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EVEN A MASTER HAS HIS MASTERS: GRAHAM HUMPHREYS PRESENTS HIS ALL-TIME FAVOURITE MOVIE POSTERS, IN NO PARTICULAR ORDER


Krakatoa, East of Java by Frank McCarthy


“Nothing is left to the imagination; ev- erything is thrown into this poster. The composition must have been a logisti- cal nightmare, but everything is there. I love the little Norman Rockwell touch in the bottom left; the character is engag- ing directly with the viewer!”


Jaws by Roger Kastel


“A deceptively simple and beautifully executed painting. Stunning in its sim- plicity, and a perfect graphic for the film.”


The Hindenburg by Bill Gold


“Another stunning artwork that does not hold back! The impossible scale and perspective do not detract from the impact. The explosive orange against a black sky is one of the reasons this works for me. Much like other disaster movie posters at the time, we get to see annoyingly rich people have a hard time!”


The Valley of Gwangi by Frank McCarthy


“The painting plays with dimension and creates layers of interest – the viewer is placed at ground level, unable to es- cape! Dinosaurs and cowboys! Genius! Amazing spaghetti western colours.”


The Devil’s Rain by Vic Fair


“A film I can watch over and over. This image is the lesser known of the three I know, but I find the execution and co- lours thrilling to my eye.”


17 R M


Young Frankenstein by John Alvin


“One of the posters that made me de- cide that I must pursue poster design as a career. I love the mix of comedy and horror, plus the composition is perfect.”


Dracula A.D. 73 by Michael Landi “Actually Dracula A.D. 72, but the post- er was clearly adjusted for the release date. An art deco-inspired design bears little relation to the film but makes for a fabulous image.”


The Fearless Vampire Killers by Frank Frazetta


“It’s the mix of the gorgeous painting above and the Frazetta caricatures be- neath that makes this one a winner for me.”


The Towering Inferno by John Berkey


“Another ‘pack shot’ poster. The forced perspective allows the artist to create a vertigo-inducing image that packs in all the action, despite the human interest being dwarfed by the building itself.”


Earthquake by Joseph Smith


“The most obvious delight in this poster is the title as the image, literally shak- ing apart. The details of destruction and tumbling figures are cleverly woven into the design.”


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