Wednesday, 29 June 2016


It’s widely hailed as the most realistic representation of war ever put on screen, and one of the most challenging battle scenes in an epic war film. This week, on Art of the Scene, in honor of the 71st anniversary of D-Day, we’re looking at the storming of Omaha Beach from Saving Private Ryan. 

Steven Spielberg’s take on this historic battle aimed to do honor to those who fought, and the result is a realistic - and very human - perspective on the chaos of war. But getting the scene put to film was an enormous challenge for everyone involved. From intense military training for the cast, to intensive attention to detail from the costume and art departments, re-creating this seminal historical moment was a mission for hundreds of filmmaking pros.



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Tuesday, 28 June 2016

funko pop labyrinth

Lucasfilm's cult 1980's fantasy movie Labyrinth is coming to Funko Pop's popular line.  Jareth, the Goblin King, Sarah, Ludo and Hoggle are all represented and hit shelves this September.  The playful beast, Ludo, is coming as a super-sized 6" Pop!

Collect the whole line of Labyrinth Pop! figures this September!

funko pop labyrinth

funko pop labyrinth

funko pop labyrinth



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Monday, 27 June 2016

Reviewed by Paul & Patrick Gibbs





THE BFG 
Starring Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clememt, Rebecca Hall, Rage Spall, Bill Hader
Screenplay by Melissa Mathison 
Based on the book by Roald Dahl
Directed by Steven Spielberg






Out of Four


It's expecting too much that the new collaboration between the director and screenwriter of E.T. - The Extra-Terrestrial would equal that film, a genuine masterpiece that ranks among the greatest films ever made. That said, The BFG manages to be a worthy reunion for Steven Spielberg and the late Melissa Mathison which offers a delightful and sweet story, breathtaking effects and production design, and a soulful performance by recent Oscar-winner and celebrated stage actor Mark Rylance in the title role. Okay, admittedly this is a review by two lifelong Spielberg devotees writing for a site devoted largely to Spielberg films. Of course we liked it. But The BFG is so charming and so joyous that you don't have to be a fan to be caught up in its spell.

Based on the beloved children's book by the late Roald Dahl (Charlie and the Chocolate Factory,  Matilda, James and the Giant Peach,  The Fantastic Mr. Fox), The BFG tells the story of Sophie (Ruby Barnhill), a lonely 9-year old girl living in a British orphanage. Late one night (in a sequence that stylistically recalls the first act of Spielberg's Hook) Sophie sees the hand of a giant and, unable to risk her telling other humans of her world, the giant (Rylance) grabs Sophie through her window and carries her off to "Giant Country".

Spielberg has remarked that if he made Hook today modern animation technology would allow him to much better realize the wonder of Neverland, and in more than one sequence, the spectacular design work by Rick Cafter and Robert Stromberg, coupled with amazing effects by Joe Letteri and WETA digital, gives us a taste of what he might have done. Giant Country is a visual marvel, offering a look and atmosphere that is equal parts James Cameron's Pandora and classic Disney animation. Much has been made of Spielberg directing his first film under the Disney label, and the result is a near perfect marriage of the two most iconic names in family films.

The motion capture characters are as smoothly rendered as in Spielberg's The Adventures of Tintin, and again the stylized look avoids the "Uncanny Valley" problem that sometimes plagues motion capture films.

But the effects wouldn't mean anything without the humanity (or whatever the giant equivalent is) that Rylance brings to role of the BFG. Endearing and expressive, Rylance is at once larger than life and beautifully understated, speaking Roald Dahl's "Gobblefunk" so effortlessly you'd think it was his native tongue. This is a role that could have easily gone to a big name comedian, and someone like that might have over-milked it and settled for mugging and shtick, but Rylance treats the BFG as a complex, well-rounded character. It's easy to understand why he's so quickly become a Spielberg favorite.  And Barnhill is thoroughly and utterly charming as Sophie, and the gentle relationship that develops between the two lonely souls is made considerably more poignant by their chemistry (a chemistry made possible by the fact that the actors were on set together, acting off of each other in the moment,thanks to motion capture.). The man-eating giants who act as the film's villains are also highly entertaining, particularly Jemaine Clement of Flight of the Conchords as the vicious but not very bright leader, Fleshlumpeater. And Penelope Wilton nearly steals the film's third act in her turn as the Queen of England (apparently Elizabeth II, as the film is vaguely set in the early 1980's, when the book was released.).

