Podcast appearances and mentions of Saul Bass

Most Graphic Designers think they know logo design, until they see how the legends did it.While the internet's flooded with trend-chasing tips and lazy logo lists, the truth is: there are laws. Rules. Principles. And the greats like Paul Rand, Saul Bass, Massimo Vignelli lived by them. That's why their work still hits decades later, while most logos today barely survive a rebrand cycle.In this episode of The Angry Designer podcast, we dig deep into the 18 Irrefutable Laws of Legendary Logo Design. Not recycled advice, but timeless lessons pulled straight from the icons of our industry such as Saul Bass, Paul Rand, Massimo Vignelli, Josef Müller-Brockmann, Milton Glaser, Herb Lubalin, Cipe Pineles, Sylvia Harris, Lella Vignelli, James Barnard, Scott Fuller & Allan Peters.If you're tired of generic design fluff and want to level up your thinking, craft, and confidence, this episode will give you the firepower. These aren't just logo tips — they're the rules that turn good designers into great ones.In this episode, you'll discover:The foundational truths behind logos that lastWhy most designers unknowingly sabotage their own workAnd what it actually takes to earn the title of "Logo Designer"Whether you're designing for clients, building your portfolio, or trying to future-proof your Graphic Design career, this episode will help you ditch the guesswork and design with purpose.Stay Angry our Friends –––––––––––Join Anger Management for Designers Newsletter at https://tinyurl.com/mr4bb4j3Want to see more? See uncut episodes on our YouTube channel at youtube.com/theangrydesigner Read our blog posts on our website TheAngryDesigner.comJoin in the conversation on our Instagram Instagram.com/TheAngryDesignerPodcast

Episode 124  Like many visual effects artists of a certain vintage, Jeff Okun didn't plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I'm a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun's creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I'd be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass's gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass's business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.”“By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn't long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That's what it comes down to — seeing what's broken and putting it together in a way that works. Most of the time, it wasn't about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak's fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn't believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that's what I'm talking about. Miniatures are the way to go.' And we said, ‘Nope. All CG.' That's when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There's uh, a slight resemblance.) - Credit to Nofilmschool.comPenguins, Moose, and the Invisible Effect Okun is quick to point out he wasn't a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn't do queues. But he did get a behind-the-scenes tour of ILM's original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn't change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there's no trick. That's where the real artistry is.” Still, that didn't stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond, he added a huge penguin family to a wide evacuation shot — no one noticed. “It's like the gorilla basketball video. You just don't see what you're not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea. Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.' So I said, ‘If you make it to the front of the moon pool, I'll kill you.'” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn't in the script. “Renny Harlin didn't know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right' button and then the ‘do it fast' button,” he said. “There's so little appreciation for how hard this stuff is, and we've done ourselves no favours by making it all invisible.” He sees today's VFX artists as increasingly anonymous — a shift he's spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don't sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year's VFX Oscar winners. That's not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren't supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It's always fun. That's the only reason I still do it. And when it's collaborative, when it's people bouncing ideas off each other, it's magical. That's when everyone forgets the pain and just remembers the movie.”All the Filmumentaries Links

The Walking Dead's Charlie Adlard joins us this week to talk comic books, kaiju and the iconic art of Saul Bass. Together we check out Bass' sole feature as a director, Phase IV (1974), followed by Destroy All Monsters (1968), directed by Ishiro Honda. It's not really possible to spoil Destroy All Monsters but we will call out Spoiler Territory for Phase IV. If you want to skip ahead from that point, you can rejoin the conversation at the 1:14:28 mark to avoid spoilers. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com For the best overview of Charlie Adlard's amazing career as one of the world's foremost comic book artists, go to charlieadlard.com His latest book, Heretic is available on Amazon and via all good booksellers. Look out for his upcoming book, Altamont, which is slated for an English language release later in 2025. Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

Imagine if your clients kept using your logos for 35 years. Thirty. Five. Years. While most logos barely survive a decade, Saul Bass created designs so timeless they've outlived designers' entire careers. How? By following six unshakable rules that most graphic designers overlook.This week on The Angry Designer Podcast, we take you on a no-bull deep dive into the legendary Saul Bass' approach to logo design. Forget the fluff and pretty pictures—this episode is about substance, strategy, and creating designs that actually matter.Packed with fiery rants, actionable takeaways, and a fresh perspective on how design can solve real business problems, this episode is your blueprint to:Understand why Saul Bass logos were built for longevity—and yours should be too.Discover the 6 unshakable rules of logo design that Saul Bass mastered.Learn how to design with purpose, avoid trends, and create work that endures decades.By the end of this episode, you'll have the tools and mindset to elevate your logo game and leave your mark on the world—just like Saul Bass.Stop designing throwaway logos. Start building 35-year icons.

Front Row Classics is celebrating the 65th anniversary of Otto Preminger's Anatomy of a Murder. Brandon is joined by Dominic Cellini to discuss this controversial courtroom drama. Jimmy Stewart stars in one of his most underrated performances as a country lawyer who is much sharper than he lets on. The film also includes sharp performances from Ben Gazzara, Lee Remick, George C Scott, Arthur O'Connell and Eve Arden. Brandon and Dominic discuss the intelligent script featuring dialogue and language that audiences weren't used to hearing in the late fifties. We also pay tribute to amazing opening credit sequence designed by Saul Bass and the jazz score by Duke Ellington.

