MIFF Talking Pictures

Here’s a short excerpt from the panel I took part in at this year’s Melbourne International Film Festival, talking with some fellow travellers about the current state and future of movie poster design.

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Screen Director podcast interview

Here’s an interview with me rattling on and on about key art design, working with directors and the current state of both key art and Australian movie marketing in general over at the Screen Director podcast. You can access it here (it does last an hour though, so make sure you’re comfy).

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Nice Work #3

The Social Network, Neil Kellerhouse, 2010 In advertising I don’t think you can be disingenuous at all. With social media and the speed of communication you have to be really honest and up front about what you have with your property and be true to the story. So it’s all that and then trying to figure out an interesting and…

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Nice Work #2

Rosemary’s Baby, by Stephen Frankfurt, 1968 Ah, here we are. A bona fide classic, by a bona fide advertising guy. Or maybe not. Let’s just acknowledge this so it can be got out of the way at the beginning: Steve Frankfurt is credited as the creative director for this work. The work fell under his aegis and so, while acknowledging…

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Nice Work #1

Nordeste, designed by Egil Haraldsen, 2005 “Generally I would say that there are too many designers who follow the international trends rather than think for themselves. Of course, society needs more aesthetes. I will be happy to be a politically independent Minister of Taste for future governments – and I shall have unlimited power, a large screen and be allowed…

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Adobe Design For Impact

I was chosen by Adobe as one of four international ‘design heroes’ to present a selection of my work and discuss design and layout, at a live web conference in Singapore. It’s quite a design-focused chat rather than a film-focused one, but we talk about the processes behind Animal Kingdom and Burning Man at some length, and also touch on…

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The Pragmatic Art of Poster Design

Interview with Encore Magazine where four of Australia’s key art designers are asked about the future of key art.  I forgot to bring along any punctuation. For what it’s worth, the points I was stumbling drunkenly toward were these: that key art is still vital as the most concise, succinct distillation of the film, whatever its physical form is; and…

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Work by Jeremy Saunders: An exhibition

27th to 30th May 2010, Dungog NSW. Thanks to the fine folks at the Dungog Film Festival, particularly Stavros and Allanah, for their support and encouragement. The reprints and unprinted designs were printed by WHO Printing in Newcastle, and then those and the original posters were framed and mounted by WHO Presentations. Posh grog was provided by Bluetongue (the other…

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Interview with SBS

As he tells it, “the film industry is small and everybody is closely interconnected. As soon as you do something good, and I’m sure as soon as you do something bad, everybody has found out about it. Things snowballed from there really.” Interview is here (2010).

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Interview with the Sydney Morning Herald

JEREMY SAUNDERS has no trouble finding hanging space for his latest artworks. Generally there’ll be prints in scores of places all around the country. Creating film posters for the likes of Samson & Delilah, Little Fish, Balibo, Candy and Antichrist is a high-profile business … for at least a few weeks. Interview is here (2010).

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Interview with Trespass Magazine

And as somebody who has followed Saunders’ career, it’s not hard to guess that they will be adored by lovers of film posters around the world and he will continue to be “the Jeremy Saunders” who gets slightly embarrassed that his ticket-sellers are causing such a fuss. Interview is here. (2010)

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How to sell Antichrist

Still, it got me thinking about some of my favourite posters this year, and seeing as three of them have been for the same film – Lars von Trier’s Antichrist – I thought I’d investigate further, and talk to some REAL experts (i.e. not you) about how Antichrist was sold around the world. An interview with a number of designers…

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Cinetology Interview

“Regardless of whether it’s a physical poster, a graphic on a web page or a DVD cover, it’s still the most direct shorthand we have to describe the world of the film,” he says. “I don’t think that’s going to go away. At least I hope not because, you know, I’m crap at designing letterheads.” Interview is here. (2009)

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Interview with Australian Edge

Jeremy Saunders arrived in Sydney from the UK in 2000, and has been working as a Key Art Designer on many of the big Australian films since. Designing posters for Candy, Little Fish, Suburban Mayhem, Macbeth and most recently for Samson & Delilah. Interview is here. (2009)

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Interview with Inside Film (full version)

Jeremy Saunders is one of the best key art designers in the Australian film industry, and has designed posters for Suburban Mayhem, Candy, Little Fish, Romulus My Father, The Square and most recently contributed to the art for Dying Breed. Using his poster for The Square as a template, he tells Simon de Bruyn why it’s hard to always get it right. Interivew is…

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