Excellent artwork by Carl Ramsey for the 80s zombie classic featuring the memorable Linnea Quigley (represented here in her undead form). When I first saw the film I was a little mystified by her ‘Barbie doll’ look (smooth bump) when she’s naked in the graveyard and only later found out that one of the producers made her wear prosthetics to cover up her privates. I can only imagine that it confused a lot of impressionable teenagers who were watching this back in the 1980s.

I recently bought the blu-ray and have to say the film still holds up really well – the creature designs and music are particular standouts. I’m definitely going to pick up ‘The Complete History of the Return of the Living Dead’ book, which is meant to be excellent.

The original trailer is on YouTube.

Legendary director David Lynch‘s surreal nightmare Eraserhead celebrates its 35th anniversary in 2012 and its fair to say cinema has seen nothing else quite like it in the years since it was released. Lynch’s first full-length feature was five years in the making and was begun whilst he worked at the American Film Institute school in Los Angeles. The initial grant of $10,000 given to the director quickly ran out and he was forced to spend the following years using money from odd jobs, as well as donations from friends and family to continue work on it.

Ben Barenholtz, the owner of Libra films saw the completed film at the Filmex Festival and, after declaring it was a ‘film of the future’, decided to help Lynch get the film into cinemas. The first screening took place at midnight on the 29th of September, 1977 and, like Jodorowsky’s El Topo before it, Eraserhead became a staple of Midnight Movie shows in Los Angeles, New York and London.

This Japanese poster is from the first release of the film, which took place in 1981, and features an image of the ‘baby’ with its head wrapped in bandages. This particular copy of the poster isn’t in the best of condition, as should be obvious from the pictures, but I think it quite suits the nature of the film.

Having just watched the recent UK blu-ray release of the film, which was apparently supervised by Lynch, I can highly recommend picking up a copy of it as the film has never looked or, perhaps more importantly, sounded as good.

The original trailer is on YouTube.

An extremely low-fi poster for the UK release of the excellent 1985 horror comedy The Return of the Living Dead. The image is of Jerome ‘Daniels’ Coleman who plays the rather terrifying legless zombie who chomps on a paramedic before chasing Don Calfa. A clip of him in action is on YouTube.

Apparently Coleman was an amputee who could run on his stumps and was discovered by one of the film’s producers living on the streets of L.A. The effect is extremely effective, particularly when coupled with his blood-curdling screams. It’s one of the few truly creepy moments in the whole film, in my opinion.

The US one sheet is markedly different and can be seen here.

The original trailer is on YouTube.

This one sheet for the largely forgotten (and ill-advised) quasi-sequel to the classic 1941 film The Maltese Falcon, The Black Bird, features one of the earliest film poster illustrations by the legendary artist Drew Struzan. The film is the sole directorial effort from David Giler, who is now best known as a producer on pretty much every Alien film in the franchise, up to and including Alien Covenant (2017). George Segal stars as the son of detective Sam Spade, who was played by Humphrey Bogart in the first film. The plot is described on IMDb:

The son of famous detective Sam Spade carries on the family tradition of getting involved with the Maltese Falcon – and with the people who will stop at nothing, including murder, to get it.

The Black Bird was trashed by critics at the time of release and audiences stayed away too. Unless I’m mistaken, the film has never been released digitally and is only available if you still have a VHS player.

Drew Struzan is an artist who barely needs an introduction given that he painted many of the most iconic film posters of all time, including several for Star Wars, Indiana Jones and a slew of other beloved classics like The Thing and The Goonies. The artist’s own site features 4 pages of his work for films and Drew also worked in other areas, including product marketing, book and magazine covers, editorial and multiple paintings as a fine artist. Drew declared that he’d retired in 2008 but has worked on a handful of special paintings since then, including one to announce the most recent Star Wars film in 2015.

To see a gallery of the other posters by Drew that I’ve collected click here.