Host, Amber Asay, explores the male designers who have either championed or dismissed the contributions of women in the design world. From Le Corbusier's undermining of female collaborators to Paul Rand's advocacy for Lella Vignelli, we dive into the varying dynamics of support—or lack thereof—among iconic male figures in design. Tune in to hear who lifted women up and who left them in the shadows._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay  ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Britnee, James, Brandon, and Hanna discuss a grab bag of horror movies about bugs & slugs, starting with Saul Bass's psychedelic killer-ants freakout Phase IV (1974) https://swampflix.com/ 00:00 Welcome 01:29 When the Wind Blows (1986) 07:09 Set it Off (1996) 13:16 True Crime (1995) 16:17 Television 20:50 Blonde Ambition (1981) 27:47 Bugs 36:19 Phase IV (1974) 52:34 Slugs (1988) 1:09:00 The Nest (1988) 1:15:28 Mimic (1997)

Tim and Jen invite Alex Rancourt of the Saucer Cinema podcast to marvel at Saul Bass's disquieting sci-fi dreamscape, Phase IV!View the alternate ending that should have been the theatrical ending to Phase IV on YouTube.A couple of interesting side notes about the Oscar-winning faux documentary Alex mentioned, The Hellstrom Chronicle: it was conceived and executive produced by David L. Wolper, the TV stalwart who shepherded massively successful television miniseries like Roots and The Thorn Birds, as well as the opening and closing ceremonies of the 1984 Olympics in Los Angeles. Additionally, Walon Green, the screenwriter perhaps best known for William Friedkin's sleeper masterpiece Sorcerer, co-directed and produced the film.A quick web search proved that the busty wasp mentioned by Alex isn't real, except perhaps in our hearts.We alluded briefly to this article at Dennis Cooper's blog discussing film treatments of LSD, with a fabulous collection of acid-related GIFs accompanying. Have You Seen This? BONUS episodes Hosted on Acast. See acast.com/privacy for more information.

Emilio Occhialini ci racconta la sua esperienza all'ultima edizione del Cinema ritrovato un festival internazionale che si è tenuto nelle sale e nelle piazze di Bologna dal 22 al 30 giugno e che grazie alla Cineteca di Bologna ha riproposto il cinema d'autore per tutti, con un cartellone che comprende capolavori del passato e film sperimentali.Alcuni tra i tanti titoli citati:"Lo Squalo" di Spielberg (1975) (vintage edition)"Napoleon" di Abel Gance (1927) "Hellraiser" di Clive Barker (1987)"Lanterne Rosse" Zhang Ymou (1991)'I disperati di Sandor" di Miklos Jancsò (1964)"Sugarland Express " di Steven Spielberg (1974)'I compari" di Robert Altman (1971)"Tokyo Drifter - Il vagabondo di Tokyo" di Seijun Suzuki (1972)"Fase IV: Distruzione terra" di Saul Bass (1974)"Godzilla" Hishiro Honda (1954)"Bona" Lino Brocka (1980) "Camp de Thiaroye" di Ousmane Sembène (1988)

Join hosts Nathan and Ryan as they delve into the eerie and cerebral world of "Phase IV" (1974) in this thought-provoking episode of Drive-In Double Feature Podcast. Directed by Saul Bass, this unique sci-fi horror film explores a world where ants develop a collective intelligence and begin to wage war on humanity. Dive into the film's unsettling atmosphere, its exploration of psychological and ecological themes, and the striking visual style that only Saul Bass could deliver. Explore how "Phase IV" stands out as a haunting and intellectually stimulating entry in the sci-fi genre. Get ready for a discussion that's as intriguing and unsettling as the film itself as we examine the complexities of "Phase IV."

PHASE IV USA, 1974 Regie: Saul Bass Bjoern Candidus und Patrick Siebold besprechen Saul Bass' einzigen Langfilm, den außergewöhnlichen PHASE IV, der eine phantastische Symbiose aus dystopischer Science-Fiction und Tier-Horror eingeht. Dabei sprechen sie nicht nur über den Film, sondern streifen auch die faszinierende Welt der Ameisen. Blog: https://antenne-traumstadt.podcaster.de/ Facebook: https://www.facebook.com/AntenneTraumstadt Musik: Carlos Ebelhaeuser (Musiker, Komponist / BLACKMAIL, THE DAMNED DON´T CRY) Link zum neuen Album von THE DAMNED DON´T CRY: https://open.spotify.com/album/3cAHZfiunmXQzsIUWuQ3cS?si=RWp72NHJRNuBtJYIIORfjQ&fbclid=IwAR1UbQ9FeQ1d9hIp-xF7zZhzafzng8lAhpeRyCADLQRXS0UPbYbxd32K7xk&nd=1

Otto Preminger's ripped-from-the-headlines courtroom drama Anatomy of a Murder (1959) stars a delightful mix of young and old Hollywood, is a big middle finger to the Production Code, and is an ode to manipulating the US legal system. And if that weren't enough, we've got a soundtrack by Duke Ellington and titles by Saul Bass.

On this episode of Cinema Fantastica we're traveling back to 1984 and the Boston Science Fiction Film Festival in Boston, Massachusetts - one of the longest running genre film festivals in the United States! This iteration was an all-night science fiction movie marathon, and we're putting two genre classics against each other: Roger Corman's unnerving X: THE MAN WITH THE X-RAY EYES from 1963 vs Saul Bass' environmental sci-fi/horror PHASE IV from 1974! WHICH FILM WILL REIGN SUPREME? Listen and find out! The post Episode 223 – Cinema Fantastica – X: The Man With the X-Ray Eyes (1963) & Phase IV (1974) first appeared on Cinema Smorgasbord.

It's April, so that means it's time for the AIPT Movies podcast's “No EscApril” series, where we celebrate the wonder of thrillers! Not quite horror, not quite action, that sweet spot in the middle where danger is afoot, and lives are still on the line! In this week's episode, Alex, Tim, and Matt discuss Alfred Hitchock's mistaken-identity mystery thriller, North by Northwest!Possibly the most iconic gray suit in movie history! Classic filmmaking techniques and visual effects! A cornucopia of fantastic mid-century design and fashion, featuring the work of legendary artist Saul Bass! Cary Grant being surprisingly charming while running away from an airplane! Eva Marie Saint as an early archetype for the modern femme fatale! A fun, punchy script full of twists and suspense! A movie that not only created the template for the James Bond series, but also influenced countless other movies, such as Catch Me If You Can and Total Recall (we think)!In addition, Alex shares his spoiler-free thoughts on Civil War and Law Abiding Citizen!You can find AIPT Movies on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The AIPT Movies podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris, Tim Gardiner, and Matt Paul, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Instagram and Twitter @ActionHarris. Matt is a terrific artist that you can find on Instagram @no_wheres_ville. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the AIPT Movies crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter @AIPTmoviesPod.Theme song is “We Got it Goin On” by Cobra Man.

