Friday, 20 November 2009
Found out that a cover I illustrated last year for the Minneapolis Saint Paul visitor's guide picked up a silver award in the Best Single Cover category (general interest over 60,000 circulation of course) at the Minnesota Publishing Awards. Neat.
While we're on the sci-fi tip, here's a recent US editorial job illustrating a short story concerning a Martian cable car. Really enjoyed indulging my inner geek on this one...and in no way was I inspired by the nutty eye-pop climax of Total Recall.
Finally got to see the British sc-fi flick Moon this week followed by an entertaining and inspiring Q+A with director Duncan James and producer Stuart Fenegan thrown in for good measure. The film is a fantastic psychological portrait of a lone blue-collar lunar base operator and features a really solid and moving central performance by Sam Rockwell who, for me, has never been better. There are echoes of classic sci-fi films such as Outland, Silent Running and Alien in the script, visual effects and production design and the film, made on a paltry budget, is a real achievement for the first time director. The soundtrack by Clint Mansell is also outstanding. It was exciting to see a really enthusiastic director/producer team making good on the kind of influences that used to fire me up as a 'yoof'.
The good people at Bunker in Milan alerted me to this upcoming exhibition at the Trienalle Design Museum showcasing the cream of Italian Graphics. The Carraro Annual Report 2007 I illustrated will be amongst the work featured. Mille Grazie!
Wednesday, 11 November 2009
Recently found myself watching Ridley Scott's first film The Duellists on a particularly lazy Sunday morning and was really taken by it. The film charts the increasingly absurd duels fought by two Napoleonic generals over the decades, as played by the honour-fanatic Harvey Keitel and the more reasonable Keith Carradine (a classic underrated actor). Every frame is beautifully lit and composed, with some amazing use of 'magic-hour' sunlight, and the direction is unusually subtle compared to late Scott fare. The final lingering money shot above is a real corker, etches itself on the mind.