This is one of two posters that were printed for the release in Poland of Roman Polanski’s 1968 horror masterpiece Rosemary’s Baby, which didn’t take place until 1984. The film, based on a 1967 novel of the same name by Ira Levin, stars Mia Farrow as the titular young housewife who moves into Bramford, an opulent but fading apartment block, with her actor husband Guy (John Cassavetes). At first all seems well, despite Guy struggling to find work, but when another young resident dies in strange circumstances the pair meet elderly neighbours Minnie and Roman Castevet (Ruth Gordon and Sidney Blackmer) and are invited for dinner.

Soon afterwards Rosemary begins to have strange dreams and hears weird noises from inside the building, whilst Guy begins to spend more time with the Castevets. When Rosemary falls pregnant she begins to suspect that all is not as it seems and a friend of hers called Hutch (Maurice Evans) confirms that the building has a shady history and is concerned for her health. Soon after warning her of the possibility that a satanic group are active in the building Hutch falls into a coma and later dies. When the baby is due to arrive, Rosemary comes to learn the truth and sees that Guy had betrayed her to the satanic group for the sake of his acting career. The ending, which is one of the most infamous in horror film history, is still as disturbing today as it was in 1968. 

The film was a huge critical and commercial success, earning over $30 million in the US alone, which wasn’t significant considering it had a budget of around $2.3 million. Polanski had already been lauded for Repulsion (1966) but it was this film, his first Hollywood production, that really shot him to international stardom. Sadly, a year after its release his wife Sharon Tate and four others were murdered by the psychotic Charles Manson and his gang and it would be three years before his next film was made.

This poster was designed and illustrated by Andrzej Pagowski, a prolific film poster artist who was born in Warsaw in 1953 and studied at the celebrated University of Fine Arts in Poznań, graduating in 1978 under the tutorship of the noted artist Waldemar Świerzy. In 1990 he started his own graphic design studio called Studio P, which he developed into an advertising agency by 1993. According to the biography on his official site, Pagowski has illustrated over 1000 posters during his career and has also done work for books, magazines and music covers. In addition, he is also a TV and theatre stage designer and a screen writer. Undoubtedly a man of many talents! His official site features an extensive gallery of his work, including several of the posters. Polishposter.com also features multiple pages worth of his movie posters and this culture.pl article is well worth a read too.

Unique artwork by artist Tongdee on this Thai poster for the release of the 80s zombie classic Return of the Living Dead, featuring a depiction of the memorable character played by Linnea Quigley (represented here in undead form). When I first saw the film I was a little mystified by her ‘Barbie doll’ look (smooth bump) when she’s naked in the graveyard and only later found out that one of the producers made her wear prosthetics to cover up her privates. I can only imagine that it confused a lot of impressionable teenagers who were watching this back in the 1980s.

I recently bought the blu-ray and have to say the film still holds up really well – the creature designs and music are particular standouts. I’m definitely going to pick up ‘The Complete History of the Return of the Living Dead’ book, which is meant to be excellent.

Tongdee Panumas (he signs his posters with just his first name) 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 US one sheet is markedly different and can be seen here.

The original trailer is on YouTube.

Top Gun is one of the quintessential popcorn films of the 1980s and certainly the one that launched and boosted several Hollywood careers, including that of its director, the late Tony Scott, star Tom Cruise and producing partners Jerry Bruckheimer and the late Don Simpson who were responsible for some of the biggest box-office successes of the 80s and 1990s. The film’s script was based on a magazine article about a top Navy fighter pilot training school, Cruise plays pilot Maverick who is bumped up the ranks and sent to the Top Gun training school after he successfully aids a fellow pilot in distress. There his reckless flying draws the attention of the school’s instructors and disdain from fellow trainees, including top student Iceman (Val Kilmer) who considers his methods dangerous and unsafe. At the same time, Maverick chases after a civilian contractor called Charlie (Kelly McGillis) who is initially wary of his advances. The film features corny dialogue and cheesy acting but is never anything but entertaining and its soundtrack, by Harold Faltermeyer, is one of the most successful of all time in terms of sales.