Hi, everybody. Curmudgeon alerts abound as Rich and George talk about Dune 2, recent trailers, wild fires, and two graphic novels. All of this plus North By Northwest leading into an appreciation of the genius of Alfred Hitchcock and graphic designer Saul Bass. Thank you for listening. Connect with Meanwhile At The Podcast on social media. Don't forget to #livetweet (we're still calling it that)! Share the show, subscribe so you don't miss an episode, and rate us on your podcast apps. Those much coveted five stars are always appreciated. Stay safe out there. https://twitter.com/meanwhileatp https://www.instagram.com/meanwhileatp/ https://www.meanwhileatthepodcast.libsyn.com https://www,facebook.com/meanwhileatthepodcast NOW ON BLUESKY SOCIAL AND SPOUTIBLE @MeanwhileATP Rodney (AKA Art Nerrd): https://twitter.com/artnerrd https://www.instagram.com/theartnerrd/ https://facebook.com/artnerrd https://shop.spreadshirt.com/artnerrd Kristin: https://www.facebook.com/kristingollhofer https://www.instagram.com/kristingollhofer Rich: https://twitter.com/doctorstaypuft NOW ON SPOUTIBLE @doctorstaypuft    

From the striking Saul Bass artwork to Duke Ellington's score, one should expect that Anatomy of a Murder wouldn't be like the films that came before it. This film, which features a star-filled cast, bucks the studio system and films on location in Michigan, uses actors not contracted by the studio, and doesn't hold back with language and themes typically avoided thanks to the Hays Code. Dan and Jon not only sing its praises, but offer some ideas on how it could be brought back today.Next episode: Drop Dead Gorgeous (1999) • MinnesotaSee what native tribes reside or resided in what is now known as MichiganSubscribe to The WALT!Contact us, follow us on social media, or buy some merch at linktr.ee/RuinedChildhoods Hosted on Acast. See acast.com/privacy for more information.

Our guest is Rick Valicenti, founder of Thirst (1988–2019). In this episode, Valicenti speaks with host ⁠Christian Solorzano⁠ and reflects on the journey and highlights of his career, which has spanned decades. Valicenti shares insights from his collaborations, friendships, and encounters with designers such as Paul Rand, Art Paul, Saul Bass, and Tibor Kalman. Valicenti walks us through his creative process and the methods through which he stays inspired to continue to create and use graphic design as a means of expression and communication. Music by the band ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Eighties Slang⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Waar komen Opening titles vandaan? Welke hebben de geschiedenis van film en TV veranderd? Wat zijn onze favoriete titles? Wie zit er achter deze mini-films?In deze vijfde aflevering van Re:Design hebben we het over de kunst van opening titles. We hebben het onder andere over Saul Bass, David Fincher, Pentagram en Elastic.

The ants go marching...over humanity! Brian and Cargill go deep underground to discuss Saul Bass' ecological sci-fi trip with the long-lost ending: Phase IV!Support us on Patreon!

Author Randy Fox returns to the show so that we can continue our series on 1970's Science Fiction films! This time we look at the fascinating directorial debut of graphic designer Saul Bass, PHASE IV (1974). The film was a financial failure at the time of release but its status as a cult film has grown slowly over the decades.  We look at the many cinematic influences the film's story draws from including THE NAKED JUNGLE (1954), THE ANROMEDA STRAIN (1971) and 2001: A SPACE ODESSEY (1968). We marvel over the ant photography that allows the film to so clearly show us the world of these newly altered insects traveling into their hives and, at times, seemingly into their minds. We discuss the small cast even as I question why they bothered to give the characters proper names at all. Given Saul Bass' background as a visual artist it is no surprise that the film produces a dozen or more unforgettable images and we try to point out as many of them as possible. The choice to use a voiceover is put to the test with Randy's dreaded ‘professor with a pointer' serving as our classic example of going too far! We dig into the ways the human living spaces are presented in comparison to those of the ants and how a break in that alignment shows a specific communication change in the story. Of course, we occasionally veer off topic as things point us toward other subjects but I'm happy to say we always find our way back to the film under the magnifying glass.  Do you have thoughts about PHASE IV or other films that stuck with you even though you weren't sure if you liked them? If so, thebloodypit@gmail.com is the address to send those comments. Thank you for listening! 

Iván continúa viendo clásicos y hoy nos trae su crítica del film de culto "Sucesos en la cuarta fase", dirigido por Saul Bass. Sí, ESE Saul Bass. Hormigas vs. gente. Os arrepentiréis de pisar estos insectos. ¡Escuchad y opinad! También nos podéis encontrar aquí: Spotify: https://open.spotify.com/show/52i1iqZ56ACal18GPkCxiW Apple Podcasts: https://podcasts.apple.com/es/podcast/los-tres-amigos/id1198252523 Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL2ZlZWRzLmZlZWRidXJuZXIuY29tL2l2b294L3VOeGo Amazon Music: https://music.amazon.com/podcasts/e0b56d4f-4537-47e0-a252-9dfe56b5a490/los-tres-amigos Grupo de Telegram: https://t.me/LosTresAmigos https://www.facebook.com/LosTresAmigosPodcast/ Twitter: @tresamigospod Instagram: lostresamigospodcast Letterbox: https://letterboxd.com/LosTresAmigos/ blog: https://lostresamigos.wordpress.com

It's so important to start off on the right foot....On this episode we're doing another dive into some of the Emmy nominated artisans who work behind the scenes on some of our favourite shows.  On this episode it's time for 'Hello, Tomorrow".Particularly about how a show like 'Hello, Tomorrow' says hello to us every time we watch an episode.We had the great pleasure of sitting down with Emmy Nominated Main Title Designer Ronnie Koff who serves as a creative director on the show.We talked about how he got the job, how the classics from the likes of Saul Bass can still inform title sequences today and why they add so much to any given show or film.

