Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Tuesday, August 11, 2009

Peeking behind the scenes...

...with two guys who made it possible.

Consider a new DVD release of a feature film, especially one loaded with extras... Whether it's commentary form the director or writer, offering you some insight to the big "why" questions, or a peek at the cast, it's just cool to be a part of the action. Prior to DVD's (and their subsequent "special features"), seeking out those behind-the-scenes features required a little more effort. There were magazines, certainly, and the occasional "featurette" on TV, but in the earliest days, looking into the meat and potatoes required some serious digging, if not inside connections. It was much the same for custom cars and hot rods in the early days. Before there was Powerblock TV and Overhaulin', getting that in-progress glimpse of a build was a rarity, and required a trek to a local shop, or that rare tech article.

Enter two gentlemen who had a profound impact on their respective industries, as well as on me: Forrest J Ackerman and George Barris. Buckle your belts 'cuz we're going to mix and mash two seemingly different things once again, and hopefully leave you with some fresh insight... and don't worry, this one will be quick and painless!

About the time that George Barris was born (in the mid-1920's), Forrest J Ackerman was reading his first sci-fi tale in a copy of Amazing Stories. While Forry's interests were writing fiction and celebrating the genre and its writers, George and his bother Sam were customizing cars. Forrest was hanging with friends the likes of Ray Bradbury and Henry Kuttner, starting magazines like Futuria Fantasia (which would be a killer name for a bubbletop custom, mind you), The Barris boys were learning tricks of the trade from masters like Dick Bertolucci, and bolting together a slick '36 Ford which was used as a calling card, attracting paying customers. (Keeping with our "parallels" theme, at around this same time, George founded a car club named "Kustoms Car Club", reportedly the first use of "kustoms" with that "K"... Meanwhile, Forry and his friend Myrtle R. Douglas attended the first-ever World Science Fiction Convention, dressed in space suits, setting of a chain-reaction of future comic and Trek convention costumed attendees. Trendsetters indeed!) Add to the parallel that all three were in Los Angeles in these times, and, well, it just couldn't be any cooler had it been written that way. (oddly enough, Sam Barris and Forry Ackerman were both enlisted in WWII.)

georgeThroughout the '40's and into the '50's, Barris continued building custom cars, and making a huge name in the industry, guiding it, in fact. It was during these years that George saw the potential in magazines, and was instrumental in documenting literally thousands of cars, and in the process virtually invented the modern "tech article". His photo essays in the popular car magazines of the time chronicled trends and techniques for customizers living outside of the California hotbed of activity, and offered that all-important "behind-the-scenes" insight, probably providing countless would-be customizers with some inspiration. Barris is often credited with inspiring many modern day customizers to practice their craft, and his efforts with his unique brand of Public Relations certainly has been a driving force behind the continuation of this industry into the twenty-first century.

forrestMeanwhile, Ackerman was acting as a literary agent, representing hundreds of writers, and serving as "agent of record" for many more, ensuring that their work would be published in numerous anthologies, preserving the science fiction genre's past in not only written form, but providing an entirely new facet for the then-growing motion picture industry. Consider that his magazine Famous Monsters of Filmland exposed many aspiring special effects artists and film makers alike to those "behind-the-scenes" looks, and the parallels just grow stronger. It was these close looks at the men behind the special effects techniques that inspired such talents as Tim Burton, John Landis and Rick Baker, as well as countless other amateur home directors. Forrest truly created an industry that continues strong today, not only from the standpoint of the behind-the-scenes documentary, but for collectors of film memorabilia. He was also one of those rare "hands-on", approachable figures, leading tours of the "Ackermansion", his personal home and museum, packed to the rafters with his collection of movie props and memorabilia.

In this same way, George is a common figure at car shows and events, as well as still working from his shop. It's this accessibility that makes it all even more fun; having that opportunity to mix and mingle with the folks who not only "were THERE", but helped to preserve our hobbies for future generations. While we unfortunately lost Forrest J Ackerman in 2008, the next time you load that movie into your DVD player and pop open the "Special Features" menu, give a quick "thanks" to the ultimate fanboy, and feel free to share your knowledge of where it all began. And while you're at it, why not give a tip of the hat to George next time you're browsing those back issues at the swap meet. After all, chances are, many of the photos in that issue are courtesy of the "King of the Kustomizers".

Thursday, April 30, 2009

Going to the movies...

