Departures

Just put together a book for my own solipsistic thrall, because I like seeing photographs printed out on bits of dead trees rather than ephemerally lighting up pixels on a screen. And it occurred to me that maybe someone else somewhere might like one too.

This is a collection of photographs taken around the world during 2009 / 2010 (and actually a sneaky couple from 2008 that I missed when I was titling the book). There’s a large section of photographs from the Salton Sea in California, plus locations as varied as New York’s financial district, the set of Samson & Delilah, the grim bits of Amsterdam and the many mausoleums of Père Lachaise Cemetery in Paris.

It’s 120 pages, hardback, and all profits will go to Médicins Sans Frontières.

Click here to have a look and order.

The Pragmatic Art of Poster Design

Interview with Encore Magazine where four of Australia’s key art designers are asked about the future of key art.  I forgot to bring along any punctuation. For what it’s worth, the points I was stumbling drunkenly toward were these: that key art is still vital as the most concise, succinct distillation of the film, whatever its physical form is; and that the rationale for key art can no longer be ‘to sell tickets’ in an age where trailers, synopses and reviews — generally far, far better indicators of whether a film is worth your investigation than an image could ever be — are only ever a couple of keystrokes away…

Interview is here.

The Parking Lot Movie

Client: Meghan Eckman

Primal

Client: Primal Films

Lou

Lou Unused

Lanfranchi’s Memorial Discotheque

Client: Bitter Man Films

The Tree

Client: Transmission Films

Concerning the light, this morning

Work by Jeremy Saunders: An exhibition

27th to 30th May 2010, Dungog NSW.

Thanks to the fine folks at the Dungog Film Festival, particularly Stavros and Allanah, for their support and encouragement. The reprints and unprinted designs were printed by WHO Printing in Newcastle, and then those and the original posters were framed and mounted by WHO Presentations. Posh grog was provided by Bluetongue (the other Bluetongue, Nash was nowhere to be seen).

Allanah Zitserman (DFF), Yours Truly, Helen Ogle (WHO Printing)

Bourke Boy

Client: Scarlett Pictures

Making Samson & Delilah

Just in case you were in any doubt as to whether these kids can act or not.
Client: Scarlett Pictures

Griff the Invisible

Client: Transmission Films

Hesher (Sundance)

Sadly I do not know who the illustration was done by, it’s really amazing – I can’t claim credit, I just did some editing and turned it into a poster. After careful consideration I decided that this should really be seen, rather than not seen, and my site is as good a place as any to show it.

Interview with SBS

As he tells it, “the film industry is small and everybody is closely interconnected. As soon as you do something good, and I’m sure as soon as you do something bad, everybody has found out about it. Things snowballed from there really.”

Interview is here (2010).

Interview with the Sydney Morning Herald

JEREMY SAUNDERS has no trouble finding hanging space for his latest artworks. Generally there’ll be prints in scores of places all around the country. Creating film posters for the likes of Samson & Delilah, Little Fish, Balibo, Candy and Antichrist is a high-profile business … for at least a few weeks.

Interview is here (2010).

Interview with Trespass Magazine

And as somebody who has followed Saunders’ career, it’s not hard to guess that they will be adored by lovers of film posters around the world and he will continue to be “the Jeremy Saunders” who gets slightly embarrassed that his ticket-sellers are causing such a fuss.

Interview is here. (2010)

Animal Kingdom

Client: Porchlight Films / Madman

The White Ribbon

Client: Transmission Films

FAQ #3

Q: Hey, will you design key art for my film?

A: You know what, I might. I don’t actually care that much what your budget is. I just want to be inspired by you or your work. If it’s an interesting idea, a compelling script, or the talents involved are people I’d like to work with, then yes, yes, yes. I don’t really care whether you are making a short film or a feature, a doco or a three-part epic. It’s easier, more fun, and also produces more interesting key art when the project moves me.

A few points to note:

Market posters can be produced, but you’ll need a good script and/or some compelling filmmaking talent to get my gander up.

I know: you’re not finished cutting and the sound is temp and the effects are placeholders and some of the dialogue needs fixing and the grade will save the visuals. It’s okay. I rarely see films these days that are finished.

You really don’t need key art as a cover for your unfilmed script. Trust me on this one. Save your money for a rewrite instead.

Any project promoting any form of religion will be rejected immediately. Other than that I’m pretty open to anything.

I’m more than happy to do shorts and no-budget-feature jobs, providing I have the time – and the fiscal room to manoeuvre at the time. These jobs tend to be the most offered and least-taken; it’s nothing personal – despite my good intentions I still have bills to pay. Golden Rule is: get in as early as you can.

I’d much rather work with nice people than be rich.

I reserve the right to do a job just because it pays well even if I think the film is a dog. My principles have limits, except for the religion thing.

Fish Tank

Client: Transmission Films

Franswa Sharl

Client: Porchlight Films

Animal Kingdom

Client: Porchlight Films