Welche Designer:innen sollte ich (vielleicht) kennen oder kennen lernen ? Das Reizvolle beim Name Dropping im Design liegt sicher auch darin, dass wir uns assoziativ mit inspirierenden Persönlichkeiten auseinander setzen, die durch ihre Kreativität und ihr innovatives Denken die Designwelt geprägt haben oder noch tun werden.Wir sprechen über Hintergründe zu Stilen, Techniken und Visionen von Designer:innen, beleuchten ihre Karrierewege und erfahren, was sie dazu bewegt hat (manchmal) bahnbrechende und (im besten Fall) zeitlose Werke zu schaffenIn dieser Folge haben wir außerdem drei besondere Gäste, die ihre persönlichen "Name Drops" mit uns teilen und darüber sprechen, wie diese Designerinnen und Designer unsere Kultur und unsere Wahrnehmung von Ästhetik nachhaltig beeinflusst haben.Falls Ihr mehr über diese bemerkenswerten Persönlichkeiten erfahren möchtet, die die Welt des Designs gestalten und prägen, dann hört unbedingt rein und lasst Euch inspirieren - wie immer subjektiv, aber mit Anspruch!" Mit Dank an unsere Gäst:innen Gabriele Günder und Francis Uckermann! Shownotes: 01. Kurt Weidemann - [Link](https://de.wikipedia.org/wiki/Kurt_Weidemann) 02. Stefan Sagmeister - [Link](https://www.sagmeisterwalsh.com/stefan) 03. David Carson - [Link](http://www.davidcarsondesign.com/) 04. Adrian Frutiger - [Link](https://de.wikipedia.org/wiki/Adrian_Frutiger) 05. Saul Bass - [Link](https://en.wikipedia.org/wiki/Saul_Bass) 06. Otl Aicher - [Link](https://de.wikipedia.org/wiki/Otl_Aicher) 07. Debbie Millman - [Link](https://debbiemillman.com/) 08. Muriel Cooper - [Link](https://www.murielcooper.com/) 09. Cipe Pineles - [Link](https://en.wikipedia.org/wiki/Cipe_Pineles) 10. Jessica Walsh - [Link](https://jessicawalsh.com/) 11. Susan Kare - [Link](https://en.wikipedia.org/wiki/Susan_Kare) 12. Jacqueline Casey - [Link](https://www.aiga.org/medalist-jacquelinecasey) 13. Josef Müller Brockmann - [Link](https://de.wikipedia.org/wiki/Josef_M%C3%BCller-Brockmann) 14. Karl Gerstner - [Link](https://de.wikipedia.org/wiki/Karl_Gerstner) 15. Paula Scher - [Link](https://www.pentagram.com/about/paula-scher) 16. Bob Gill - [Link](https://de.wikipedia.org/wiki/Bob_Gill) 17. David Shrigly - [Link](https://davidshrigley.com/) 18. Milton Glaser - [Link](https://www.miltonglaser.com/) 19. Aaron Lowell Denton - [Link](https://aaronlowell.com/) 20. Caterina Bianchini - [Link](https://semipermanent.com/profiles/caterina-bianchini) 21. Gabriel Holzner - [Link](https://www.gabrielholzner.com/) 22. Aries (Kate) Moross - [Link](http://www.katemoross.com/) 23. Ping Zhu - [Link](https://www.pingszoo.com/) 24. Elizaveta Porodina - [Link](https://porodina.com/) 25. YeYe Weller aka. Boris Bromberg - [Link](https://sose15.parcours-muenster.de/absolventen/boris_bromberg.html) 26. Ólafur Elíasson - [Link](https://de.wikipedia.org/wiki/%C3%93lafur_El%C3%ADasson)

As June:Bug continues, we watch these ants go marching one by one (hurrah, hurrah) to take on a scientist with a very familiar name in the only feature directly by legendary Saul Bass, Phase IV. Email: WeeklyPodcastMassacre@gmail.com Twitter: @WeeklyMassacre Instagram: @WeeklyMassacre Music by Dora the Destroyer --- Send in a voice message: https://podcasters.spotify.com/pod/show/weeklypodcastmassacre/message

Tim and Brennan are kicking off June Bugs month with some of the most surreal bug-themed horror you'll ever encounter, the Saul Bass directorial effort PHASE IV!   Love the Podcast? Leave us a review! Follow Alternate Ending on Twitter and Instagram  Follow Brennan on Twitter, Instagram, and Letterboxd Follow Tim on Letterboxd Support Alternate Ending and check out our member perks, including voting for the films we cover on this program, via the Alternate Ending Patreon page!

