Yeah bit sloppy but oh well - I don't think it works, looks a bit cheap, I would expect a beautiful illustration bursting with life! An Arrow style design would look great!
[Show spoiler]
The point was to match the style of the other del Toro CC releases, so none of those would work
Really? It looks very nice on my great big screen. And I love the concept. It captures the magic of the film beautifully, IMHO.
I just think he's referring to the fact that the images I used are noticeably not part of the background on his monitor. It doesn't really show up as well on mine, but it was a rough job back then, so I'm sure I wasn't too careful with making the blacks match up and such. I'm playing around with another right now
[Show spoiler]Annie Hall (Woody Allen, 1977)
Husbands and Wives (Woody Allen, 1992)
Manhattan (Woody Allen, 1979)
Radio Days (Woody Allen, 1987)
McCabe & Mrs. Miller (Robert Altman, 1971)
If… (Lindsay Anderson, 1968)
Boogie Nights (Paul Thomas Anderson, 1998)
La notte (Michelangelo Antonioni, 1961)
Harold and Maude (Hal Ashby, 1971)
Pelle the Conqueror (Bille August, 1987)
Babette’s Feast (Gabriel Axel, 1987)
Casque d’Or (Jacques Becker, 1952)
Édouard et Caroline (Jacques Becker, 1951)
Cries and Whispers (Ingmar Bergman, 1972)
Smiles of a Summer Night (Ingmar Bergman, 1955)
Wild Strawberries (Ingmar Bergman, 1972)
Deliverance (John Boorman, 1972)
Henry V (Kenneth Branagh, 1989)
Modern Romance (Albert Brooks, 1981)
Children of Paradise (Marcel Carné, 1945)
City Lights (Charles Chaplin, 1931)
The Bank Dick (Edward Cline, 1940)
Beauty and the Beast (Jean Cocteau, 1946)
Apocalypse Now (Francis Ford Coppola, 1979)
The Godfather (Francis Ford Coppola, 1972)
The Silence of the Lambs (Jonathan Demme, 1991)
Alexander Nevsky (Sergei Eisenstein, 1938)
The Spirit of the Beehive (Victor Erice, 1973)
La strada (Federico Fellini, 1954)
I vitelloni (Federico Fellini, 1953)
La Kermesse Héroïque (Jacques Feyder, 1935)
Tora! Tora! Tora! (Richard Fleischer, 1970)
The Fireman’s Ball (Miloš Forman, 1967)
One Flew Over the Cuckoo’s Nest (Milos Forman, 1975)
Cabaret (Bob Fosse, 1972)
The Exorcist (William Friedkin, 1973)
Get Carter (Mike Hodges, 1971)
The Terminal Man (Mike Hodges, 1974)
The Texas Chainsaw Massacre (Tobe Hooper, 1974)
Hell’s Angels (Howard Hughes, 1930)
The Treasure of Sierra Madre (John Huston, 1947)
Dekalog (Krzysztof Kieslowski, 1990)
Rashomon (Akira Kurosawa, 1950)
Seven Samurai (Akira Kurosawa, 1954)
Throne of Blood (Akira Kurosawa, 1957)
Metropolis (Fritz Lang, 1927)
An American Werewolf in London (John Landis, 1981)
Abigail’s Party (Mike Leigh, 1977)
La bonne année (Claude Lelouch, 1973)
Once Upon a Time in the West (Sergio Leone, 1968)
Very Nice, Very Nice (Arthur Lipsett, 1961)
American Graffiti (George Lucas, 1973)
Dog Day Afternoon (Sidney Lumet, 1975)
Eraserhead (David Lynch, 1976)
House of Games (David Mamet, 1987)
The Red Squirrel (Julio Medem, 1993)
Bob le flambeur (Jean-Pierre Melville, 1956)
Closely Watched Trains (Jiří Menzel, 1966)
Pacific 231 (Jean Mitry, 1949)
Roger & Me (Michael Moore, 1989)
Henry V (Laurence Olivier, 1944)
The Earrings of Madame de… (Max Ophuls, 1953)
Le plaisir (Max Ophuls, 1951)
La ronde (Max Ophuls, 1950)
Rosemary’s Baby (Roman Polanski, 1968)
The Battle of Algiers (Gillo Pontecorvo, 1966)
Heimat (Edgar Reitz, 1984)
Blood Wedding (Carlos Saura, 1981)
Cría Cuervos (Carlos Saura, 1975)
Peppermint Frappé (Carlos Saura, 1967)
Alien (Ridley Scott, 1977)
The Anderson Platoon (Pierre Schoendoerffer, 1967)
White Men Can’t Jump (Ron Shelton, 1992)
Miss Julie (Alf Sjöberg, 1951)
