Sujay Thomas

ollymoss:

I worked with the Academy and Gallery 1988 to create the official 85 Years of Oscars poster. 

Click here to see it in detail!

The brief was one of the hardest I’ve ever had; find a way to reference every single Best Picture winner from the last 85 years. 

Shadow of the Colossus Fan-Made Poster

Hoover Dam, 1935

They pick the best, non-traditional shots from great effects films. Keep scrolling for some of the classics that go way, way back.

This post immediately pushed me into turning off their App Platform all together. Here’s how you can do that:

Privacy Settings > Ads, Apps & Websites > Apps You Use and turn Platform OFF.

Perhaps no other living director has done as much for the art of the title sequence as David Fincher. The filmmaker’s work inarguably helped kickstart the title design renaissance of the 1990s, a revival that the medium still enjoys to this day.

From the slumberous doom of Alien³ and the meticulous grotesquery of Se7en to the dreadful reminiscence of The Game, the electrical inner workings of Fight Club, and the majestic imposition of Panic Room, the director’s title sequences are as distinct from one another as they are distinctly the works of Fincher.

Maybe you got a new TV for Christmas. Or maybe you just got one recently. Maybe you are thinking of buying one. Whichever is the case, take heed: your TV will try very, very hard to make whatever movies you watch on it look not just bad, but aggressively, satanically, puppy-drowningly bad.

TVs are designed to do one thing above all: sell. To do so, they must fight for attention on brightly-lit showroom floors. Manufacturers accomplish this in much the same way that transvestite hookers in San Francisco’s Tenderloin district do—by showing you everything they’ve got, turned up to eleven. You want brightness? We’ll scald your retinas. You want sharpness? We’ll draw a black outline around everything for you. Like bright colors? We’ll find them even in Casablanca. Oh, and since you associate “yellowing” with age and decay, we’ll also make the image as blue as a retiree’s bouffant on Miami beach.

Don’t miss the “smooth motion” section, or what I like to call the “soap-opera effect.” Turn it off!

On the Set of Mad Men by James Minchin

The World’s Tiniest Police Chase