Turns out we're not quite ready to let The Beats go! Sticking with our topic of separating myth from reality, we wrap-up our dive into mainstream interpretations with a quick conversation about the movie “The Man with the Golden Arm” which centers on a jazz drummer played by none other than Frank Sinatra. The film's soundtrack from Elmer Bernstein along with the Saul Bass-designed poster and opening titles helped make this film iconic. - - - - - Visit our full episode page for show notes, the visual examples we discuss, additional links and more! https://www.twodesignerswalkintoabar.com/episodes/episode-48-and-a-half-golden-arm - - - - - Have a question or idea for Todd and Elliot? Send a note to hello@twodesignerswalkintoabar.com and we promise to read it. After that it's anyone's guess. - - - - - Visit https://www.twodesignerswalkintoabar.com/merch to have a look at stuff we've made for listeners just like you. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Jeff and Mike interview Maximillian Piras, a Product Designer with Headliner Video. Headliner is a video creation tool designed for audio creators, making audio easily shareable across the web by automatically transforming audio clips, like this, into engaging videos. At Headliner, Max leads cross-platform UI & UX. We talk about the importance of side projects, truly listening to your customers, and some of the latest podcasting/social trends [1:20] Max talks about escaping the day job & starting a side project, Lost Cat, that ended up being sold in the New Museum in NYC. We also covered the hard decision to wrap up a project and keep maximizing career learnings (and fun!) [6:30] Mental model for this group indexes high on side projects. “Productive Chilling” - it's addictive to get things going & explore the things you're not able to do during the work week. But, it begs the question - when are there too many irons in the fire? [9:00] Wanting to be a director as a kid that planted the seed for Max to work on Movie Posters. We talk about Max's love of films, drawing inspiration from Saul Bass, and the formulaic nature of movie posters. [12:30] Mike & Jeff are stoked to finally chat with someone from Headliner Video - it's a tool that we use on the Product Explained show every Monday when we launch our videos. We hear more details from the inside and today's current gap in the internet for optimizing for audio. [15:30] Being scrappy, building from the ground up, and how Headliner differentiates Product & Design. [18:00] How Headliner got started - and the classic pivot which lead to exploring social video. Eventually leaning in to customers that love your tool (podcasters in this case!) [24:00] Max's mental model for picking out trends & doing the right research for the right customers. For example, podcasters using short-form video content that is the hook for audio-only content. Mike & Jeff found Headliner to help automate their social content [28:00] Rapid fire questions & rounding out the interview! We talk about Apple Podcasts, Figma, and the book recommendation of “Thinking in Bets” (Optimize for process, not outcomes). [34:00] You can find more about Headliner at: headliner.app and find Max on social media: @maximillian.nyc

A propos de Bernie KrauseDerrière la porte  Jean PoinsignonKoroni (solo de flûte)  Musique DayakDas insekt  Der PlanLes insectes   Maurice JarreRetour vers la canopée. Jean PoinsignonLes éphémères   Knud ViktorRobert et les insectes.  Albert MarcoeurMireille  Dick AnnegarnAji fly  FoodmanFly eye   Daniel JohnstonFly in the pool   Boards of CanadaLa terre est rouge   Cha Cha GuitriPhase IV Saul Bass  1974La maladie des fourmis  Guigou Chenevier & Sophie JausserandLe roi des fourmis  Michel PolnareffLa cigale et la fourmi  Charles TrenetBumble Boogie   Freddy  MartinBee Oh  DialectBusy Bee  Arthur AskeyEphemeroptera  Ikue MoriLe bourdonnements des abeilles  Pygmées BakaMélodie d'harmoniques (insectes)   Papua New GuineaThe insect dancers   Dave ClarksonInsect fear   Cavern Of  Anti-MatterInsects   IQ ZeroLa Métamorphose  Franz Kafka lecture de Dominique BlancRitual with Giant Hissing Madagascar CockroachesMetamorphoses   God is GodThe naughty little flea  Miriam MakebaCulex pipiens  André-Jacques Andrieu et Bernard DumortierGreen mosquito  The Tune RockersUn papillon  Hector ZazouPhylopn  Mira Calix

งานภาพยนตร์ล้วนเต็มไปด้วย aesthetic ทางศิลปะ ในอีพีนี้เราเลยจะพาไปดูอีกหนึ่งศิลปินที่สร้างมาตรฐานใหม่ของงาน Title Sequence หนัง หรือฉากเครดิตเปิด-ปิด ภาพยนตร์ นั่นคือ Saul Bass เชื่อว่าทุกคนน่าจะเคยเห็นงานของ Saul Bass กันสักครั้งเป็นอย่างน้อย แม้ว่าจะทราบหรือไม่ก็ตามว่าเขาทำ เพราะงาน Title Sequence และโปสเตอร์ภาพยนตร์ในสไตล์ของเขานั้น สร้างแรงบันดาลใจให้นักทำหนังยุคต่อๆ มาเป็นอย่างมาก และงานโปสเตอร์แนวมินิมอลของ Saul Bass ก็มีเอกลักษณ์จนกลายเป็นภาพจำที่ยากจะลืมเลือน #SalmonPodcast #SalmonLAB #SalmonHouse #Arttrovert #เรื่องศิลปะน่าสนใจ #Podcast #พอดแคสต์ #พอดคาสต์ Learn more about your ad choices. Visit megaphone.fm/adchoices

Außerirdische, Impotenz und intelligente Ameisen. In dieser Folge reisen wir ins 18. Jahrhundert und legen uns mit dem Predator an. “Prey” erzählt eine Vorgeschichte des Franchise und wir verraten euch, ob es endlich mal wieder einen guten Film in der Reihe gibt. Danach geht es nach Indonesien, wo Ohrfeigen mehr zählen als ein Wort und die Manneskraft infrage gestellt wird - bei “Vengeance is Mine, All Others Pay Cash”. Und zu guter letzt legen wir uns mit hochentwickelten Ameisen an, in Saul Bass' Klassiker “Phase IV”.

doblesesion.com @doblesesionpdc #dslovehate Nos embarcamos en La Noche Del Cazador (The Night Of The Hunter, 1955) y nos dejamos atrapar por las luces y sombras de la película de Charles Laughton. En la sección inicial escuchamos y comentamos la doble sesión que nos recomienda Maikimaik. A partir del minuto 0:20:00 empezamos a hablar de La Noche Del Cazador (The Night Of The Hunter, 1955) de Charles Laughton. Para complementar el visionado os recomendamos el programa sobre John Powell del podcast Del Crimen Al Cine y los especiales sobre cine mudo del podcast El Descampao. Además, desde el cine fórum de Telegram No Apaguen El Proyector recomiendan las películas El Carnaval De Las Almas (Carnival of Souls; Herk Harvey, 1962) y Sucesos En La Cuarta Fase (Phase IV; Saul Bass, 1974). Escúchanos y síguenos ➡️ https://linktr.ee/doblesesion

Today we're joined by friend of the show Adam Kane to discuss Hitchcock's bombastic spy thriller North By Northwest! We discuss film's confusing setup, symbolism (and Hitchcock's refusal to read into this film), the demand not to ask silly questions, how old Cary Grant's character is supposed to be, the many MacGuffins, the many love triangles, Mount Rushmore, and Saul Bass himself. This episode is sponsored by Crop Duster Assassins Ltd. -- if you need to take someone out and you want to do it in the least efficient way possible, give them a call!