Spielberg and Mathison have taken a few liberties with the source material, adding a backstory which enhances the character arcs of both Sophie and the BFG, and also ads needed gravity to the threat of the bad giants without having to go as dark and gruesome as Dahl did is his descriptions of children being eaten. But fans are likely to be very pleased with the level of faithfulness to the book, and certainly the spirit of Dahl's creation is translated well, with Spielberg admirably resisting the temptation to contemporize  or Hollywoodize the material. Spielberg is much more subtle about mixing his own personality with Dahl than Tim Burton or Wes Anderson were (for the record, we loved both of those films, too, but especially Mr. Fox was a different animal), and it predictably manifests primarily in an emphasis on tugging at the heartstrings. We're just going to flat out say it: this is a case where the movie is indeed better than the book, and it's not because it wasn't a good book, the movie is just so . . . so . . . well, scrum-diddly-umptious.

There's too much top notch work on display here to single out everything, but we'd be remiss if we didn't mention Janusz Kaminiski's storybook cinematography and of course, the whimsical and wondrous score by the legendary John Willliams.

If you're looking for something refreshingly different than the norm in theaters this summer, The BFG is the ticket, whether you're going as a family or by yourself.

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Sunday, 26 June 2016


It's been 20 years since Bill Pullman's character in Independence Day picked up a microphone and passionately told the pilots in waiting that 'we will not quietly into the night, we will not vanish without a fight etc etc, you get the idea.  But it's hard to think it was 1996 when the aliens first came to Earth and took out some of our favourite landmarks.

Independence Day: Resurgence is set, conveniently 20 years after ID4 and since 1996 the people of Earth have set aside their differences, pulled together and thanks to alien technology integration enjoyed a higher quality of life.  As a result of this new technology they've also boosted the Earth defenses and prepared for another invasion.  This time, naively the human race think they're ready.  As you can guess, they're not.



As you've probably gathered by now the aliens return bigger, much much bigger.  In fact we first see the mother ship ripping through the moon, taking out the defenses set up on our nearest neighbour with so much ease we may as well have not bothered.  Prior to the aliens turning up a mysterious sphere appears and hovers over our moon base.  With no communication, the authorities of the world decide to take it out.  After the events of '96, the human race have hot twitchy trigger fingers and shoot first and ask questions later is, it seems the best course of action.

Back to the main mother ship that is now heading to Earth and this thing is big.  It's 3000 miles across and even has it's own gravity.  The ship enters our atmosphere and of course all kinds of chaos begins.  Buildings, cars, people and pretty much everything else is sucked upwards as the gravity of the ship takes over.  Major landmarks are destroyed such as London Bridge and as Jeff Goldblum tells us "they like to get the landmarks.'  What follows is destruction, running, destruction, action and have I mentioned the destruction?

The movie is two hours of guilty pleasure, which is no surprise as the director is Roland Emmerich.  He is well known for providing these 'I like this but I'm not sure why' kind of movies.  It has a bigger budget than it's 1996 counterpart so the special effects along with improvements in CGI ensure the battle scenes and aliens are bigger than before.  Independence Day: Resurgence still has a b-movie feel to it which I'm pleased with.  I was worried after watching the trailers that the whole franchise would take itself too seriously.  It doesn't.  The cheesy feel still oozes from the screen and cast are having so much fun with it, especially the stand out performance of the movie, Brent Spiner.

Jeff Goldblum returns as the scientist and Judd Hirsch his comic relief Jewish dad, Charlotte Gainsbourg is the savvy French doctor, but Brent Spiner who returns as the wacky Brakish Okun truly steals each scene he is in.  He wakes from a 20 year coma just before the aliens arrive and
immediately gets to work trying to figure out the mysterious orb that they picked up from the moon.  No wasting time getting dressed but strolling around in a hospital robe, his butt showing and long dangling white hair, you can't help but laugh at Spiner's character.