…as a kid was a big deal. We didn’t do it often… it just wasn’t in the cards. But when we did go, man… it was a total experience. I enjoyed any film we’d see, but I always held a special fascination with the theater lobby, namely the movie posters. Looking back on it, aside from cars, a few notable children’s books and assorted product packaging, movie posters were my first real exposure to design. (as a side note, after seeing Jason and the Argonauts as a kid, my obsession with stop-motion animation and film was ignited… Ray Harryhousen permanently warped my fragile young mind!) To say that there was an impact in that would be an understatement… I was floored by the graphics, the layout… the ability of an artist to convey the general scope of the story, to excite moviegoers into plopping down their cash for a ticket (in many cases, anyway— some just stunk up the joint) was, consciously, anyway, my first real understanding of print design as an emotional trigger.



I grew up on kung fu/horror/fantasy movies...and you wonder why I mash different topics together like I do...

Fast-forward a few years, and my interest in movie posters and film itself was still growing. I loved movies almost as much as I did cars, and my friend Joe was a total movie nut, namely horror films. The guy knew literally every horror film, director, production house… he was a walking encyclopedia of the genre (as well as sci-fi films… not so odd that he’s gone on to write some great books!). This was in the heyday of VCR’s and video rental houses, and what made it great was that we had access to so many movies, as the classics (meaning both “great” as well as just “old”) were being released by the dozens. Companies like Vestron (they essentially revolutionized video distribution, and pumped out roughly 3,000 movies on videotape between ’83 and ’95… there’s some more useless trivia that clouds my brain daily), MGM/UA, Embassy, AIP and more were releasing tons of independent, low-budget, B-grade and major releases… From The Stuff andBlade Runner to Revenge of the Living Zombies, Basket Case to Xtro, man, we watched a TON of VHS-format celluloid. We’d try to seek out some great films, and it was in doing this that I was introduced to the work of Hammer Films, a stand-out among the many great (and not so great) productions we’d watch.

What made the Hammer films so great was the way they told the stories, and the era they came from! Their horror and sci-fi boom was ’55-’59… Coincidentally, the golden age of custom cars… hmmm… Anyway, Hammer’s horror films were more “gothic” in nature (monsters, based more in terror, with a back-story that makes you feel a bit for the players), and they often re-told classics like Dracula, The Mummy and Frankenstein (sixFrankenstein films from’59-’74, no less). Great actors like Peter Cushing and Christopher Lee were regulars, and man… they were just tremendous entertainment, even for two kids discovering them almost 30 years after their release. The films had a great look, but, again, what infatuated me was the cover/poster art! Tom Chantrell was the wrist behind many of the great designs, and just had a knack with not only killer art, but amazing layout and design. I think that a lot of my color work is influenced, be it unconsciously or otherwise by the man’s work. Keeping a loose yet detailed feel in my work is directly attributed to Mr. Chantrell’s influence, as well as that of Saul Bass (whose mantra was “Symbolize and Summarize”—how insightful is that? Spare yourself four years of design school, and just repeat that… then send me the money you saved. OK, half. More on Mr. Bass later… and I mean Saul, not Lance. Although, I may have a great way to compare him with cars. I’ll think of it.). Bold, direct, powerful. You’d know Bass’ work anywhere:



My infatuation with movie posters continues to this day (although with three young kids, my serious collecting days are some time off, yet). As a kid, the work of Drew Struzan was everywhere… remember the posters for Indiana Jones? The Goonies? Technical brilliance! My tastes fall somewhere between the amazing portraiture of Struzan, the expressionistic and detailed style of Chantrell, and the bold graphic statement of Bass… All have been a profound inspiration in my design and illustration work. It’s still a point of fascination for me when we go to see a movie… I wander around, and check out the new posters. However, it seems as though the true art of the movie poster is falling to the side of the road, as far as mainstream movies go, anyway. Independent films have always had kind of cool (and occasionally bizarre) poster art, but lately, it’s as though the fine art has gone away. The new Indiana Jones film brought back a spark of life, though… Struzan nailed it again! …and the new Batman flick?! Man…. Great stuff, and the two versions, each with the burning bat symbol (one of Batman, one of the Joker) are great, and really play up the menacing undertones (and overtones, let’s be honest here) of the movie. Would a hand-painted or rendered piece have been better? I submit that in this particular example, it could not. There’s a time and place for almost every style and technique, it would seem.



Does it get any better than this?

In any event, I bring up the movie poster art topic for a few reasons… One, you may not have been aware of the things covered here (Hammer horror films, the posters, the designers), and I enjoy opening up a new subject for you to head out and experience; Two, I had wanted to answer a few questions that I’m often asked (“where do you get inspiration from?”, “how did your style develop?” and “what the hell are you talking about?”); and three, hopefully, to inspire new designers who are trapped into relying on software and computers to draw for them to seek out what makes design and art so damn fun to begin with: creating it by hand! We’re already inundated by computer-generated, “cold”-feeling works that lack that human personality that shines through in all artwork. Now get out there, watch an old b-movie, seek out some wild inspiration from beyond the automotive sphere, break out the pencils and raise the bar…