Visuals: https://getbehindthebillboard.com/2022/07/08/episode-45-guy-moore/We're back.And most appropriately we're back with a Cannes man.None other than Guy Moore, who amidst many career highlights, won the Cannes OOH Grand Prix in 2018 with McDonalds ‘Signs' campaign, which has a brilliant back story.And coming in a close second is Guy's British Heart Foundation campaign which involved calling Saul Bass - yes the legendary Saul Bass - in the middle of the night in New York for a little art direction chat.Smart, funny, wise (and wearing a cracking shirt) Guy it was a total pleasure hearing, in your dulcet tones, the stories behind your billboards.Thank you so much for coming on - an hour felt way too short - maybe a part 2 sometime?Until then, enjoy this one.

This week, Ryan, Garreth, and Cody sit down for an installment of Design Stuff Bonus Round to pick up where they left off last week. And while you may not recognize the name, you have heard the name of one of his students: Saul Bass. Kepes' work as an artist, educator and theorist was monumental ...

Un GROS épisode pour pleins de GROSSES sorties et de débats énervés ! On vous parle de BUZZ L'ÉCLAIR, d'ELVIS, de BLACK PHONE et de EL BUEN PATRON ! En bref, c'est I'M YOUR MAN et pour le passé PHASE IV de Saul Bass ! Bonne écoute !=====PRENDRE SA PLACE POUR LA CIGALE OMG :https://www.ticketmaster.fr/fr/manifestation/pardon-le-cinema-la-100eme-billet/idmanif/525711==========Soutenir PARDON LE CINÉMA et avoir des épisodes EXCLUSIFS :https://plus.acast.com/s/pardon-le-cinema=====Cette émission est réalisée en partenariat avec la chaîne TCM CINÉMA. (55 ou 403 chez Orange, 162 avec SFR, 90 avec Bouygues, 123 avec Free).Pour en savoir plus : https://www.canalplus.com/chaines/tcm-cinema_______________________________________________________________________LE LIVRE PARDON LE CINÉMA EST SORTI !Amazon : https://bit.ly/PardonAmazonFnac : https://bit.ly/PardonLaFnacCultura : https://bit.ly/PardonCulturaDecitre : https://bit.ly/PardonDecitresLesLibraires : https://bit.ly/PardonLesLibrairesMerci pour votre soutien

This week, Ryan, Garreth, and Cody sit down for another installment of Design Stuff, a segment devoted to design, designers and their words and ideas. And while you may not recognize the name, you have heard the name of one of his students: Saul Bass. Kepes' work as an artist, educator and theorist was monumental ...

Lucas returns from his roadrunning across Canada to answer some emails with Will about celebrity Arthur voice casts and adoption in the Arthur universe. Then, the guys deal with body horror and Saul Bass titles in "Follow The Bouncing Ball," before fretting about Buster's future and lament the lack of ICP in "Buster Baxter and the Letter From The Sea." Plus, the Arthur adaptation of Zodiac, Will makes a proposition to the Arthur Wiki, and what podcast pair do Lucas and Will look like?

You've seen his work almost everywhere during your entire life, but you have likely never heard his name. Saul Bass's career started when he was young and only came more prolific as he worked on some of history's most iconic logos, film title sequences and eventually became one of Hollywood's most sought-after visual stylists. From ...

We tried to squeeze everything a motion designer creates into one episode, but we touch so many things that we’re splitting it into two. In Part I, we’ll discuss movie titles, TV titles, title cards, commercials, Network branding and promos, music videos, episodics, in-app branding, and award show packages (like MTV Video Music Awards and the Oscars), and logo animations. What comes to mind when you think of each of these areas of Motion Design? Austin and Erin will highlight some of their favorites – from Motion Design studios to individual designers, going back decades. From Ozark to the Brady Bunch, MTV’s moon and flag treatment, to Green Day, Led Zeppelin, Netflix, Microsoft, and Google – join us for a sometimes nostalgic and always inspiring look at all the work motion designers create. Discussion Points: Movie Titles – Birds of Prey, Psycho & Saul Bass, Thomas Crown Affair, Se7en, Bond films TV Titles - Peacemaker, The Morning Show, True Detective, The Brady Bunch, Golden Girls Title Cards - Ozark, The Killing Events - Oscars, Emmys, MTV, Independent Spirit Awards Conference Titles - Not often talked about, a chance to really experiment Commercials – Nike Air Max, the Kraken, Bombay Sapphire Network Promos and Branding - F/x American Horror Story, Simpsons Austin’s work for Pharrell, Anthropologie, Ralph Lauren Music Videos - A-Ha, White Stripes, They Might Be Giants Episodics - Another area not often talked about - Adult Swim, Julia Pott Motion Branding - TV networks, Netflix, Hulu In-App Branding - Microsoft, Stephen Kelleher Award Show Packages – MTV, Studio Moross Logo Animation - MTV Moon Man Resources: Sarofsky Austin Shaw

La artista ha celebrado en 'Por fin no es lunes' los cumpleaños de Marta Sánchez, de Saul Bass, de Enrique Iglesias, y de su madre, América, que cumple hoy los 93