The cast isn't small in Independence Day: Resurgence and often the movie does frantically cut to scenes trying to fit in all the characters.  There was obvious effort to fit in a few Chinese characters to please the Chinese audience who have recently embraced Hollywood and become an important part of the overall global box-office takings.

We have the predictable hot-shot hero role performed adequately by Liam Hemsworth.  Hemsworth is Jake Morrison, renegade pilot in The Earth Space Defense Force, a special defense program full of good looking Top Gun extras skilled at dog-fighting and wielding advanced alien weaponry mastered since the last attack.

Jake Morrison is (reluctantly) joined by Dylan Dubrow-Hillier (Jessie Usher), the very serious son of decorated war veteran Steven Hillier who was of course played by Will Smith and noticeably absent from the movie.  A large painting of Steven Hillier is the best we're going to get in this movie.  By the way the back story of how and why Steven Hillier is missing from the movie is quickly mentioned in the movie but you can buy graphic novels that tell the story in more detail.

Apart from trying to fit in all these characters and others I haven't mentioned including Bill Pullman who reprises his role as the president all be it a retired one the pace of the movie is perfect and as you can imagine extremely fast paced.  It rarely gives you time to catch your breath with set pieces building on the moon, Area-51, the mother ship, out at sea and the climax in the Nevada desert.  It's not a perfect movie, there are a lot of plot holes but the one thing you can't do is take the movie seriously.  It's an alien invasion movie and at times you would think you've just paid good money to watch an Asylum Studios movie that someone managed to get more than the half million dollars they normally spend on a film.  But that's okay, I know what I was expecting.  I didn't want a movie with a heavy story, I wanted aliens and human  going at it and I wasn't disappointed.  I've read some reviews saying there is no plot and it's a by the numbers disaster movie.  That's what I paid for.

The soundtrack is adequate.  The absence of David Arnold who scored the original is noticeable but Harald Kloser and Thomas Wander do a job worthy of the film.  The familiar signature tune from the original is dropped in from time to time especially at the beginning when we hear the famous president speech being played.  Other pieces seem to sound a little synthetic at times sounding like they've come from a soundblaster soundcard rather than from an orchestra.



I left the cinema smiling.  I'm a sucker for alien invasion movies and Independence Day: Resurgence did not disappoint.  As I've mentioned I was worried it was going to take itself seriously and it didn't.  It looked great, was action packed and I had a blast.  I wanted more and thankfully we are left with a story that paved the way for at least one more. That's what I want from an Independence Day movie.  It was a serious close encounter...but not too serious.

Independence Day: Resurgence
Director: Roland Emmerich
Writers: Nicolas Wright (screenplay), James A. Woods (screenplay)

Stars: Liam Hemsworth, Jeff Goldblum, Bill Pullman

Score:


Rob Wainfur
@thebeardedtrio 



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Saturday, 25 June 2016


The Chicago Symphony Orchestra will be celebrating the 35th anniversary of Raiders of the Lost Ark by performing the classic John Williams score live as fans experience the action-packed film on the big screen.

There will be three performances, with Richard Kaufman conducting the CSO:

Thursday, June 30 at 7 p.m.
Friday, July 1 at 7 p.m.
Saturday, July 2 at 2 p.m.

Tickets are available now: http://cso.org/

Know your Indy trivia? Visit the CSO Facebook page for a chance to win a Raiders DVD and score signed by John Williams!

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Contact Lisa at lisad@coffeewithkenobi.com 
temple of doom behind the scenes
Kate Capshaw, Frank Marshall and Harrison Ford Prepare To Film -1983
Indiana Jones and the Temple of Doom is timeless.  We have published what we think are some rare behind the scenes photos from the Steven Spielberg directed movie starring Harrison Ford.  Enjoy.


temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes
George Lucas gets ready for his cameo. 