This British quad was created by the British designer and artist Brian Bysouth who I interviewed for this site in 2012. In the mid-1980s the requests for painted artwork, of which Brian was a renowned specialist, were drying up so Brian realised it was time to learn how to use computers to create photographic posters, as detailed below. This Top Gun quad is likely to have been one of the first computer-generated posters that the designer worked on (see also the Predator quad)

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Computers as an art tool came in during the time you were at FEREF. What was it like making that transition? Was it easy for the company?
Yes, luckily Steve Laws, the studio manager at the time and also a good designer, managed to persuade the upper management that desktop publishing was coming and that we had to embrace it. I can’t remember exactly when this was, but it was clear that the Apple Macintosh was the best computer. At that time they were very expensive but gradually the studio was equipped with the new technology.

Unfortunately, the computers replaced the jobs of paste up artists and it soon became apparent that unless they were capable of making the transition they were no longer needed. One machine and an operator could add all the text and details to an advert or illustration, ready for it to be sent to the printer. To keep their jobs our paste up artists had to learn how to use a Mac.

In the beginning the computers couldn’t handle very large files so things went very slowly, especially with complex designs. But when Macs started to get a lot faster the way forward was firmly established and we began to recruit skilled computer designers and operators.

I realised when my illustration work was drying up that I needed to become more of an art director. I was interested in helping out the Mac designers and I was able to use my experience to help them. I always found it easy to suggest ways to improve a design, which they came to appreciate; gradually it became usual for me to be asked to help if a design was proving troublesome.  I wasn’t as quick on the Macs as the operators but I realised that I had to learn Photoshop to enable me to art direct them properly. Learning the correct commands was essential, so I read the manual of Photoshop 3, (which I think was the version at that time), and learned the various key-commands and technical terms.

Eventually I asked for a Mac of my own and I was given use of one that had become surplus. When I wasn’t painting I was practicing. Looking back now, it was instrumental in helping me when I was asked to work on the Star Trek DVD covers.

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To see the other posters in the Film on Paper collection that were designed and/or painted by Brian Bysouth click here.

This is the American one sheet for Weird Science, the bonkers 1980s comedy from the late, great director John Hughes. Producer Joel Silver bought the rights to a 1950s EC Comics magazine of the same name and Hughes wrote the screenplay himself. Anthony Michael Hall, a regular colaborator with the director (he appeared in Breakfast Club the same year as Weird Science) stars alongside Ilan Mitchell-Smith as Gary and Wyatt, a pair of high-school nerds who are struggling to be accepted by their peers.

One evening the pair decide to try and create their perfect woman, inspired by a viewing of the classic Frankenstein film and using their computer coding skills. Following a series of improbable incidents, including a lightning strike and the pair’s successful hacking into a government mainframe computer (classic 80s nonsense), the gorgeous Lisa (an unforgettable appearance by Kelly LeBrock) steps out of their bathroom and asks “So, what would you little maniacs like to do first?” The rest of the film sees Lisa using various supernatural skills, including memory manipulation and reality warping to help the boys lose their inhibitions and gain the friendship of their school peers. The film features several madcap sequences, including the moment a bunch of psychotic bikers led by Vernon Wells (of Mad Max 2 fame) crash a house party, and Bill Paxton appears in a memorable turn as Wyatt’s brother Chet.

This one sheet was art directed by the American designer and artist Tom Jung who is perhaps most famous for his work on the posters for Star Wars and The Empire Strikes Back but has been working on film advertising for over 50 years, as well as storyboarding for a number of films. The artwork (Lisa’s body appears to have been painted, and the title too) was apparently done by an artist and designer called Duane Meltzer who worked at Universal Studios at the time of the film’s release. According to the about page on his official website he also worked as a creative at Twentieth Century Fox studios before forming POV Entertainment Design in 1988. He has continued to work on key art for films, as well as home entertainment packaging and more since then.

