His résumé included ‘Casablanca,’ ‘A Clockwork Orange,’ ‘The Exorcist,’ ‘Dog Day Afternoon’ and decades’ worth of Eastwood films. Bill Gold, who revolutionized the art of the movie poster over a seven-decade career that began with Casablanca and included A Clockwork Orange, The Exorcist and dozens of Clint Eastwood films, has died. He was 97.
Gold died at Greenwich Hospital in Greenwich, Connecticut, on Sunday, according to family spokeswomen Christine Gillow.
The Brooklyn native began at Warner Bros. in the early 1940s and had a hand in more than 2,000 posters during his iconic career, working on films for everyone from Alfred Hitchcock (1954’s Dial M for Murder), Elia Kazan (1955’s East of Eden) and Federico Fellini (1963’s 8 1/2) to Sam Peckinpah (1969’s The Wild Bunch), Robert Altman (1971’s McCabe & Mrs. Miller) and Martin Scorsese (1990’s GoodFellas).
Gold, who received a Lifetime Achievement Award from The Hollywood Reporter during its 1994 Key Art Awards ceremony, had a way of setting the mood for a movie using a less-is-more philosophy.
“We try not to tell the whole story,” he told CBS News in March. “We try to tell a minimum amount of a story, because anything more than that is confusing.”
Gold’s fruitful relationship with Eastwood began with Dirty Harry (1971), and he gave the actor a gun or a gritty countenance on posters for such films The Enforcer (1976), The Outlaw Josey Wales (1976), The Gauntlet (1977), Pale Rider (1985) and Unforgiven (1992).
Gold retired after working on the Eastwood-directed Mystic River (2003) but re-emerged to do the poster for the filmmaker’s J. Edgar (2011).
“With Bill, I knew he would bring great ideas, and the poster he created would be one less thing we had to think about,” Eastwood writes in the introduction to the 2010 book Bill Gold PosterWorks. “He respected the film, he respected the story, and he always respected what we were trying to accomplish.
“Four of the films he worked on won best picture Oscars, including Unforgiven. The first image you have of many of your favorite films is probably a Bill Gold creation.”
Movie critic Leonard Maltin once noted that each of Gold’s posters is “as individual as the movies they are promoting. I can’t discern a Bill Gold style, which is a compliment, because rather than trying to shoehorn a disparate array of movies into one way of thinking visually, he adapted himself to such a wide variety.”
Gold “started drawing at age 8 and never stopped,” he said in a 2016 interview. After graduating from Pratt Institute in New York City, he approached the art director of the poster department at Warner Bros.’ offices in New York.
“He sent me away on a trial to design posters for four earlier films: Escape Me Never and [The Adventures of] Robin Hood with Errol Flynn, The Man I Love with Ida Lupino and Bette Davis’ Winter Meeting,” he recalled.
Gold passed the test and was hired at age 21, and his first assignment was Casablanca (1942).
As he told CBS News, Gold laid out the poster for Casablanca and placed a gun in Humphrey Bogart’s hand at the last minute: “Somebody suggested, ‘This is Bogart. Let’s put a gun in his hand. That’s the way he acts, the way he exaggerates his action. We don’t want just a head of him. It’s too boring!’ ”
The gun was taken from another Bogie film, High Sierra (1941). Gold also was assigned work on Warners’ Yankee Doodle Dandy (1942) around this time.
After enlisting and serving three years during World War II, when he made training films for the U.S. Army Air Force, Gold returned to Warner Bros. and in the late 1950s moved west to work on the studios’ Burbank lot. He started his own company in the early 1960s back in New York.
Gold’s poster for William Friedkin’sThe Exorcist (1973) — showing the priest played by Max von Sydow under a shaft of light outside the Georgetown home of the possessed young girl (Linda Blair) — was created after he was told not to “show anything that had any hint of religious connotation.”
Gold also worked on posters for The Searchers (1956), Cool Hand Luke (1967), Funny Girl (1968), My Fair Lady (1968), Bullitt (1968), Woodstock (1970), Klute (1971), Deliverance (1972), The Sting (1973), Blazing Saddles (1974), Dog Day Afternoon (1975), On Golden Pond (1981), For Your Eyes Only (1981) and Thelonious Monk: Straight No Chaser (1988).
In 2011, producer Sid Ganis, who headed advertising at Warner Bros. during the 1970s, told THR that Gold was “the maestro. He was the one directing his art directors and directing his copy writers on what to do, which was a great thing. He was also the one who communicated with the studio. He was the guy in charge of the symphony.”
Survivors include his wife, Susan, son Bob, daughter in-law Joanne, daughter Marcy, grandson Spencer, granddaughter Dylann and her fiancé Justin, great nephew Jaaron and “man’s best friend” Willoughby.
As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
Welcome to 2036. Niander Wallace introduces his new line of replicants.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
The first of 3 Blade Runner 2049 Short Films.
Jonathan Demme, the Oscar-winning filmmaker who observed emphatically American characters with a discerning eye, a social conscience and a rock ’n’ roll heart, achieving especially wide acclaim with The Silence of the Lambs and Philadelphia, died on Wednesday at his home in Manhattan. He was 73.
His publicist, Leslee Dart, confirmed the death. Mr. Demme disclosed that he had cancer in 2015.
Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.
Robert Jonathan Demme was born on Long Island, in Baldwin, on Feb. 22, 1944, and grew up mostly in nearby Rockville Centre, where he listened to music and went to the movies.
The family moved to Miami, where Jonathan went to high school and worked in a kennel and an animal hospital. Wanting to be a veterinarian, he attended the University of Florida with that in mind until he failed chemistry, at which point he went to the university newspaper, discovered it had no movie critic, and assumed the job himself, he said, so that he could get into movies free.
It happened that Mr. Levine was on vacation in Miami Beach, staying at the Fontainebleau Hotel, where he had become acquainted with the hotel’s publicist, Robert Demme. The elder Demme introduced Mr. Levine to his son, whose review of Zulu impressed him. Mr. Levine offered him a job.
A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it. A former movie publicist, he had an apprenticeship in low-budget B-movies with the producer Roger Corman before turning director.
In 1971, he took a job as a unit publicist in Ireland for a Roger Corman film, Von Richthofen and Brown, about a German flying ace. Shortly after that, he began making films of his own for Corman’s production company. He wrote (with Joe Viola) and produced a biker film, Angels Hard as They Come, and wrote and directed a handful of others, including Caged Heat (1974), a heavy-breathing women’s prison movie, and Crazy Mama (1975), a campy road story with a ’50s rock score that starred Ann Sothern and Cloris Leachman as mother-and-daughter outlaws.
Demme then became known early in his career for quirky social satires that led critics to compare him to Preston Sturges. They included Handle With Care (1977), originally titled Citizens Band, and Melvin and Howard (1980), a tale inspired by true events.
“Music was my first love, movies came second,” Demme once told the New York newspaper The SoHo News. In a 1988 interview with Premiere magazine, he said: “I grew up with rock ’n’ roll — literally,” adding, “The first rock song I remember was ‘Sh-Boom,’ and since then I’ve never stopped obsessing on at least something.”
“I can’t think of any other director who is so instinctively and democratically interested in everybody he shows you,” Kael wrote.
David Byrne of Talking Heads Demme worked together frequently, notably on Stop Making Sense, a 1984 concert film about Talking Heads that many critics (and filmgoers) found mesmerizing, though it had few filmic bells and whistles. (Demme preferred to call it a “performance film” because, he said, it wasn’t about the concert experience — he didn’t show the audience until the end.)
Mr. Byrne also scored Demme’s Married to the Mob, a gaudy 1988 farce in which Michelle Pfeiffer plays the wife of a Long Island gangster (Alec Baldwin) who tries to exit the mob life after her husband is bumped off when he dallies with the girlfriend of the local boss (Dean Stockwell). Things get especially dicey when she moves with her young son into a shabby Manhattan apartment and strikes up a romance with an F.B.I. agent (Matthew Modine) who has her under surveillance.
Later, as a known commodity, Mr. Demme directed prestige Hollywood projects like Beloved (1998), an adaptation of Toni Morrison’s novel about the lingering, post-Civil War psychological horror of slavery, with Oprah Winfrey and Danny Glover in starring roles, and The Manchurian Candidate (2004), a remake of the 1962 Cold War drama of the same title about a brainwashed American prisoner of war. Mr. Demme’s updated version, starring Denzel Washington, Meryl Streep and Liev Schreiber, takes place during the Persian Gulf war.
Demme may be best remembered for two films from the 1990s that were, at the time, his career’s biggest anomalies. The first, The Silence of the Lambs (1991), was a vivid thriller based on the novel by Thomas Harris that earned five Oscars, including best picture and best director. Unlike his previous films, with their mischievous pleasure and tender melancholy, this was straightforward and serious storytelling with only a few moments of shivery humor.
The story is told largely from the perspective of an F.B.I. trainee who becomes a key figure in the pursuit of a serial killer known as Buffalo Bill when she is assigned to conduct a prison interview with Hannibal Lecter, a mad and murderous psychiatrist, hoping to extract from him clues to Bill’s identity.
The Robocop remake is utilising similar (the same!) viral advertising techniques to the excellent campaign used for Prometheus. They have set-up an Omnicorp website that advertises Omnicorp technological products and weapons. The revised ED-209 can be seen above. Check out the Omnicop advert from their webpage which is viewable HERE.
The Omnicorp vision statement from the website reads:
For a half-century, these words have set the framework upon which OmniCorp has aimed to build a brighter world.
We don’t do passive technology. At OmniCorp, our solutions generate a beacon of safety that we shine upon on the dangers of the day. No matter the obstacle – political, cultural, philosophical – we pursue our convictions around the globe to secure peace of mind at home. And when this requires bold new direction, we never allow doubt to shrink our duty. When your quality of life is in the balance, our leadership team will tip the scales.
Our products have elevated your lives. Our people have inspired your future. Our passion will always be at your side.
Contagion got itself some nice viral attention by taking viral very literally. To promote the movie at the Toronto Film Festival in Canada, they merged science and advertising by using actual bacteria in a billboard installation. Guess what happend… The result is an artistic interpretation of the spread of a virus as depicted in the movie. This is one of the better ad campaigns for a movie I’ve ever seen. Forward to me by my friend Aaron. Check it out.