midnight marauder

Graphic Designer / Illustrator / Cinephile
cinephiliabeyond:

Midnight Marauder's (a brilliant graphic designer/illustrator) Criterion cover for John Boorman’s 1967 classic Point Blank.
Lee Marvin interviewed by John Gallagher (1986). In a rare and comprehensive interview conducted one year before his death, the legendary star reminisces about John Ford, John Wayne, Robert Aldrich, Fritz Lang, Michael Curtiz, Sam Fuller, and John Boorman, and such classics as The Man Who Shot Liberty Valance, Donovan’s Reef, The Big Red One, The Dirty Dozen, Point Blank, his TV series M Squad, and winning the Oscar for Cat Ballou.

Walter Hill just mentioned recently how much Alexander Jacobs’ script for John Boorman’s Point Blank influenced him.

Alex Jacobs’ script of Point Blank (1967) was a revelation. He was a friend (wonderful guy, looked like a pirate, funny and crazy). This revelation came about despite a character flaw of mine. I have always had difficulty being complimentary to people whose work I admire, when face-to-face with them. This is not the norm in Hollywood where  effusiveness is generally a given. Anyway, a mutual friend told Alex how much I admired Point Blank and John Boorman. Alex then very graciously gave me a copy of the script. This was about the time he was doing The Seven-Ups (1973). Anyway, by now I’d been making a living as a screenwriter for maybe two or three years and had gotten to the point where I was dissatisfied with the standard form scripts were written in — they  just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice. Mine were tighter and terser than the average, but I was still working with the industry template and not too happy about it. Alex’s script just knocked me out (not easy to do); it was both playable and literary. Written in a whole different way than standard format (laconic, elliptical, suggestive rather than explicit, bold in the  implied editorial style), I thought Alex’s script was a perfect compliment to the material, hard, tough, and smart — my absolute ideals then. So much of the writing that was generally praised inside the business seemed to me soft and vastly overrated — vastly oversentimental. Then and now, I haven’t changed my opinions about that. But I have changed them about the presentational style.

Anyway I resolved to try to go in that direction (that Alex had shown), and I worked out my own approach in the next few years. I tried to write in an extremely spare, almost haiku style, both stage directions and dialogue. Some of it was a bit pretentious — but at other times I thought it worked pretty well. I now realize a lot of this was being a young guy who wanted to throw rocks at windows. Hard Times was the first, and I think maybe the best. Alien (1979) — the first draft, then when David [Giler] and I rewrote it, we left it in that style. The Driver, which I think was the purest script that I ever wrote, and The Warriors. The clean narrative drive of the material and the splash-panel approach to the characters perfectly fit the design I was trying to make work. Of course all this depend on the nature  of the material; I don’t think the style would’ve worked at all had I been writing romantic comedies. My scripts have always been a bit terse, both in stage directions and dialogue. I think I’ve loosened up in the dialogue  department, but I still try to keep the descriptions fairly minimal, and in some cases purposefully minimalist. I still punctuate to effect, rather than to the proper rules of grammar. I occasionally use onomatopoeias now, a luxury I  would certainly never have allowed myself when I was younger. My favorite description of the dilemma of screenwriting comes from  David Giler, “Your work is only read by the people who will destroy it. —Walter Hill


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cinephiliabeyond:

Midnight Marauder's (a brilliant graphic designer/illustrator) Criterion cover for John Boorman’s 1967 classic Point Blank.

Lee Marvin interviewed by John Gallagher (1986). In a rare and comprehensive interview conducted one year before his death, the legendary star reminisces about John Ford, John Wayne, Robert Aldrich, Fritz Lang, Michael Curtiz, Sam Fuller, and John Boorman, and such classics as The Man Who Shot Liberty Valance, Donovan’s Reef, The Big Red One, The Dirty Dozen, Point Blank, his TV series M Squad, and winning the Oscar for Cat Ballou.

Walter Hill just mentioned recently how much Alexander Jacobs’ script for John Boorman’s Point Blank influenced him.