Roman Polanski’s 1968 horror masterpiece Rosemary’s Baby was released with one of the most iconic posters of all time that, like many of the most memorable designs, features a striking image in conjunction with an intriguing tagline. There is a fascinating, newly-filmed documentary on the recently released Criterion blu-ray of the film, which features many of the people involved in its making, including the legendary producer Robert Evans who recounts the story of how this poster came to be:

“When we finished the film the front office [of Paramount], which was in New York at the time, didn’t want to release it. They didn’t know how to sell it. I went to a friend of mine [Stephen Frankfurt] who was president at Young & Rubicam, a very large advertising agency, and I told him my problem; I can’t release the movie because the whole of our advertising team doesn’t know how to sell it, and the picture’s brilliant! He goes to see it and then he said to be ‘Bob, I’m going to tell it you straight; it’s not an easy picture to sell and I’m not going to take one dime from you to give you a whole campaign for it.’ He then said ‘But if you buy what I give you I want one hundred thousand dollars’.

I walked in to the chairman of the board Charles Bluhdorn‘s office and said ‘take a look at this and you tell me if you want to write a cheque for one hundred thousand dollars’ and I turned the artboard around and there it is; there’s a mountain and a carriage and it says ‘Pray for Rosemary’s Baby’, that’s all. And he looks at it and he becomes so pale that he’s as white as these shoes that I’m wearing and he said ‘I have to pay him one hundred thousand dollars for three [four] words?!’ and I said that’s right, and he did! Pray for Rosemary’s Baby became the ad of the year. It made the picture and without that image people wouldn’t know what it is and they still didn’t know but they were intrigued. It opened to the biggest business Paramount had done in years.”

After a bit of research it seems that although Stephen Frankfurt should be credited as the creative director for the poster, it was actually designed by Philip Gips in conjunction with Richard Danne. I’ve been attempting to figure out exactly where each of these designers worked and I have to confess it has left me slightly confused. Stephen Frankfurt is profiled in this excellent piece by Adrian Curry on Mubi.com that details his involvement in several seminal film posters of the 1960s and 70s, including Downhill Racer and the first Emmanuelle movie. He also worked on opening titles (To Kill a Mockingbird) and trailers for several films, including the one for Rosemary’s Baby. According to the article Frankfurt’s thing ‘was to see the packaging of movies as a totality—designing the titles, posters, trailers and ads with one common look and theme.’ The article also notes that the baby carriage on the crag was shot on the outcrops of rocks in Manhattan’s Central Park.

Frankfurt died earlier this year and in this article in Adweek it mentions that he was also a partner in an agency he set up with Philip Gips and Aubrey Balkind (named simply Frankfurt Gips Balkind), where he worked on over 55 film marketing campaigns. It’s not totally clear but I believe that he must have worked on this poster whilst also serving as president at Young and Rubicam, hence the fact that Robert Evans mentions the larger agency in the interview above.

Note that in the comments of that article someone with the username ‘Villafranca’ writes the following:
“In the mid-90’s, I worked for Philip Gips’s the small agency that he started after he left Frankfurt, Gips Balkind. In his office, he had framed prints of both the “Rosemary’s Baby” and “Alien” posters hanging in his office because, well, he designed them. And one other small tidbit: his wife, Barbara, wrote the line “In space no one can hear you scream” (not Stephen Frankfurt). Phil told me this personally.”

Further on in the comments another poster called ‘danagips’ writes:
“This should absolutely be retitled the movie posters of Phil Gips. And my mother did indeed write, ‘In Space No One Can Hear You Scream’ for Alien.”

