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 Holland Cazale (August 12, 1935 – March 12, 1978) was an American actor. During his six-year film career, he appeared in five films, each of which was nominated for the Academy Award for Best Picture: The Godfather, The Conversation, The Godfather Part II, Dog Day Afternoon and The Deer Hunter. He is the only actor to have this multi-film distinction. From his start as an acclaimed theater actor, he became one of Hollywood’s premiere character actors, starting with his role as Fredo Corleone in Francis Ford Coppola’s film The Godfather.
Cazale was born in Revere, Massachusetts, the son of Cecilia and John Cazale. He studied drama at Oberlin College and Boston University, from which he graduated.
Cazale moved to New York City and worked as a messenger at Standard Oil, where he met Al Pacino, another aspiring actor. “When I first saw John, I instantly thought he was so interesting,” recalled Pacino. “Everybody was always around him because he had a very congenial way of expressing himself.” While living together in a communal house in Provincetown, Massachusetts, Cazale and Pacino were cast in a play by Israel Horovitz, The Indian Wants the Bronx, for which they both won Obie Awards in 1967-1968. He later won another Obie for the leading role in Horovitz’s Line, where he was noticed by Godfather casting director Fred Roos, who then suggested him to director Francis Ford Coppola.
Cazale made his feature film debut, alongside old friend Al Pacino, playing the role of Fredo Corleone in Coppola’s The Godfather. The film broke box office records and made Pacino, Cazale and several previously unknown co-stars famous, and earned Cazale a Golden Globe nomination.
Cazale reprised his role as Fredo Corleone in 1974 in The Godfather Part II. Bruce Fretts, in Entertainment Weekly, wrote, “Cazale’s devastatingly raw turn intensifies the impact of the drama’s emotional climax, in which Michael (Pacino) orders Fredo’s murder.” Also in 1974, he co-starred with Gene Hackman in Coppola’s classic, The Conversation.
Twelve years after his death, Cazale appeared in a sixth feature film, The Godfather Part III (1990), in archive footage. The Godfather Part III was also nominated for Best Picture. This marks the unique achievement of John Cazale having every feature film in which he appeared be nominated for the Academy Award for Best Picture.
Cazale again starred alongside Pacino in Sidney Lumet’s 1975 film Dog Day Afternoon. The film’s screenwriter, Frank Pierson, said “the film had been cast with many of the actors that Al Pacino had worked with in New York, including John Cazale, who was a close friend and collaborator in The Godfather.” For his role as Sal, he was nominated for the Golden Globe Award for Best Supporting Actor.
“Cazale broke hearts on screen with portrayals of volatile, vulnerable, vacillating men, including Pacino’s tragic bank-robbing partner in Dog Day Afternoon,” wrote David Germain of the Associated Press. Cazale is described as an actor “whose intense face is known to just about any serious cinema fan but whose name often escapes them”.
Despite being diagnosed with terminal lung cancer, Cazale continued work with his lover, Meryl Streep, in The Deer Hunter. “I’ve hardly ever seen a person so devoted to someone who is falling away like John was,” said Pacino. “To see her in that act of love for this man was overwhelming.”
Director Michael Cimino “rearranged the shooting schedule,” wrote author Andy Dougan, “with Cazale and Streep’s consent, so that he could film all his scenes first.” He completed all his scenes, but died soon after, on March 12, 1978, before the film was finished. He was buried at Holy Cross Cemetery in Malden, Massachusetts. He was 42 years old.
Cazale was characterized as “an amazing intellect, an extraordinary person and a fine, dedicated artist” by Joseph Papp. A film documentary and tribute about Cazale, titled I Knew It Was You, was an entry at the 2009 Sundance Film Festival and featured interviews with Al Pacino, Meryl Streep, Robert De Niro, Gene Hackman, Richard Dreyfuss, Francis Ford Coppola, and Sidney Lumet; a heavyweight support crew.