MMM = Midnight Marauder “Maniac” Exclusive Preview Blurppy.com
The Series was made in conjunction with Alternative Movie Posters Maniac DVD Contest
Thanks to Don over at Blurppy for his support.
Follow me on Twitter for the Friday Drop on the Entire Series
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/d03bfe929c1262a071cee8ea0436f189/tumblr_moaga8ViIq1rovfcgo1_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/a83758fe79967ffdbe2201e81c35bc08/tumblr_moaga8ViIq1rovfcgo2_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/7b72a1f09c695d387dbe65ecdc3afae1/tumblr_moaga8ViIq1rovfcgo3_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/93416569b72ed3b14278c6546cb8dd15/tumblr_moaga8ViIq1rovfcgo4_500.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/8a297644984975761e938944434c5e36/tumblr_moaga8ViIq1rovfcgo5_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/b65d23d4b7ff448faddb2538711a1525/tumblr_moaga8ViIq1rovfcgo6_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://25.media.tumblr.com/995e26291abaee31e05ebbf8e3b8d192/tumblr_moaga8ViIq1rovfcgo7_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/636fb5f651aec9b936a46780a1fa99a6/tumblr_moaga8ViIq1rovfcgo8_1280.jpg)
![One of the Greatest Endings in the History of Cinema
cinephilearchive:
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
Tweet
//
// ]]>
Follow @LaFamiliaFilm
//
// ]]>](http://24.media.tumblr.com/855a310a01d8a21e6a2d464c659adaf2/tumblr_moaga8ViIq1rovfcgo9_r1_1280.jpg)
One of the Greatest Endings in the History of Cinema
Rarely seen photos from The Good, The Bad, and the Ugly: The final duel.
Sergio Leone’s 1966 cult masterpiece “The Good, the Bad and the Ugly” is well known for its final standoff in a circular cemetery (created especially for the film). The final shot of the film was intended to be a long helicopter shot of “Blondie” (probably Clint Eastwood’s double/stand-in) riding into the wide open countryside. However after the footage came back with too much bounce and shake, the shot was discarded (a static shot from the ground was used instead). The photos come from various sources, mostly my own collection of rare stills and a book called “Western Cult”. Photography by Angelo Novi. —Jordan Krug, the edit room floor
Rare interview with Sergio Leone: The great director speaks about his trilogy; A Fistful of Dollars, For A few Dollars More and The Good, the Bad and the Ugly and his desire to make a new type of film in the USA.
Henry Fonda talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview:
Leone’s West and Leone’s Style. It has lengthy interview material with both Clint Eastwood and Eli Wallach, along with English version supervisor Mickey Knox, producer Alberto Grimaldi, restorer John Kirk and critic Richard Shickel. Wallach tells his favorite stories and shows that he’s still as feisty as ever; Eastwood is in a reflective mood, as if he hadn’t thought about this period of his career in a long time. Both have fun remembering comical details of the shooting. They relate the story of the bridge scene as one of the funniest (but expensive) filming flubs of all time.
I made 58 films as an assistant—I was at the side of directors who applied all the rules: make it, for example, a close-up to show that the character is about to say something important. I reacted against all that and so close-ups in my films are always the expression of an emotion… so they call me a perfectionist and a formalist because I watch my framing. But I’m not doing it to make it pretty, I’m seeking, first and foremost, the relevant emotion. —Sergio Leone
2 Maniac Conceptual Designs. These are part of over a dozen different designs that I will be premiering June 21st
Happy Weekend to All !!
