Tuesday, June 22, 2010

Curio: Artful Directors

Alexa here with some art therapy. Lately I've been spying all kinds of great original art with directors as a subject. I love to see if there's any intersection between the artists' individual styles and that of their subjects. Here's a small gallery for your viewing pleasure.

Hitchcock, Fellini and Kubrick, by Alison Legg.
Print available for purchase here.


A very Quentin-esque Quentin, by David Hildreth.
Poster available at his shop.


Burton à la Pollock?
Print available from The Boring Blue Boy.


Woody in his natural habitat.
Buy the print at Mulford Arts.


Finally, I just had to update my coaster post from the holidays to mention that Kelly Puissegur
has added more directors to her coaster series (including Tim, Francis, Roman, and Sofia)! Check them all out at her shop.

10 comments:

Volvagia said...

The Burton poster actually would have been a better fit for a Gilliam portrait. (Burton works, thinks and executes in straight lines. Gilliam bleeds into his work and is usually an excellent visual thinker.)

Volvagia said...

And on that Quentin quote on the poster: Best. Thief. Ever.

NATHANIEL R said...

Volvagia -- amen to that.

Alexa -- i love these. But they always make me wish i was still making art. *sniffle*

Andrew R. said...

"I steal from every movie ever made."

No, Tarantino only steals from exploitation films and whatnot. He never steals from Bergman. I think.

NATHANIEL R said...

Andrew -- no, that's for woody allen and others to do ;)

Alexa said...

Volvagia, that print certainly is Gilliam-esque...or maybe a cut-and-paste pastiche in the manner of his Python animations.

Nathaniel, you can do an iPhone sketch or two!! Your audience awaits.

chris na Taraja said...

Wow when you get them all together like that, they are sort of a motley crew. Do you have to look insane to be a director?

okinawaassault said...

Tarantino hasn't directed an adapted screenplay since 1997. He doesn't see the irony in that.

Volvagia said...

There's no irony in that. It's about the mechanics of adapting. To balance the familiarity of the source material, the great adapted material usually need extreme visual invention (Touch of Evil's tracking shot, The Godfather's fine-edged nostalgia, Apocalypse Now's artistic grabbag, Rear Window and High and Low thrilling with a single room, the latter larger than the former.) There's a scant amount of genuinely high-brow material that can actually make the leap to film. He could only steal with Jackie Brown because the plot and casting was meant to evoke '70s blaxploitation.

Andi said...

thanks for sharing this. I've just starting going into film making myself and know I'll need to spend more hours reading valuable stuff like the ones you have. I've also found this site which i also bookmarked: http://thenewfilmmaker.com/