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes

temple of doom behind the scenes
Dan Aykroyd and Steven Spielberg

temple of doom behind the scenes

temple of doom behind the scenes
Prince Charles and Princess Diana at the premier of Temple of Doom

temple of doom behind the scenes
Marshall, Quan and Kathleen Kennedy
Rob


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Friday, 24 June 2016


This has to be one of my favourite behind the scenes videos featuring Steven Spielberg I've watched for quite some time.  Steven Spielberg drives around Universal Studios lot and talks about the movies he shot.  He also tells us how he used to sneak onto the studios and watch TV shows being made.  He even confesses how he got thrown off one shoot (a Hitchcock movie) by a third assistant director.

Look out for the part where Steven tells us he wants the Orca boat from Jaws to be remade for the lot.  “I’m going to actually ask them to rebuild it and put it back here,” Spielberg says. “Because the tourists would love to see the Orca here.”

It really is a wonderful video and any Steven Spielberg fan needs to watch this.  He mentions Jaws, Back to the Future II, War of the Worlds, Lost World and more.

Source - EW


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The Bearded Trio have been sent a press release from Lucas Museum of Narrative Art.  They confirm that Chicago is no off their list of viable places for the museum.  Here's the press release in full:

Dear Friends of the Lucas Museum of Narrative Art,

Today we announced that the Museum will no longer pursue Chicago as a site for building the Museum, turning our attention instead to sites in California.  Our statement appears below.

I wanted to personally thank you for your support and belief in the Lucas Museum.  During these challenging times, it has been heartening to have such an outpouring of enthusiasm and encouragement from so many.

I want to also assure you that we will be delighted to welcome you to the Museum once we reach our opening celebrations.

With sincere gratitude,
DON

Don Bacigalupi. Ph.D.
Founding President
Lucas Museum of Narrative Art

Lucas Museum of Narrative Art Withdraws from Chicago
Museum will be built in California
 

CHICAGO, June 24, 2016 — The Lucas Museum of Narrative Art announced today that in light of extensive delays caused by Friends of the Parks, Chicago will no longer be considered a potential site for the museum. The board of directors and executive leadership of the museum confirmed that California will be its future home.

“No one benefits from continuing their seemingly unending litigation to protect a parking lot,” said George W. Lucas, founder and chairman of the Lucas Museum of Narrative Art. “The actions initiated by Friends of the Parks and their recent attempts to extract concessions from the city have effectively overridden approvals received from numerous democratically elected bodies of government.”

The location — a parking lot near Soldier Field — was originally selected by Chicago’s Site Selection Task Force in May 2014 and subsequently approved by the City Council, Park District, Plan Commission, Department of Zoning, Illinois General Assembly and the governor. When the city offered McCormick Place East as an alternative to the parking lot, Friends of the Parks announced plans to block consideration of that location as well as any lakefront site or park in Chicago.

On behalf of his wife, Mellody Hobson, and other members of the Lucas Museum of Narrative Art Board of Directors, Mr. Lucas expressed gratitude to the many people throughout the community who worked tirelessly to bring the institution to life on Chicago’s Museum Campus. “We are deeply appreciative to Mayor Rahm Emanuel, Governor Bruce Rauner and countless others for all the time and effort they invested in trying to secure the museum for Chicago,” said Mr. Lucas.

The education-focused public institution remains dedicated to expanding public understanding and appreciation of narrative art in all its forms, providing inspiration and learning, especially for young people.

Mr. Lucas stated, “While Chicago will not be home to the museum, my wife and I will continue to enthusiastically support a wide variety of educational and cultural activities throughout the city.”

Will they head back to San Francisco?  Or will a new location further afield be an option?  What do you think?

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The 42nd Saturn Awards took place on Wednesday and the big winner was Star Wars The Force Awakens which took home 8 awards including Best Science Fiction Film, Best Actor (Harrison Ford), Best Supporting Actor (Adam Driver), Best Writing (Lawrence Kasdan, J.J. Abrams, Michael Arndt), Best Editing (Maryann Brandon, Mary Jo Markey), Best Music (John Williams), Best Make-Up (Neal Scanlan), and Best Special Effects (Roger Guyett, Patrick Tubach, Neal Scanlan, Chris Corbould).  This year’s awards were hosted by Arrow’s John Barrowman.

