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Give 'em Hell Malone

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Hehe that's cool. I guess he will meet Malone and enter a world of pain, huh?

 

Yeah and Malone marks him zero, as he will to whoever's on the other side of this door...

 

malonepeep.jpg

 

 

 

Sorry, couldn't get it right side up for some reason. Edited: poof! And now it is!! - TB

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NIICE!

 

OK, so what'd you, use a fucking 1.5 megapixel camera phone to snap that high res image ;)

Just givin' ya HELL.

 

Not that you need much extra Hell with 48 hours to cut a trailer.

 

Diamonds baby.

 

- TB

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The working title of this thing was Malone - Bianco (White) Noir.

 

MaloneWhiteNoireRFINAL.jpg

 

I've been thinking more about this poster, Tim, and since I know you will feel free to ignore any stupid opinion I have, I'm going to throw a few more out there.

 

 

I definitely prefer this poster. Losing the windows was a good idea. They may have looked like windows to you, but to me they were just white squares in a weird place. I would really like to see the poster with flesh tones on Malone and yellow on his tie. Just to see what that would look like. I would also move the lipstick ever so slightly to the left, for subliminal reasons I refuse to explain. I do really like the lines of the car. I think that adds a lot to the mood of the, um, composition.?

 

Totally unprofessional opinions, I admit.

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I would also move the lipstick ever so slightly to the left, for subliminal reasons I refuse to explain.

 

Yes, I DO like the idea of moving the slipstick slightly to the left....

And Malone will be a lucky man - and his gun too. ;)

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THomas Logan told me you want it moved to the left because if "you squint yer eyes just right". "cock yer head to the right" (emphasis on "cock") and "disregard everything about the gun except the trigger guard and trigger" it would look like the head of a penis...so you ladies want to move the lips over the head of a penis....and men are called smut minded...

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I think there are even more implications with the lips primarily covering the . . uh, 'weapon' but also just a nudge covering the white shirt.

Make of that what you will ;)

 

In the end (pardon me), the position of the lips (ahem), worked best as you see. It's the same location in both versions.

In the first version the lips are entirely surrounded by black ink, which looked really great, it served to emphasize the emphasis if you'll allow me.

I kept the lips element in the same position for version two only for compositional reasons. Didn't want to reduce the size of the element and they didn't look 'right' in any other spot. Having some of the red spill onto the white was something I didn't like at first but have since embraced.

It's got that 'lipstick on your collar' connotation to me now. And I ain't talkin' Connie Francis ;)

 

- TB

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Jeez! Is that your editing suite?!? I've never seen anyone working on such a huge screen before. If it is, is that common for editing trailers?

 

It reminds me more of a recording studio. Looks really cool though.

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I kept the lips element in the same position for version two only for compositional reasons. Didn't want to reduce the size of the element and they didn't look 'right' in any other spot. Having some of the red spill onto the white was something I didn't like at first but have since embraced.

 

 

I like that the lipstick touches Malone a little bit. Not because of smutty reasons, but because that says to me that he will be touched by, be influenced by, come in contact with someone feminine somewhere along the way.

 

@ TL by way of Irish 46 - I was looking at the shaft, not the trigger.

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Kwiat - That's it exactly. You nailed it.

 

And the observation about the lips was spot on too . . .

 

 

;)

 

 

- TB

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I like that the lipstick touches Malone a little bit. Not because of smutty reasons, but because that says to me that he will be touched by, be influenced by, come in contact with someone feminine somewhere along the way.

 

@ TL by way of Irish 46 - I was looking at the shaft, not the trigger.

:lol: :lol: :lol: :lol: :lol: :lol:

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Some more goodies to toss out.

These are some screen caps courtesy of editor Bob Ferretti.

I had them send me some high res stuff in case I could take advantage of some of the imagery with the posters.

That ended up not working out. The screencaps just don't have the resolution.

None of this has been color timed. I gave everything a quick tweak but these won't be the real colors.

Those will be better ;)

 

Anyway, here ya go -

 

I'm pretty sure this is TJ's stunt double, Con Schell making a leap from the Otis to the adjacent building top.

Never look down while attempting one of these ;)

 

R1_MALONE_ROOF_001.jpg

 

 

Love the sequence in the house of mirrors. It's just cool shit.

 

R2_MALONE_HOM_011.jpg

 

 

This is what I call noir style filmmaking. Mulcahy's eye is righteous for the genre.

 

R5_MALONE_APT_001.jpg

 

 

 

- TB

 

 

 

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Also, THIS is the final version of what we like to call the "James Dean" Malone poster.

This would actually be the current Style "A", with the White Noir design being the Style "B"

 

Can you spot the differences?

 

MaloneCannesR7Alt1NBBF.jpg

 

Most of the differences are subtle but there are two major changes.

 

- tb

 

 

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I see the credits going all the way from side to side instead of only on the black part, and Malone's shirt is lightened up so that the tie pops more. What else am I missing?

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Subtle shifts mainly, stuff you really couldn't see at this size.

You got the main two.

 

A note came to me about lightening the shirt, removing the shadows.

I wasn't too thrilled with that at first, knowing how much work it would be.

But it was a good note. The odd shadows playing in the middle of the shirt were distracting, it pulled your eye and muddled things to an extent.

I think this plays much cleaner as an image.

 

The billing block had to be extended because when they printed out a proof the typeface was by all accounts illegible.

