With the opening of the “J’ai tué le photographe” movie poster exhibit in Montreal today, three beautiful new movie posters will be released. All of the specs on each are below. They will be first sold at a discounted rate as sets (only ten available) on Tuesday, October 5th around 1pm Eastern Time. After that, individual posters will be available on Wednesday, October 6th at 1pm Eastern Time. Both sales will take place at VonScarmouche.com.
“El Topo” by Martin Ansin
24″ x 36″ Screenprint, Edition of 265.
“The design of this poster is heavily influenced by the symbolism of Jodorowsky’s “El Topo”. Behind the presentation of the characters of the film, lies a geometric arrangement that relates to the Christian and Eastern symbolism in the journey of the main character. The original inspiration for this arrangement came from totemic culture and geometric religious shapes, such as mandalas. For instance, on this poster the five faces can resemble a Christian cross, hinted at by the lighting on Jodorowsky’s face, and relating to the downfall and “rebirth” of the main character at the end of the first half of the film. Also, the composition shows two triangles—described by the hands and bottom face, and the three top heads and hats—forming a shape similar to a unicursal hexagram, allegedly used in mythology to express the belief that one can eventually become some sort of a divine figure, a theme that runs through the film.”
“El Topo” by Martin Ansin (Variant)
24″ x 36″ Screenprint, Edition of 35:
“Old Boy” by Rhys Cooper
18″ x 24″ Screenprint, Edition of 210.
“I came across Chan-wook Park’s dark and twisted masterpiece “Oldboy” as I was channel surfing late one night. I’d just fallen across the infamous hammer / teeth scene only to be followed by the even more incredible and iconic hallway fight scene. After seeing these, my mind fully blown, I turned off the tv, it was enough for me to hunt down and buy the dvd the next day. For the concept and design of my Oldboy poster I really wanted to capture what had become of Oh Dae-Su as his life and sanity had been pushed to its limits, to the point where even his grips on his humanity come into question. Fans of the film should pick up on the numerous references and clues while hopefully, as all good posters should, it encourages those who haven’t seen it to seek it out and experience it. But be warned, don’t fall in too deep.”
“Full Metal Jacket” by Tim Doyle
18″ x 24″ Screenprint, Edition of 200.
“I saw Full Metal Jacket at WAAAAAYYYY too early of an age, and it formed my opinion on war in a brutal 2 hour salvo. That opinion? It’s not for me. As a work of art, the film is a difficult one- the tone shifts considerably at just about the half-way point- it’s essentially 2 films that just happen to have the same lead. But both show the complete dehumanization one must undergo in the process of becoming war-ready, and in the execution of it. The vulgar phrase, “Sally-Jane Rottencrotch’s pretty pink panties” fall on the ears like the memory of a soft lullaby of wholesomeness compared to the spray of bullets and stacks of human meat later in the film. The ubiquitous MOUSE ends each chapter in the film (in epithet and song) and presents a smiling face, now obscene in it’s ineffectual innocence. And to be honest, I think it balances the poster out nicely.”