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.
John Boorman (born 18 January 1933) is a British filmmaker who is a long time resident of Ireland and is best known for his feature films such as Point Blank, Deliverance, Zardoz, Excalibur, The Emerald Forest, Hope and Glory, The General and The Tailor of Panama.
Boorman first began by working as a dry cleaner and journalist in the late 1950s. He ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking, eventually becoming the head of the BBC’s Bristol-based Documentary Unit in 1962.
His feature debut was Catch Us If You Can (1965), about competing pop group Dave Clark Five, a rip-off of Richard Lester’s ‘A Hard Days Night’. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank (1967), a gritty, powerful and brutal film, he brought a stranger’s vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman.
After Point Blank, Boorman re-teamed with Lee Marvin and Toshiro Mifune for Hell in the Pacific (1968), which tells a fable story of two representative soldiers stranded together on an island. Returning to the UK, he made Leo the Last (US/UK, 1970). The film won him a Best Director award at Cannes.
Boorman achieved much greater resonance with Deliverance (1972), the odyssey of city people played by Jon Voight, Burt Reynolds, Ronny Cox and Ned Beatty as they trespass into the Appalachian backwoods and discover their inner savagery. This film became Boorman’s first true box office success, earning him several award nominations. He followed with the cult film Zardoz (1973), starring Sean Connery, a post-apocalyptic sci-fi piece, set in the 24th century.
Boorman was selected as director for Exorcist II: The Heretic (1977), but the resultant film was widely ridiculed and regarded by many as a failure. The film is set four years after The Exorcist, and centers on a now 16-year-old Regan McNeil who is still recovering from her previous demonic possession.
Exorcist writer/producer William Peter Blatty and director William Friedkin both had no desire to involve themselves in an Exorcist sequel. According to the film’s co-producer Richard Lederer, Exorcist II was conceived as a relatively low-budget affair: “What we essentially wanted to do with the sequel was to redo the first movie… Have the central figure, an investigative priest, interview everyone involved with the exorcism, then fade out to unused footage, unused angles from the first movie. A low-budget rehash – about $3 million – of The Exorcist, a rather cynical approach to movie-making, I’ll admit. But that was the start.”
Playwright William Goodhart was commissioned to write the screenplay, titled The Heretic, and based it around the theories of Pierre Teilhard de Chardin (the Jesuit paleontologist/archaeologist who inspired the character of Father Merrin when Blatty wrote The Exorcist). Boorman was unhappy with Goodhart’s script, and asked Goodhart to do a rewrite, incorporating ideas from Rospo Pallenberg. Goodhart refused, and so the script was rewritten by Pallenberg and Boorman. Goodhart’s script was being constantly rewritten as the film was shooting, with the filmmakers uncertain as to how the story should end. Actress Linda Blair recalls “It was a really good script at first. Then after everybody signed on they rewrote it five times and it ended up nothing like the same movie.”
British filmmaker Boorman signed on to direct, stating that “the idea of making a metaphysical thriller greatly appealed to my psyche.” Years before, Boorman had been considered by Warner Bros. as a possible director for the first Exorcist movie, but he turned the opportunity down as he found the story “rather repulsive.” Boorman, however, was intrigued with the idea of directing a sequel, explaining that “every film has to struggle to find a connection with its audience. Here I saw the chance to make an extremely ambitious film without having to spend the time developing this connection. I could make assumptions and then take the audience on a very adventurous cinematic journey.” He should have left it alone…
Boorman returned with Excalibur (1981), a retelling of the Arthurian legend. For the film he employed all of his children as actors and crew and several of Boorman’s later films have been ‘family business’ productions.
The Emerald Forest (1985) saw Boorman cast his actor son Charley Boorman as an eco-warrior, in a rainforest eco-adventure. Hope and Glory (1987, UK) is his most autobiographical movie to date, a retelling of his childhood in London during The Blitz. The film proved a Box Office hit in the US, receiving numerous Oscar, BAFTA and Golden Globe nominations. However his 1990 US produced comedy about a dysfunctional family, Where the Heart Is, was a major flop.
Boorman won the Best Director Award at the 1998 Cannes Film Festival for The General, his black-and-white biopic of Martin Cahill. The film is about the somewhat glamorous, yet mysterious, criminal in Dublin who was killed, apparently by the IRA. Released in 2006, The Tiger’s Tail was a thriller set against the tableau of early 21st century capitalism in Ireland.
In 2004, Boorman was made a Fellow of BAFTA.