Alex Jacobs’ script of Point Blank (1967) was a revelation. He was a friend (wonderful guy, looked like a pirate, funny and crazy). This revelation came about despite a character flaw of mine. I have always had difficulty being complimentary to people whose work I admire, when face-to-face with them. This is not the norm in Hollywood where  effusiveness is generally a given. Anyway, a mutual friend told Alex how much I admired Point Blank and John Boorman. Alex then very graciously gave me a copy of the script. This was about the time he was doing The Seven-Ups (1973). Anyway, by now I’d been making a living as a screenwriter for maybe two or three years and had gotten to the point where I was dissatisfied with the standard form scripts were written in — they  just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice. Mine were tighter and terser than the average, but I was still working with the industry template and not too happy about it. Alex’s script just knocked me out (not easy to do); it was both playable and literary. Written in a whole different way than standard format (laconic, elliptical, suggestive rather than explicit, bold in the  implied editorial style), I thought Alex’s script was a perfect compliment to the material, hard, tough, and smart — my absolute ideals then. So much of the writing that was generally praised inside the business seemed to me soft and vastly overrated — vastly oversentimental. Then and now, I haven’t changed my opinions about that. But I have changed them about the presentational style.

Anyway I resolved to try to go in that direction (that Alex had shown), and I worked out my own approach in the next few years. I tried to write in an extremely spare, almost haiku style, both stage directions and dialogue. Some of it was a bit pretentious — but at other times I thought it worked pretty well. I now realize a lot of this was being a young guy who wanted to throw rocks at windows. Hard Times was the first, and I think maybe the best. Alien (1979) — the first draft, then when David [Giler] and I rewrote it, we left it in that style. The Driver, which I think was the purest script that I ever wrote, and The Warriors. The clean narrative drive of the material and the splash-panel approach to the characters perfectly fit the design I was trying to make work. Of course all this depend on the nature  of the material; I don’t think the style would’ve worked at all had I been writing romantic comedies. My scripts have always been a bit terse, both in stage directions and dialogue. I think I’ve loosened up in the dialogue  department, but I still try to keep the descriptions fairly minimal, and in some cases purposefully minimalist. I still punctuate to effect, rather than to the proper rules of grammar. I occasionally use onomatopoeias now, a luxury I  would certainly never have allowed myself when I was younger. My favorite description of the dilemma of screenwriting comes from  David Giler, “Your work is only read by the people who will destroy it. —Walter Hill

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

lapitiedangereuse:

Anita Ekberg during the filming of La Dolce Vita.

lapitiedangereuse:

Anita Ekberg during the filming of La Dolce Vita.

"I don’t direct a film, I set up an atmosphere and the atmosphere directs the film.

— John Cassavetes (1929-1989)

(Source: frenchcinema)

thefoxisblack:

Tony Stella creates rich, inky posters for the best films of the last 100 years. http://bit.ly/VlYlGx

thefoxisblack:

Tony Stella creates rich, inky posters for the best films of the last 100 years. http://bit.ly/VlYlGx

Peter Weir’s “Picnic at Hanging Rock” Polish Film Poster
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Peter Weir’s “Picnic at Hanging Rock” Polish Film Poster

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cinephiliabeyond:

Designed by Midnight Marauder.

Taxi Driver is a very special case: it’s a film that was made because the people involved all made large financial sacrifices and stuck to them for a long time. The entire above-the-line cost for Scorsese, De Niro, Michael and Julia Phillips and Tony Bill, Peter Boyle, Jodie Foster, and myself was probably around $150,000; people were doing it for next to nothing. We were all young enough to want to do something that will last. De Niro told me, when we were talking about whether the film would make any money, that he felt it was a film people would be watching fifty years from now, and that whether everybody watched it next year wasn’t important. That’s how we came to it, and that’s why we didn’t make any compromises; we figured if we’re going to compromise on money, we’re certainly not going to compromise on anything else. There’s nothing in the film that was put there at the studio’s insistence. There are things we disagree about, things I would have done differently. —Paul Schrader interviewed by Richard Thompson

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

(via iznogoodgood)

(Source: tarsjusz, via keyframedaily)

Laurence Olivier’s Hamlet Japanese Film Poster

Laurence Olivier’s Hamlet Japanese Film Poster

Laurence Olivier’s Henry V Original Film Poster

Laurence Olivier’s Henry V Original Film Poster

Jacques Tati’s “Mon Oncle” French Film Poster
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Jacques Tati’s “Mon Oncle” French Film Poster

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