Here's the full list of winners:

FILM AWARDS

Best Science Fiction Film: Star Wars: The Force Awakens

Best Comic-to-Film Motion Picture:  Ant-Man

Best Fantasy Film: Cinderella

Best Horror Film: Crimson Peak

Best Action/Adventure Film: Furious 7

Best Thriller Film:  Bridge of Spies

Best International Film:  Turbo Kid

Best Animated Film:  Inside Out

Best Independent Film:  Room

Best Actor: Harrison Ford (Star Wars: The Force Awakens)

Best Actress: Charlize Theron (Mad Max: Fury Road)

Best Supporting Actor: Adam Driver (Star Wars: The Force Awakens)

Best Supporting Actress:  Jessica Chastain (Crimson Peak)

Best Performance by a Younger Actor: Ty Simpkins (Jurassic World)

Best Director: Ridley Scott (The Martian)

Best Writing:  Lawrence Kasdan, J.J. Abrams, Michael Arndt (Star Wars: The Force Awakens)

Best Production Design: Thomas E. Sanders (Crimson Peak)

Best Editing: Maryann Brandon, Mary Jo Markey (Star Wars: The Force Awakens)

Best Music: John Williams (Star Wars: The Force Awakens)

Best Costume: Alexandra Byrne (Avengers: Age of Ultron)

Best Make-Up: Neal Scanlan  (Star Wars: The Force Awakens)

Best Special Effects: Roger Guyett, Patrick Tubach, Neal Scanlan, Chris Corbould (Star Wars: The Force Awakens)


TELEVISION AWARDS

Best Science Fiction TV Series: Continuum

Best Horror TV Series: The Walking Dead

hannibal-season-3-mads-mikkelsen-wrath-of-the-lamb
Image via NBC
Best Action/Thriller TV Series:  Hannibal

Best Fantasy TV Series: Outlander

Best Presentation on Television:  Doctor Who: The Husbands of River Song

Best Superhero Adaptation Television Series:  The Flash

(*)  Best New Media TV Series:  Marvel’s Daredevil

Best Actor on Television:  Bruce Campbell (Ash vs Evil Dead)

Best Actress on Television:  Caitrionia Balfe (Outlander)

Best Supporting Actor on Television: Richard Armitage(Hannibal)

Best Supporting Actress on Television: Danai Gurira (The Walking Dead)

Best Younger TV Actor: Chandler Riggs (The Walking Dead)

Best Guest Star on Television: William Shatner (Haven)

HOME ENTERTAINMENT AWARDS

Best DVD/BD Release: Burying the Ex

Best DVD/BD Classic Film Release: Miracle Mile

Best DVD/BD Collection Release: Frank Darabont Collection

Best DVD/BD Television Series Release: X-Files: The Collector’s Set

Best DVD/BD Special Edition:  X-Men: Days of Futures Past (The Rogue Cut)

Best Local Stage Production:  Tarzan (3D Theatricals)

SPECIAL ACHIEVEMENT AWARDS FROM THE ACADEMY OF SCIENCE FICTION,
FANTASY & HORROR FILMS

The Lifetime Achievement Award: Nichelle Nichols

The Dan Curtis Legacy Award: Eric Kripke

The Breakthrough Performance Award: Melissa Benoist (Supergirl)

George Pal Memorial Award:  Simon Kinberg        

Special Recognition Award:  Brannon Braga

President’s Award:  Haven

(*)  Spotlight Award:  Better Call Saul

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Thursday, 23 June 2016


It's been a few months since any real Doctor Who news has surfaced -- since the announcement of Pearl Mackie as the new companion back in April, actually. Well, things are starting to plug along, and filming on series 10 officially kicked off this past Monday in Cardiff! 

A few new images have surfaced, one from the first table read featuring Peter Capaldi, as the Doctor, and Pearl Mackie as Bill.


And this one from Pearl's first day of filming!


Here's a special greeting for fans that accompanies the image:


Also, Matt Lucas is returning to Doctor Who! He will be reprising his role as Nardole from last year's Christmas special, "The Husbands of River Song." He will be joining the Doctor and Bill in their first adventure for series 10, which is being written by Steven Moffat.

The casting of Stephanie Hyam (Peaky Blinders, Sherlock) has been announced as well. Other writers for series 10 include Frank Cottrell-Boyce, Sarah Dollard (series nine's "Face the Raven"), and Mike Bartlett.