The Phantom Carriage (Victor Sjöström, 1921)
The Vanishing (George Sluizer, 1988)
Close Encounters of the Third Kind (Steven Spielberg, 1977)
E.T. the Extra-terrestrial (Steven Spielberg, 1982)
Mary Poppins (Robert Stevenson, 1964)
Platoon (Oliver Stone, 1986)
Pulp Fiction (Quentin Tarantino, 1994)
The Sacrifice (Andrei Tarkovsky, 1986)
Solaris (Andrei Tarkovsky, 1972)
The Emigrants (Jan Troell, 1970)
The Blue Angel (Josef von Sternberg, 1930)
Danton (Andrzej Wajda, 1984)
Girl Friends (Claudia Weill, 1978)
The Cars that Ate Paris (Peter Weir, 1974)
Picnic at Hanging Rock (Peter Weir, 1975)
Citizen Kane (Orson Welles, 1941)
Roxie Hart (William Wellman, 1942)
Ådalen 31 (Bo Widerberg, 1969)
The Siege of Manchester (Herbert Wise, 1965)
Fascinating. Of course, Kubrick died in 1999. I can't help but wonder which films, if any, might have fallen off his list during the past 16 years, and which films, if any, he might have added ...
The point was to match the style of the other del Toro CC releases, so none of those would work
I did get that lol but they only match due to the illsutarion style and title.
So keep the title similar and have a beautiful illustration like those two but not just of the Fauno dude... lol
That one was just bit meh, not that exciting lol plus they are both done by different artists and who says they have to follow the same style, why not splash out on th next design - they moved away from the Wes Anderson design styles.
I did get that lol but they only match due to the illsutarion style and title.
So keep the title similar and have a beautiful illustration like those two but not just of the Fauno dude... lol
That one was just bit meh, not that exciting lol plus they are both done by different artists and who says they have to follow the same style, why not splash out on th next design - they moved away from the Wes Anderson design styles.
Plus they spelt Pan's Labyrinth wrong :P
The Faun was done by Mike Mignola. He's done a lot of work with del Toro. He did the one for Devil's Backbone as well as artwork for Hellboy among others. I actually like it a lot, and I think it would work very nicely on a CC cover. When I made that cover back in 2013 it was because someone was hoping for a Mignola cover of "Pan's.." to match the others.
The Faun was done by Mike Mignola, the artist. He's done a lot of work with del Toro. He did the one for Cronos as well as artwork for Hellboy among others. I actually like it a lot, and I think it would work very nicely on a CC cover.
I know but it just looks a bit empty and doesn't really reflect the film at all - it needs a little more in the design like The Devils Backbone.
Then i'd be all over it :P but yeah the Faun by itself for me just doesn't work that well and doesn't stand out.
Kronos works perfectly with the simple image and The Devils Backbone design is so haunting and look perfect and really does reflect the tone and themes of the film (well for me it does anyway).
Pan's Labyrinth needs to reflect the pain and beauty of the film, getting lost in this magical world to escape pain and suffering caused by the war. The Faun by itself does not do that
(I don't mean to be rude or down right critizing lol, its always great to see alternate designs and ideas so thanks for sharing )
An illustration of the final sequence of the film would be perfect (and could just be done in all golds) - it wouldn't be obvious and full of spoilers,
[Show spoiler]
or go for a beautiful illustration of her entering the tree (that shot always sticks out for me) and maybe include a couple of the creatures?
