The movie poster is dead! Long live the movie poster! Such are the proclamations that have cycled through the decades as movie poster design has ebbed from art form to dumbed downed marketing piece. Sometimes it rises to the former with a significant push from designers like Saul Bass and Neil Kellerhouse, but most of the time it recedes into the latter, wrenched down by the generic photomontages of studio film posters. However, in the last decade there’s been an interesting new wave taking place that brings these two disparate sides of the one sheet together. It’s being harnessed by collectible art boutique Mondo and embodied by artists (and panelists) Sam Smith, Justin Erickson and Akiko Stehrenberger; who are all striving to make movie marketing as engaging as the movie it’s representing. So how did this new wave take place and will it last? Can studios learn to embrace art in advertising? And can artists balance the advertising in their art?
Join frequent collaborators Randall Poster & Richard Linklater as they discuss the ever-changing and challenging world of music in relation to film. Music supervisor Poster has worked with the likes of Martin Scorsese, Wes Anderson, and Sam Mendes while Linklater is the Filmmaker behind films such as SLACKER, DAZED AND CONFUSED, WAKING LIFE and BERNIE.
You might not recognize the name Randall Poster, but you’re likely familiar with his work. Poster picks out and licenses music used in commercials, TV and film. He’s worked closely with director Wes Anderson on films like Rushmore and Moonrise Kingdom.
Do festivals represent the future of independent film distribution? Where are the opportunities? What are the risks? This panel will explore emergent models and speculate on ways independent producers (and distributors) may leverage a robust film festival circuit for commercial exploitation. With major festivals like Sundance, sxsw and Tribeca already in the game in varying ways, it seems this will be a developing trend. Will smaller regional festivals organize to create a theatrical circuit? Can a festival brand or screening translate into viable, direct revenues for the independent film sector? Is this what festivals should be doing? This panel explores one of the most compelling new developments in the business of film festivals.