,” he says. “It was framed because it was on a book tour, and then it went out to Hollywood for the movie. I expected it to come back, but it never did. Either someone has it or it’s lost in storage at Universal. They really should report it as stolen.”

I’ve credited the design of the poster to three parties, although Tony Seiniger (and his agency) is most often cited as the man behind it. This article on Posterwire features comments that also call out another agency called Magidell who apparently had input as well as Universal’s in-house marketing team. Kastel also painted the ‘Gone with the Wind’ style one sheet for The Empire Strikes Back. Check out his official site here.

Gruesome artwork for this one sheet for Bloody Birthday, an early 80s horror featuring a trio of demonic kids. From IMDb:

In 1970, three children are born at the height of a total eclipse. Due to the sun and moon blocking Saturn, which controls emotions, they have become heartless killers ten years later, and are able to escape detection because of their youthful and innocent facades. A boy and his teenage sister become endangered when they stumble onto the bloody truth.

You can watch the trailer on YouTube.

A wild design on this one sheet for the 1981 horror featuring a trio of demonic kids. From IMDb:

In 1970, three children are born at the height of a total eclipse. Due to the sun and moon blocking Saturn, which controls emotions, they have become heartless killers ten years later, and are able to escape detection because of their youthful and innocent facades. A boy and his teenage sister become endangered when they stumble onto the bloody truth.

Director Ed Hunt would retire from filmmaking a few years after Bloody Birthday was released with a modest ten films to his name.

I also have the alternative style one sheet in the collection. You can watch the trailer on YouTube.

This particular design by Drew Struzan was never actually used as a theatrical one sheet. It was apparently sold at later date. I’m not 100% certain that my copy is an original, although I do trust the seller I bought it from, so it’s hard to say for sure.