In addition to this, the website of AIGA (American Institute of Graphic Arts) features a page on the poster that also credits Richard Danne as a co-designer of the poster. Danne appears to have had a lengthy and lauded career in the New York advertising industry and his official website features a biography that indicates he served as president of AIGA as well as a several other organisations. The Rosemary’s Baby poster features on his website where another agency ‘Gips and Danne’ is mentioned (the AIGA website has examples of that agency’s work).

The agency for the poster is credited as Gips and Danne so does that mean that Philip Gips was also working as a partner in a second design firm in addition to the one he founded with Frankurt and Balkind? Was this job given to Gips and Richard Danne’s firm by Frankfurt who was working for Paramount? I intend to contact Richard Danne to try and clarify but I’d appreciate any other information that people may have so I can accurately credit the poster.

This is the original British quad for the release of the film over here and I was utterly thrilled to find it in excellent, rolled condition. Note the circular snipe in the bottom corner which ties it to the Paramount cinema in London’s Piccadilly Circus. The building was opened in 1921 as the large and luxurious cinema known as the Plaza Theatre that was designed and built for Paramount Pictures to be their showcase venue in London. The Arthur Lloyd ‘music hall and theatre history’ website features a page on the cinema that details its history and has several excellent pictures included. Finally, I’m unsure who will have done the design work to adapt the original portrait one sheet design to the landscape quad format.

A rarely seen teaser one sheet for the theatrical release of the pilot of the original Battlestar Galactica TV series. Created by legendary producer Glen A. Larson, who would later go on to work on the likes of The Fall Guy, Magnum, P.I. and Knight Rider, the decision was made by Universal Studios to cut the pilot down from its three hour running time and release it in cinemas to try and recoup some of the high production costs. It was first released in Canada, Australia and several European countries in 1978 and this poster dates from the domestic release in 1979. Universal would later repeat this idea with the Buck Rogers movie, also produced by Larson, in the same year.

Originally named Saga of a Star World, the pilot sets up the backstory of the 1,000 year war between a colony of humans living in a distant cosmos and the robotic race known as Cylons, who wish to wipe out the entire human race. The humans are betrayed by a traitor known as Baltar (John Colicos) who helps the Cylons launch a surprise attack during a supposed armistice between the two sides. The assault almost wipes out all 12 of the human colonies, with only the Galactaca surviving along with a bunch of smaller civilian ships. The fleet sets off on a journey across the galaxy in search of their long-lost sister civilisation, our planet Earth, with the Cylons in hot pursuit.

The original artwork was done by the late, legendary artist Ralph McQuarrie who was responsible for creating concept designs for the TV series. The site Sci-fi-o-Rama has an article that features several of his illustrations, including the image on this poster. It appears to have been redrawn (check the explosions, for example), but I’m going to give the artist credit to McQuarrie.

Legendary director David Lynch‘s brilliant, surreal nightmare Eraserhead celebrates its 35th anniversary in 2012 and its fair to say cinema has seen nothing else quite like it in the years since it was released. Lynch’s first full-length feature was five years in the making and was begun whilst he worked at the American Film Institute school in Los Angeles. The initial grant of $10,000 given to the director quickly ran out and he was forced to spend the following years using money from odd jobs, as well as donations from friends and family to continue work on it.

Ben Barenholtz, the owner of Libra films saw the completed film at the Filmex Festival and, after declaring it was a ‘film of the future’, decided to help Lynch get the film into cinemas. The first screening took place at midnight on the 29th of September, 1977 and, like Jodorowsky’s El Topo before it, Eraserhead became a staple of Midnight Movie shows in Los Angeles, New York and London.

This Japanese poster is from a 1993 re-release of the film and features the classic shot of Henry (Jack Nance) with his worried stare and great shock of hair. The poster was printed on mirrored mylar paper and is therefore very hard to photograph without capturing lots of reflections.

Having just watched the recent UK blu-ray release of the film, which was apparently supervised by Lynch, I can highly recommend picking up a copy of it as the film has never looked or, perhaps more importantly, sounded as good.

The original trailer is on YouTube.