MM
Sofia Coppola’s “The Bling Ring”
By MM
THE ART HOUSE: THE BEAUTIFUL MOVIE POSTERS OF POST-WAR GERMANY
Imagine a time and a place where normal marketing methods didn’t dictate process, where the goal of making a poster was to reach an audience who were actually interested in film. Reaching people with an idea is what mattered, not whether something should be redder or bigger or isolate every single last supporting character from an upcoming blockbuster. Production costs and techniques may have been limited, but those restrictions bore a well of creativity. From the early 1950s until the late 1970s, such a place existed in a briskly evolving Europe. With cinema found lacking in post-war Germany, three distribution companies began carving out names for themselves, bringing home from abroad a diverse set of art house films coupled with a unique approach to advertising. The approach to crafting a movie poster in America was felt to be an exhausted avenue unsuitable for the needs of the German public, and so Atlas Film, Constantin Film, and Neue Filmkunst each sought out a burgeoning group of young artists to bring forth a new means of visual communication to the public.
For over two decades, they painted, drew, used photography, mixed media, and made montages, employing different methods based off of the different subject matters within each respected film. Everything was up for grabs, from the literal to the surreal and the symbolic. And the output was astounding: more than two hundred posters were created, ranging from advertisements for silent American classics to the New Wave of Truffaut and Godard, each striking yet appropriate in their own way. Ferry Ahrlé, Karl Oskar Blase, Heinz Edelmann, Fritz Fischer and Dorothea Fischer-Nosbisch, Hans Hillmann, Jan Lenica, Günther Kieser, Hans Michel, Isolde Monson-Baumgart, Gunter Rambow, Gerhard Lienemeyer, Wolfgang Schmidt, and Tostmann Werbetechnik brought new life to well known favorites for an audience hungry for the best that cinema had to offer.
Brian De Palma’s 1980 Film : Dressed To Kill
Arrow Video Contest Entry Artwork
More Work can be found over at My New Site
Get your Copy of MovieMaker Magazine’s New Issue 104 : Hits Newsstands Today (June 4th) : Art By MM Outside and Inside !!
www.moviemaker.com
Last Year At Marienbad - an Alain Resnais film(One of my favorite films, just spreading the love)
CC : Vincent Gallo’s 2003 Film The Brown Bunny
MM
CC Blu Ray Upgrade :: Coppola’s 1974 Film The Conversation
THE ART HOUSE: THE TRIALS & TRIBULATIONS OF MINIMALIST MOVIE POSTERS
“It’s 1905. A German artist by the name of Lucian Bernhard, reacting to the visual excess of Art Nouveau, begins stripping out the unnecessary in favor of the essential. Others slowly follow in his path, and a new minimalist sensibility to design is born. Coined Sachplakat (object poster), posters designed in this vein often exerted a beautiful clarity lost to advertisements concerned primarily with the ornate. They had no unifying style, but their strength, lying in their ability to communicate both simply and directly, left its mark on over a century of poster design.
And now, years later, we’re surrounded by their descendants.”
A little while Back, I had the Honor of being asked to Participate in an Upcoming Book on Alternative Movie Poster.
The Book will feature some of the Best Artists working in the Field.
Well Here is a Sneak Peek At the Book’s Amazing Cover, Designed by Steve Dressler.
Alternative Movie Posters: Film Art from the Underground
The Book will be Released This October (2013)
More Info as I get it, But for now if you want more News on the Book and it’s Creator.
Head over to Twitter : @altfilmart
Head over to Facebook : https://www.facebook.com/altfilmart
Thanks
MM
The Great Gatsby Unused Design Concepts for The ShortList.com
I wanted to share some Quick Design Concepts to Show you some Ideas That Didn’t make the cut. As you can see some are Interesting …
MM
A Message From MM : In the Weeks and Months Ahead I will be incorporating More Criterion Blu Ray Cover Formats to my Designs.
Please keep in mind that I will not just be revamping old Covers, But working on NEW Film Titles.
I have been testing out the New Blu Ray Format on some Old Favorites.
1) Prometheus
2) Halloween
3) The Conversation
4) Mean Streets
5) Butch Cassidy and The Sundance Kid
6) Blow Out
Thanks and I wish you all an amazing Memorial Day Weekend !!
MM
