(Source: lesbianhorse, via scifiction)
BEETLEJUICE, BEETLEJUICE, BEETLEJUICE ON SALE NOW IN MY STORE! $35
http://anthonypetrie.bigcartel.com/product/beetlejuice-beetlejuice-beetlejuice
24” x 36”
5 color screen print
with glow-in-the-dark layer
Signed and Numbered
Officially Licensed, Limited edition of of 225
Printed by Martin HammondPart of Three Barrel’s Trick or Treat for Unicef series.
B
a tribute to B Movies.
A great way to kick off your halloween month!
1 of 4
you can check out the complete show here:
During the 1950s, the science-fiction genre gained popularity in theaters – and production at Universal shifted to meet its demands. In order to visualize such imaginative storylines, Universal commissioned artist Reynold Brown to develop movie posters for those films.
Born in Los Angeles in 1917 and educated at the Otis Art Institute, Brown began his career during World War II working as an artist for a major US aircraft manufacturer, North American Aviation. Following the war, Brown continued his craft working on advertisements for numerous magazines and periodicals such as: Popular Science, Saturday Evening Post, and Boy’s Life. He also earned a teaching position at the Art Center College of Design in Pasadena and met Misha Kallis, an art director for Universal. Through Kallis, Brown’s career as a film poster artist took off.
Brown’s first assignment at Universal was to design the poster for the Gregory Peck film A World in His Arms. His work left a major impression with executives at Universal and he was quickly commissioned to more projects. During this early stage of his career as a poster artist, Universal started favoring his work compared to his better-known contemporaries and Brown quickly received industry-wide repute as one of the craft’s most secret weapons.
Throughout the 1950s, Universal utilized Brown’s highly imaginative and artistic skills to create posters for their slate of science-fiction-based films. One of his best trademarks and skills was his ability to illustrate chaos and mayhem with great detail. Whether illustrating actress Julie Adams swimming away from the Creature from the Black Lagoon, people running away in fear from a 50-foot spider in Tarantula, or a UFO crashing in a building in This Island Earth, Brown’s posters evoked the public’s imagination and fear and gave them their first glimpse into these bizarre worlds the films themselves tried to portray.
In 1976, Reynold Brown suffered a severe stroke that left him partially paralyzed, thus ending his career as a commercial artist. However, he did continue to paint with the help from his wife until his death.
(Source: universalentertainment, via scifiction)
Production still from Fred M. Wilcox’s Forbidden Planet (1956)
(via scifiction)
Reblogging myself because of the World’s End excitement today.
- Written by Simon Pegg and Edgar Wright
- Directed by Edgar Wright
- Starring Simon Pegg, Nick Frost, Bill Nighy, Martin Freeman, Rafe Spall, Simon and Edgar’s family members, have Edgar as a voice actor at some point and preferably have Bill Bailey, Kate Ashfield, Dylan Moran, Peter Serafinowicz, Lucy Davis, Timothy Dalton, and Jessica Hynes
- Produced by Nira Park
- Cornetto (mint)
- Taking a shortcut
- Lots of blood
- A hand injury (Pete’s in Shaun and Nicholas Angel’s in Fuzz)
- Twins (zombie twins in Shaun and the Bill Bailey twins in Fuzz)
- A 28 Months(?) reference (in Shaun, at the end while filpping through channels you hear the line ”Claims that the virus was caused by rage-infected monkeys have now been dismissed as bull- “, a 28 Days nod. Then in 28 Weeks there is a shot with a swan, a reference to the swan in Hot Fuzz, Elvis)
- A whole lot of bromance between Simon and Nick’s characters (fun fact: in an early draft of Fuzz there was a love interest for Nicholas Angel, but she was cut and most of her lines were given to Danny Butterman, unchanged)
- A monkey of some sort (Ed’s impression of Clyde in Shaun and the stuffed animal Angel won in Fuzz)
- The word exacerbate
- The line “YEAH _OYEEE!” (Boy in Shaun, Roy in Fuzz)
- Someone being called “pickle”
- Simon’s character saying about/to Nick’s, “he’s not my boyfriend!” Hey/thanks, babe.”
- A Winchester gun
- A pub with husband and wife owners with a fruit machine
- A flower shop where Simon’s character will buy flowers for someone he loves
- Quick, Edgar Wright style transition sequences
- A cleaned up television version with words like “funk”, “clump”, and “silt”
- Clever character names (In Shaun the names rhyme with the character’s ultimate fate and in Fuzz they are almost all occupations or activities)
- Simon’s character getting dumped
- On the DVD, an End-o-Meter
- Foreshadowing, references to other movies of that genre and repeating lines
- An actual photo of one of the actors as a child (Shaun a picture of Simon and Fuzz had a picture of Nick)
- Nick’s character has to die but return in the final scene
Update: Edgar Wright confirmed #1, 2 and 4 on Twitter. Of course, those were the obvious ones.
House on Haunted Hill is so good.