Hosts Josh and Jamie and special returning guest Andrew Law discuss going post-human insect mode in David Cronenberg's romantic body horror update on creature b-movies THE FLY (1986) and Saul Bass' psychedelic sci-fi war against the ants in PHASE IV (1974). Next week's bonus episode is a patron-exclusive bonus episode on THE HITCH-HIKER (1953) and THE HITCHER (1986), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-10:25 THE FLY // 10:25-1:28:30 PHASE IV // 1:28:30-2:40:00 Outro // 2:40:00-2:43:50 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl/ Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller/

Il suscita plutôt l'indifférence voire l'ennui à sa sortie mais, aujourd'hui, il est considéré comme l'un des plus grands films de toute l'histoire du cinéma. Sorti au printemps 1958 aux Etats-Unis, Sueurs Froides - Vertigo en version originale - dérouta en son temps les critiques et le public, un peu égarés face aux innombrables degrés de lecture et la noirceur extrême de cette romance maudite maquillée en thriller tordu. Une drôle d'histoire, adaptée d'un best seller du tandem français Boileau-Narcejac paru en 1954, et au service de laquelle Hitchcock va consacrer toute sa puissance créatrice, alors à son apogée. Le maitre du suspense dirige alors son acteur fétiche James Stewart dans le rôle de John Ferguson, ex-officier de police de San Francisco désormais en retraite, traumatisé par la mort accidentelle d'un collègue tombé dans le vide en essayant de le sauver, lors d'une course poursuite sur les toits avec un fugitif.Ferguson, sujet à la phobie de la hauteur depuis cette tragédie et rongé par la culpabilité, peut compter sur le soutien d'une ancienne fiancée devenue son amie, Midge (Barbara Bel Geddes), secrètement toujours amoureuse de lui. Mais c'est d'une autre femme dont Ferguson va tomber amoureux éperdument : Madeleine Ellster (Kim Novak), épouse d'un vieil ami qui demande à John de la suivre dans ses faits et gestes, de peur qu'elle attente à ses jours. Soi-disant hantée par l'esprit de son arrière grand-mère, une certaine Carlotta Valdès, qui se suicida un siècle plus tôt, Madeleine ère chaque jour dans San Francisco au gré d'un itinéraire qui va peu à peu prendre Ferguson dans sa toile... Sans savoir qu'il est en réalité manipulé de bout en bout (comme le spectateur !). Entouré de ses fidèles collaborateurs, du chef opérateur Robert Burks au monteur George Tomasini en passant par la mythique costumière Edith Head, Hitchcock transcende à l'écran le roman pour livrer sans doute son oeuvre la plus personnelle et la plus aboutie. Un diamant noir d'une beauté visuelle foudroyante où la mise en scène, réglée au millimètre près par Hitch', forme avec la sublime partition romantique de Bernard Herrmann un tandem à l'irrésistible puissance hypnotique.Histoire d'amour désespérée, traversée par les mythes de Pygmalion et Galatée autant que de Tristan et Yseult, Sueurs Froides n'a pas pris une ride et même, privilège rarissime au cinéma, semble toujours plus moderne à mesure que le temps passe. Célébré par Truffaut, De Palma, Argento, Scorsese, Marker et tant d'autre cinéastes tombés aussi amoureux de ce chef-d'oeuvre que Ferguson de Madeleine, il nous plonge dans un tourbillon d'émotions tout en multipliant les plans virtuoses, à jamais gravés dans les mémoires des cinéphiles. Amorcé par l'incroyable générique symbolique du graphiste de génie Saul Bass, cet inoubliable polar, marqué à mi-chemin par un rebondissement étourdissant, reste encore à ce jour une oeuvre définitive sur l'obsession et la culpabilité. Un film extrêmement personnel pour son réalisateur, qui fit de sa star féminine Kim Novak l'incarnation absolue de l'inatteignable blonde Hitchcockienne, source de tous les fantasmes. Bref, un sacré bout de film, étudié sous toutes les coutures depuis des décennies mais qui reste toujours, lui aussi, cet objet insaisissable refusant de livrer tous ses mystères. Et qu'on ne se lasse jamais de redécouvrir. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Double Trouble doesn't have a great reputation but we felt the wacky European caper angle was a nice change of pace. However we do agree that this contains perhaps the worst Elvis movie song even if the other tunes were nice. Also with double the trouble comes double the tangents it seems. We discuss, among other things, our preferred tea biscuits. Our love for Saul Bass and Brian De Palma. Morgan recommends the film In Bruges and reveals her hatred of The Animaniacs. We pack a lot in this one.

In this episode of Inside Jobs, we meet Laurie Schiada, who's made a career out of pushing the creative envelope. Laurie joined legendary designer Saul Bass as an art school grad before setting out on her own as a freelancer. From there, her design work quickly evolved into branding and creative leadership roles. At Disney, Boeing and beyond, Laurie honed her skills managing creative talent, advancing team structures and reawakening legacy brands. Today, she runs Humana's in-house agency, The Hive—empowering creatives to reach beyond brand standards and add value at every point of contact with the business.——This podcast is supported by the In-House Agency Forum and hosted by Robert Berkeley  from Express KCS.

