After a kind invitation from my good friend D-Kaz, Movie Poster of the Week will now be appearing weekly (I hope!) on the Auteurs Notebook. Check out my debut post. I will continue to post other ramblings and beautiful things here.
Gary Hustwit’s Helvetica is one of my favorite recent documentaries, and, needless to say, the best documentary I have ever seen about graphic design, and so I’m excited to see that his new doc on industrial design, Objectified, just premiered at SXSW. Today I saw the fabulous poster for the film at the IFC Center and it’s even better in person since the grey is actually metallic silver. The poster (notice the title hidden in the objects?) was designed by the British design studio Build and you can see it in extreme close-up here. There is also already a Japanese website that is trying to name every object on the poster and their designers. Coincidentally a similarly object-centric poster for a thriller called Order of Chaos was recently unveiled online. (Both posters feature an iPhone; on Objectified it’s top right, just before the sunglasses.)
In my cinematographer round-up last week I failed to mention the man who shot two of my favorite films of all time, Andrei Tarkovsky’s Mirror (1974) and Stalker (1979). Truth be told, I know nothing about Georgi Rerberg beyond his name, apart from the fact that he popped up once again, far from home, in 1995, as the cinematographer of Souleyman Cissé’s gorgeously shot, little-seen South African drama Waati. (He died 4 years later, aged 61.) So I was thrilled to discover that at last month’s Rotterdam Film Festival there was a documentary about Rerberg called Rerberg and Tarkovsky. The Reverse Side of ‘Stalker’, a film I would swim the Atlantic to see. I am dying to find out what contribution Rerberg made to those two miraculous films.
Cinematography postscript: The best line of last weekend’s Oscar telecast was of course Janusz Kaminski’s “Suck on that Anthony Dod Mantle!” after he became the first DP to present an Academy Award (albeit alongside Seth Rogen and James Franco). I didn’t include Spielberg’s favorite cinematographer among my pantheon of DPs even though his showy work on Julian Schnabel’s The Diving Bell and the Butterfly is worthy of attention. The dirty secret is that, in between the last Indiana Jones and Spielberg’s Tintin movie Kaminski shot the new Judd Apatow film—and Adam Sandler vehicle—Funny People, hence his appearance at the Oscars in the preceding (very funny) Apatow-directed skit. Skeleton in Kaminski’s closet: Vanilla Ice vehicle Cool as Ice (1991)!