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 © aaron ansarov  © aaron ansarov  © aaron ansarov


Just when you thought it was safe to go back in the water… , Aaron Ansarov’s Portuguese Man-of-War

nevverEx Libris

This is pretty awesome…

nevverThousand mile long shadows

© michał karcz © michał karcz © michał karcz © michał karcz

nevver: In a world, Michał Karcz

nevver: Train in vain, Pierre Folk

nevverButterflies of North America

nevverLet’s split

nevver“Nothing is so painful to the human mind as a great and sudden change.”

― Mary Shelley, Frankenstein   (cover, Maciej Ratajski)

nevverYou can do better

nevver: When people were shorter and lived by the water, Ákos Major


Midnight Marauder's (a brilliant graphic designer/illustrator) Criterion cover for John Boorman’s 1967 classic Point Blank.

Lee Marvin interviewed by John Gallagher (1986). In a rare and comprehensive interview conducted one year before his death, the legendary star reminisces about John Ford, John Wayne, Robert Aldrich, Fritz Lang, Michael Curtiz, Sam Fuller, and John Boorman, and such classics as The Man Who Shot Liberty Valance, Donovan’s Reef, The Big Red One, The Dirty Dozen, Point Blank, his TV series M Squad, and winning the Oscar for Cat Ballou.

Walter Hill just mentioned recently how much Alexander Jacobs’ script for John Boorman’s Point Blank influenced him.

Alex Jacobs’ script of Point Blank (1967) was a revelation. He was a friend (wonderful guy, looked like a pirate, funny and crazy). This revelation came about despite a character flaw of mine. I have always had difficulty being complimentary to people whose work I admire, when face-to-face with them. This is not the norm in Hollywood where  effusiveness is generally a given. Anyway, a mutual friend told Alex how much I admired Point Blank and John Boorman. Alex then very graciously gave me a copy of the script. This was about the time he was doing The Seven-Ups (1973). Anyway, by now I’d been making a living as a screenwriter for maybe two or three years and had gotten to the point where I was dissatisfied with the standard form scripts were written in — they  just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice. Mine were tighter and terser than the average, but I was still working with the industry template and not too happy about it. Alex’s script just knocked me out (not easy to do); it was both playable and literary. Written in a whole different way than standard format (laconic, elliptical, suggestive rather than explicit, bold in the  implied editorial style), I thought Alex’s script was a perfect compliment to the material, hard, tough, and smart — my absolute ideals then. So much of the writing that was generally praised inside the business seemed to me soft and vastly overrated — vastly oversentimental. Then and now, I haven’t changed my opinions about that. But I have changed them about the presentational style.

Anyway I resolved to try to go in that direction (that Alex had shown), and I worked out my own approach in the next few years. I tried to write in an extremely spare, almost haiku style, both stage directions and dialogue. Some of it was a bit pretentious — but at other times I thought it worked pretty well. I now realize a lot of this was being a young guy who wanted to throw rocks at windows. Hard Times was the first, and I think maybe the best. Alien (1979) — the first draft, then when David [Giler] and I rewrote it, we left it in that style. The Driver, which I think was the purest script that I ever wrote, and The Warriors. The clean narrative drive of the material and the splash-panel approach to the characters perfectly fit the design I was trying to make work. Of course all this depend on the nature  of the material; I don’t think the style would’ve worked at all had I been writing romantic comedies. My scripts have always been a bit terse, both in stage directions and dialogue. I think I’ve loosened up in the dialogue  department, but I still try to keep the descriptions fairly minimal, and in some cases purposefully minimalist. I still punctuate to effect, rather than to the proper rules of grammar. I occasionally use onomatopoeias now, a luxury I  would certainly never have allowed myself when I was younger. My favorite description of the dilemma of screenwriting comes from  David Giler, “Your work is only read by the people who will destroy it. —Walter Hill

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(via midmarauder)

The concept for this biographical book cover series was centered around the author’s place of origin, and features elements that directly reference those places. A papercraft technique was used to create a three dimensional landscape scene which would enforce the idea of the author’s setting and help achieve a sense of cohesiveness through out the series.

I chose to incorporate fences and other small icons to depict the author’s life and to help illustrate what kind of environment these literary legends were exposed to and how that had direct influence on some of the most famous stories in history.

(via typographie)

betypeSign Painters Movie Premiere Collateral

(via typejunkie)


Typography of Vaughn Fender

American designer Vaughn Fender creates weekly hand done typography pieces on his studios tumblr

(via typejunkie)


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