29 5 / 2011
via Film On Paper
Film on Paper is an archive of original film posters featuring the collection of me, Eddie Shannon, an interaction designer, cat owner and film fan currently living in London, UK.
The collection began seventeen years ago after a friend who worked in a local cinema gave me a stash of used posters. Like any teenager, I’d always had art of some kind on my bedroom walls (Athena was one of my favourite shops growing up) and, being a film fan from an early age, the posters were a natural progression. After several months of getting the posters for free, and thus not having any choice over the titles, I came across a notice in the back of a film magazine advertising posters for sale. After calling the number and speaking to a gruff bloke who reeled off a list of posters he had available, I made my selection and sent off a cheque. Two weeks later I received my first purchase, which was the British poster for Michael Mann’s ‘Heat’. From then on I was hooked and the obsession was fuelled by visits to specialist film fairs at places like Birmingham’s NEC, which is where I had my first physical encounter with poster dealers. In the early days, when still a student, I contented myself with buying easily affordable titles, but after graduation and my entry into the world of work, I was able to expand my purchases to more desirable, harder-to-find pieces. There were breaks from serious collecting, whilst I was at university and then a couple of years living and working in Italy, but once I moved back to London the obsession returned with a vengeance. My collection is definitely in the minor leagues as far as film poster collectors go. I’m aware of others that feature several times the number of posters as well as containing single items that are worth more than my entire collection put together.
Totally worth your time to check out. Also be sure the read the about page where he discusses his process, methodology some great information regarding movie posters collection.
28 5 / 2011
But, uh, the production studio issued a ninety-second teaser, which I’ve now seen. And it is being shown in the theaters now. It’s hooked on the end of some fairly major movies. I think, one of the Jane Fonda Films that’s out now. And, uh, it’s a dynamite ninety-second thing, because what it is, it’s like a little ninety-second movie. It’s like what happened as you went to the movies only they ran the film real fast, so the movie was over in ninety seconds. You know, you’re sitting there saying, “Wait a minute! That was a great movie but I don’t seem to remember too much about it.” So when they showed me the ninety-second teaser, it starts out like a movie and then it is cut, you know, from scene to scene, and in ninety-seconds, a minute and a half, it’s over. So I said “Would you run that again, please?” So they ran it again for me, and it’s just incredible. Your hear Harrison Ford’s voice over it, they call it a “voice-over,” and he says something like, “I was at Tyrell Associates Office — that was where all the action was.” Next thing he’s on the street walking with a lot of people and somebody hits him. You don’t get to see who hit him. He looks startled; apparently he doesn’t know who hit him, and then there’s this beautiful woman in a transparent raincoat running, and then there’s some kind of gunfire exchange, and after I’d seen it a second time I still did not know what I’d seen. I mean, they call it flash cutting, which is cut so fast that it registers subliminally. So your brain knows it’s seen a series of events but it doesn’t really know what it’s seen. So I says, “That’s a great ninety-second teaser.”
— Philip K. Dick"
Philip K. Dick was one of the greatest thinkers his generation and his observations of film are fascinating. Things passed through a mental filter with him and what came out the other end was a fascinated detachment from what we casually accept. The bit regarding having seen a whole movie in ninety-seconds is astounding. It might be one of the reasons trailers can be so satisfying and feature films from the same material so frustrating. It’s the glossy picture on the outside of the microwaveable meal versus the real thing.
For reference, I presume this is the trailer Dick is talking about.