Similar to this, only with colour scheme and style used on the other films covers:
I know but it just looks a bit empty and doesn't really reflect the film at all - it needs a little more in the design like The Devils Backbone.
Then i'd be all over it :P but yeah the Faun by itself for me just doesn't work that well and doesn't stand out.
Kronos works perfectly with the simple image and The Devils Backbone design is so haunting and look perfect and really does reflect the tone and themes of the film (well for me it does anyway).
Pan's Labyrinth needs to reflect the pain and beauty of the film, getting lost in this magical world to escape pain and suffering caused by the war. The Faun by itself does not do that.
My favorite art for the film is actually the Drew Struzan art you posted above (first image). Guillermo specifically requested Struzan work on a poster for the movie, because he was a huge fan of his work, but the studios rejected it. Del Toro bought the original painting outright from Struzan, and it apparently hangs in his house today. Zavvi put out a Steelbook with a variation of it a few years back. I wouldn't mind a CC cover with that. It obviously wouldn't match the tone of the past del Toro releases, but it would be beautiful nonetheless. A digipak would be amazing for it too.
My favorite art for the film is actually the Drew Struzan art you posted above (first image). Guillermo specifically requested Struzan work on a poster for the movie, because he was a huge fan of his work, but the studios rejected it. Del Toro bought the original painting outright from Struzan, and it apparently hangs in his house today. Zavvi put out a Steelbook with a variation of it a few years back. I wouldn't mind a CC cover with that. It obviously wouldn't match the tone of the past del Toro releases, but it would be beautiful nonetheless. A digipak would be amazing for it too.
Oh cool - the stuff studio's release is shocking, they do throw away some stunning piece son art, but I guess they need something to sell the film to bigger audiences.
Would be lovely to have a print of it!
It would be nice to have the three films work together in design as they do fit together thematically - but I wouldn't be mad if they did something a bit more refreshing, as I said, they did it for Wes Anderson and it did bring a bit of new life to the releases.
Have all Wes Anderson's film releases with same style would get a tad boring, unless they were done as a boxset rather than stand alone >.>
For some reason Boogie Nights and Mary Poppins seem out place on that list.
...never would've pegged Kubrick for a Dirk Diggler fan.
I don't know if Kubrick was downright a FAN of Boogie Nights, as far as I know he just said that he liked it and nothing more to PTA when PTA visited the set of Eyes Wide Shut in London. But I guess he could've been a fan, it's a great movie and objectively one of the best of the 90s.
As far as Mary Poppins is concerned, he thought that it was a good movie for children.
And as for White Men Can't Jump, I was thrilled to hear that Stanley liked it because it was always a guilty pleasure of mine. But after I learned that Kubrick liked it, I removed the "guilty" part. It's actually a good movie. Maybe it reminded Stanley of his youth, being a chess hustler and the dog-eat-dog world of sports hustling on the street, he was a huge sports fan as well.
Another film that you wouldn't expect Kubrick to like but he apparently did was this one:
I don't know if Kubrick was downright a FAN of Boogie Nights, as far as I know he just said that he liked it and nothing more to PTA when PTA visited the set of Eyes Wide Shut in London. But I guess he could've been a fan, it's a great movie and objectively one of the best of the 90s.
As far as Mary Poppins is concerned, he thought that it was a good movie for children.
And as for White Men Can't Jump, I was thrilled to hear that Stanley liked it because it was always a guilty pleasure of mine. But after I learned that Kubrick liked it, I removed the "guilty" part. It's actually a good movie. Maybe it reminded Stanley of his youth, being a chess hustler and the dog-eat-dog world of sports hustling on the street, he was a huge sports fan as well.
Another film that you wouldn't expect Kubrick to like but he apparently did was this one:
The list of 93 films are not necessarily his "favourites" but more films he mentioned liking (or liking elements of) at one time or another.
He liked PTA because he was a writer on top of being a director. Massive shame Kubrick never got to see There Will Be Blood or The Master.
"Big Announcement" speculation: My hope is that they've renewed a relationship with StudioCanal and those titles will be coming back into print. That would definitely qualify as a big announcement to me.
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