Doctor Who returns with its traditional Christmas special in 2016, and the new series will premiere some time in 2017. No official date has been announced, but we will keep you updated.


Images from the Doctor Who Facebook page.


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SaveSaveSaveSave
BFI SPIELBERG POSTERS

Dean Newman interviews designer, Kyle Robertson on his Steven Spielberg posters for the BFI.

Steven Spielberg, his movies have not just changed Hollywood but shaped our lives. Throughout June and July the BFI have been spoiling us with an amazing season celebrating the films – and some television – of Steven Spielberg, covering everything from Duel (released theatrically here in Europe) to Amazing Stories and of course his summer blockbusters. Close Encounters, Indiana Jones, E.T. and the granddaddy of the modern summer blockbuster as we know it, Jaws.

To accompany such a breadth of work, the BFI commissioned four pieces of work promoting the season utilizing striking and iconic imagery that is ingrained not just in film culture, but that of popular culture. Images were chosen from Jaws, E.T., Raiders of the Lost Ark and Jurassic Park, each riffing on a Spielberg classic that celebrates both the man and his movies.

As a lifelong-Spielberg and Jaws fan, I, Dean Newman (DN), took the opportunity to interview its designer, Kyle Robertson (KR), who works for the BFI as part of their in-house design team, he’s also a senior digital designer and illustrator.

I took the opportunity to speak to him about Spielberg’s films, the changing face of film posters and tips for anyone wanting to get into film poster design

DN: The four designs are simple yet inspired, how difficult was it coming up with a new take on such classics?

KR: The main objective of this campaign was to capture the iconic films of Spielberg. We decided to
feature his well-known summer blockbusters; E.T, Jaws, Jurassic Park and Raiders of the Lost Ark. I wanted to design a suite of posters that would show these well-known movies in a new light, but also take people back to their childhood memories of seeing these for the first time.

DN: Were you given these four films as design options or did you have any say? Was it only these four or were any others in contention, such as Schindler’s List or Close Encounters?

KR: There was a long conversation over the titles we were going to feature. In the end we settled on his summer blockbusters due to the fact we were screening the season in the summer and wanted to create a lighter mood than say featuring Schindler’s List or Saving Private Ryan.

DN: Jaws, Jurassic Park, Raiders and ET, classic films, classic scores but also classic posters. How did you approach these film posters and associated imagery that are so ingrained in our pop culture?

KR: I started by watching the films again, doing a lot of reading and image research. Looking at the classic film posters, book covers, fan art, and everything else out there. This gives you a good idea of what works and what doesn’t. While designing the early sketches I would even listen to the soundtracks. The goal was to capture the essence of the film that everyone knows and loves, but come at it from a different angle.

DN: Once you had the fin, dinosaur head, Indy’s head etc, were there several options for main images to be included in them? Any spring to mind?

KR: We were limited in terms of imagery as we only used imagery from our own BFI Image Database, with exception for the Jurassic Park still which we got from the studio directly. We wanted to use iconic imagery that creates a certain mood. A good example was Jaws. Using the image of the woman in the water screaming within the shark fin shape stirs up all kinds of fear and emotion. We used these themes across the four designs. Fear for Jaws, wonder for E.T., Adventure for Raiders and Thrills for Jurassic Park.

DN: Four posters for one season, normally I’ve only ever seen one, was it unusual to have so many?

KR: It is quite unique to do several pieces of artwork for one season. Ordinarily we use just one poster for a season. But for big seasons which span several months there was an opportunity to do several.

DN: Did you have to pitch for the job with the design we see or do you do a lot for the BFI?

KR: Pitching for the work was not necessary as I work at the BFI as an in-house designer.

DN: Which one are you most pleased with and why? My personal favourites are Jurassic Park and Jaws.

KR: I like the concept of Jaws, but E.T is probably my favourite due to it being one of my favourite films and the colours work well.

DN: Do you have many alternative designs/sketches/scamps that weren’t used?

KR: Sorry, not allowed to share these designs, but yes many were created. Some photographic, some illustrative.

DN: Have you heard any reaction from Spielberg himself, or anyone associated with him re the designs?