Episode 9 of of Cultpix Radio WCPX 66.6 sees (hears?) Django Nudo and a nude-o Smut Peddler discuss dope cult films about drugs and celebrate the site now being open to everyone. After two months of being invitation-only Culpix.com is now open to anyone over the age of 18 with a credit card and a burning desire to see the world's greatest selection of streaming classic cult films and TV shows. We discuss how we got here and give a shout out to our amazing early members who helped us along the way. When we started discussing doing a Theme Week about drug warning and exploitation films we quickly realised that we had more films than we could ever cram into one week. Thus the idea was born to split it into two. This week we look at drug warning films from the 1930s and the post-war period, while next week we move into the era from the hippies to the War on Drugs. Reefer Madness (1936) is the cultiest of all drugsploitation films, but it was an earnest anti-drug film called Tell Your Children before it had sleazy bits cut in, suffered multiple name changes and gratuitous posters printed up.  It was one of many films around the same time that include Marijuana - Weed With Roots in Hell (1936), Assassin of Youth (1935) and  The Cocaine Fiends (1935). We uncover their secret patterns:*Middle-class A students kids seduced into the seedy drug world;* Often a blonde, "fallen" girl luring the kids.* Drug dealer is always sleazy, a bit older and has backslick and a pencil-thin black moustache. Sometimes with a suspicious (hispanic?) accent;* There is always one or a few upstanding citizens: a father, a mother, a teacher, a judge;* There is always a comic relief: an older lady on a silly moped, an old man with bad teeth, a fat matron, a servant;* There is a lot of slinky, silky underwear and too much being exposed, garter belts, stockings, etc. The Hays Code was very strict, but these were "educational" films;* There are always big parties in the drug dealers home, so both drugs and tons of booze;* All the drugs have an effect that is counter-indicative of the drug's effect in real-life; when a drug normally gets you mellow, you get extatic, happy, sometimes violent. When a drug normally makes you energetic, you get slow and tired;* There is always jazz music! (The Devil's music, of course!)And why does the same devil appear on posters for two different anti-drug films a decade apart?Two films from the mid-50s are poles apart in tackling the menace of substance addiction. Quasi documentary Teenage Devil Dolls (1955) could only afford a preachy voice-over about a 'good girl' falling in with a druggy biker gang. Meanwhile The Man With The Golden Arm (1955) is probably Frank Sinatra's best role ever as a jazz (!) drummer trying to go straight with the help of Kim Novak's stripper joint madam, but led astray, featuring Elmer Bernstein's sublime score and Saul Bass' iconic design. Finally Smoke and Flesh (1968) gives us a glimpse of next week's hippie druggie films continuation. 

Lexi and Holden are heisting with the best of them as they watch watch the first two episodes of The Great Pretender, Lexi's favorite anime of last year. In our final episode before the Tournament Arc conclusion we talk con artists and the cons they do, the exquisite style of Great Pretender, Saul Bass, interesting uses of subs and dubs in the show, how to pronounce the name 'Laurent' and how anime protags seem to be underdogs.

Monográfico sobre "Con la muerte en los talones", Alfred Hitchcock (1959). Hablamos de Gipsons, Tom Collins y Ramón Bilbaos; de la triada británica Cary Grant, James Mason y Sir Alfred Hitchcock; de Eva Marie Saint; de madres sobreprotectoras; del puente aéreo Oviedo-Sevilla; de Saul Bass y Bernard Herrmann; hablamos de la elegancia, de lo siempre y de lo clásico; de Frank Lloyd Wright no hablamos, pero hablaremos. Hablamos de cine y de vida, valga la redundancia. Para un buen Gipson: Se toma el vaso mezclador hasta arriba de hielo, se echan 3/4 de ginebra y 1/2 de vermú seco y se sirve en una copa de cóctel previamente enfriada. Se adorna con una cebollita dulce. Intervienen: Don Jaime Fernández-Mijares y Nacho Rozas (director). Control técnico: Marcos Machado. Si tienes la cinefilia por castigo, suscríbete a FILMIN con nosotros y recibe ¡dos meses del mejor cine por el precio de uno! Solo tienes que pinchar en este enlace: https://www.filmin.es/landings/latrinchera

Phase IV coats Chris and Adam in yellow and demands that they sing the praises of ants, Saul Bass, advertising, pizza, and pasta.

Deuxième émission confinée avec deux films sortant dans de superbes éditions vidéo et ayant pour point commun d'avoir longtemps été jusqu'ici de véritables trésors cachés pour les cinéphiles adeptes de bizarreries cinématographiques:D'un côté La Route de Salina, film psychédélique/hippie/vénéneux de Georges "Tontons flingueurs" Lautner, de l'autre l'halluciné  Phase IV unique long métrage de Saul Bass, l'homme qui révolutionna le title design à Hollywood. Deux films très peu vus en salle et très mal accueillis par la presse de l'époque, et dont la profonde originalité est aujourd'hui évidente, et la force, intacte.La Route de Salina de Georges Lautner sort dans la collection Make My Day de JB Thoret chez Studio Canal.Phase IV de Saul Bass sort chez Carlotta en édition dvd/blu-ray ainsi dans un coffret ultra-collector en compagnie d'un très riche ouvrage consacré à la conception du film par Frank Lafond.

Earlier today, Bill and I recorded episode 312 of On Taking Pictures and while I wouldn't say it was our best show—it was a good show. I think every show is a good show for one reason or another. It was one of the more significant shows because of the number—episode 312. If you do the math, 312 marks the end of six years of doing On Taking Pictures every week and while I've talked in the past about what doing OTP has meant to me and what I've learned from it, how it has changed my life and the new friends I have as a result of it, those things are really byproducts of doing the work.Subscribe: Apple Podcasts | Pocket Casts | Overcast | RSSChristopher Burkett is a landscape photographer who uses a large format 8×10 film camera and discontinued Cibacrome paper to make stunning photographs of the natural world. Unfortunately, when Christopher runs out of paper, he will put away his camera and turn out the lights in his darkroom for the last time.Sanderson to Brackettville is short documentary made by filmmaker Parker Hill as she followed photographer Jason Lee on a four-day stretch in West Texas as he attempted “to document residual American landscapes across Texas in early 2017 with large format color films” for his new book A Plain View.If you are a fan of classic movies and terrific graphic design, Indiewire has you covered with this fantastic collection of every movie poster iconic graphic design Saul Bass ever created.Music in this episode: The Wrong Way (Jahzzar) / CC BY-SA 4.0