KR: We worked very closely with Spielberg’s production company and Steven Spielberg had to sign off the artwork himself. The reaction was very positive.

DN: You mention ET as being one of your favourite films, why that film?

KR: It’s just a one-of-a-kind film that has everything; adventure, excitement, laughs and takes me right back to my childhood. I saw it recently at the BFI on the big screen and it still gives me chills watching the bikes take off with that amazing John Williams score.

DN: What was the first Spielberg film you saw at the cinema and how old were you?

KR: Jurassic Park was the first film I saw on the big-screen and I must have been 11.

DN: There have been lots of great designers and artists work on Spielberg posters, such as Drew
Struzan (Indy), John Alvin (E.T.) and Jaws (Roger Kastel). As a designer what’s your favourite Spielberg film poster and why?

KR: The Drew Struzan posters for Indy are great. His style is so amazing and when you see his work you know it’s a Drew Struzan poster immediately.

DN: What’s been the reaction across social media to your work?

KR: The reaction to the work has been great. A lot of people making nice comments about it reminding them of their childhood and going to the movies which is great to hear.

DN: The designs have an immediate impact, how was it seeing them writ large on the giant billboards?

KR: I cycled past the Jaws billboard in Shoreditch and nearly fell off my bike when I first saw it. It’s a great feeling to see any artwork on a big scale, but the Jaws artwork looked very cool.

DN: The posters – like many film posters today – rely heavily on photographic images, do you miss the era that the likes of Alvin, Struzan and Kastel were working in with their detailed artistic designs?

KR: A lot of the BFI posters are based on photographic elements due to the nature of us portraying film and the moving image. We still do illustrative design work such as our current ‘Architecture on Film’ series. I am a big champion of the illustrative style and feel when handled correctly it can make a big impact.

DN: I guess it’s the same with the James Bond posters – I loved the likes of The Living Daylights, the last of the art designs. It all seems to be Adobe Illustrator/Photoshop these days.  Do you lament what some people see as the dying art of film posters?

KR: I think it’s inevitable for methods and practices to change regarding this. In my experience this is mostly due to time restraints. To illustrate a poster takes a lot of time and what you have to remember about film season artwork is that it is hugely political and involves a huge amount of people’s input from many departments.
So unfortunately there just isn’t the time to do this. We quite often pencil sketch concepts roughly and then take them into the Adobe suite to design and artwork. This gives you a huge amount of flexibility and freedom to work.

DN: Any tips for anyone wanting to design posters?

KR: You have to have a love of film naturally and spend most of your spare time watching films! You should also have a good knowledge of different design techniques and treatments. I try not to design the same thing twice.

DN: What do you think makes a great film poster?

KR: A simple but effective idea. Keep it fairly minimal. The more you add, the more the impact is lost from the design.

DN: Are you working on any other exciting projects?

KR: I am currently working on a big campaign for the BFI celebrating black talent in film.

The Steven Spielberg season continues into July with cinematic delights to offer everyone, whether its Jurassic Park, Schindler’s List, Saving Private Ryan, A.I., Catch Me If You Can, War of the Worlds, Lincoln, The Lost World: Jurassic Park, Amistad, Minority Report, The Terminal, Munich, Bridge of Spies, The Adventures of Tintin – The Secret of the Unicorn and War Horse.

Other highlights include a whole day devoted to the Indiana Jones films – Saturday 9 July – although they can also be caught individually across the month on other days as well, and there is also a very special screening of E.T. on Sunday 26 June which features a Q&A with producer Kathleen Kennedy – her first producing credit – and director Edgar Wright, who collaborated on Tintin. Access the remaining programme here.

If your reaction to the Spielberg season posters designed by Kyle Robertson is as positive as the director himself, then you are in luck as you can now buy copies of the designs from the BFI Printstore.


Credit belongs to the British Film Institute (BFI) for all images that appear in this article.


Dean Newman


Twitter: @Loxley_1975

Lifelong Jaws, Spielberg, Robin Hood and James Bond fan, Dean used to blog for the Syfy Channel  but is now a budding scriptwriter and blogger of film, TV and everything inbetween.

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