I still have a hard time wrapping my mind around that one. It's all vector based art. Thin lettering to be sure, but I've seen it smashed even further in other posters. Didn't matter, it HAD to move. My first reaction was to do what you see here, but then I thought that might make it too hard to read because I couldn't know for certain how the black crossing into white would effect or land on the text. I was fairly sure it wouldn't work without a major, time-consuming rearrangement of the billing block.

 

Hannibal suggested I just add a black slab as we did with the top. I wasn't going to let that happen.

 

It would have fairly killed the background composition. It would have been YUCK. I hate that we had to do that with the top but it was just too hard to read the tagline and we had no other readily available solution. So on a whim I tried stretching out the block and then converted the lettering to black on white/white on black. With just a few adjustments I was able to make it work without compromising the typeface. The dividing line only falls in gaps (as between Thomas, and Jane), or splits the letters in question right down the middle. It worked like a charm. Once I backed off on it and took it all in, I loved it.

 

I hated to have to make that change because stylistically I liked the former placement. I thought it was cool, fit the vibe and the compositional design and on top of that was something you don't see everyday. But this alternative worked out just fine.

 

At 27X40 I did another extensive cleanup. I don't work at that large of a size because it's impractical. Files take forever to open and file size is mammoth. Photoshop is a serious memory hog. When you enlarge from 10.5X16" to one-sheet size you lose resolution. Subsequently you get blurred edges and every little blemish that you couldn't really detect at the smaller size sticks out like a sore thumb. So cleanup is essential.

This one had a ton of it. Luckily I had the gun and bullets created as vector art, so after I enlarged to 27X40 I imported those elements back in and recreated the background at full size. This motherfucker is tight as a drum.

 

I was in favor of losing some more color to tie it to the graphicness of the background a little better (as was Russell and Tom) but Hannibal would not submit to additional desaturation. I can't complain at all since we got away with one completely graphic image and one half and half, when the whole idea from the start was that these be full and packed with rich, unadulterated color. What little color there is was going to stay ;)

 

Apologies for the boring breakdown. I've been taking today off and hanging out on the forum.

 

Cheers - TB

 

- TB

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I like that the lipstick touches Malone a little bit. Not because of smutty reasons, but because that says to me that he will be touched by, be influenced by, come in contact with someone feminine somewhere along the way.

 

@ TL by way of Irish 46 - I was looking at the shaft, not the trigger.

 

Likewise. What tiny trigger? :lol:

 

A note came to me about lightening the shirt, removing the shadows.

I wasn't too thrilled with that at first, knowing how much work it would be.

But it was a good note. The odd shadows playing in the middle of the shirt were distracting, it pulled your eye and muddled things to an extent.

I think this plays much cleaner as an image.

 

Agreed. Am now loving the James Dean Style A Poster ... Lightening the shirt area makes Malone's face appear more in shadow, the character pensive and mysterious.

 

Actually a beautiful thematic and visual touch is that the gun belt and his skin complement each other, both the only warm earth tones in the graphic, the man and the holster of his killing machine. Niiice.

 

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Very nice screen caps, thanks!

 

Love the third shot and I'm also looking forward to the house of mirrors scene :)

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Got a look at a rough cut first pass of the trailer courtesy of Hosack.

Man we're in for a treat.

I think the trailer will premiere on Monday, possibly Tuesday.

Our pal Quint at Ain't It Cool News will have the scoop.

 

Check back for updates.

 

- TB

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Thanks for those great screencaps, TB! Those last two are off the chain! Mulcahey has definitely nailed the noir feel in this movie. The house of mirrors shot is my favorite. It's pure vintage Bogart, with a little McQueen thrown in!!

 

And the new James Dean "A" poster is killer. I've always been a little partial to that one. I love the White Noir poster, and I loved your comments about the design elements of it (really cool stuff), but the James Dean poster has grabbed me from the first time I saw it. I think the starkness of the black and white is much more noir and really gets your attention. The subtle changes that you mentioned are great. I think stretching the credits out really balances out the poster, and the lightening of the shirt makes TJ stand out more, rather than blend in with the background. It also, as was mentioned, highlights the intensity of his face and the expression on it. Makes him look more intense and dangerous.

 

I really hope that this movie generates a lot of buzz and gets a big release. This is the kind of film that Hollywood has needed for a long time to restore some of its credibility. At least in my mind. It seems that more and more these days, all we're seeing come out of Hollywood are cookie cutter-carbon copies of movies that have been done a hundred times before, and usually better the first dozen or so times.

 

I mean, we're up to the fourth X-Men movie, we've had six Rocky movies, we're looking at an eleventh Star Trek movie, and so on. It's time some people in Hollywood had the guts to do something different. Granted, this genre has been around for decades, but it hasn't been done to death, so it's ripe to be re-explored. This kind of movie has hardly been done in the last twenty years or more.

 

I am really looking forward to seeing this movie on the big screen, and not just because TJ's in it. This is one of the things that has been missing from Hollywood movies for far too long, and which I have pointed out many times.

 

Originality.

 

 

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Jeez! Is that your editing suite?!? I've never seen anyone working on such a huge screen before. If it is, is that common for editing trailers?

 

It reminds me more of a recording studio. Looks really cool though.

 

 

I wish! My editing suite is the small spare bedroom where I write.

 

 

You're correct -- that's the sound mixing stage.

 

 

Mark

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I can't wait until this new trailer is released this coming week.

Mark has been very gracious in allowing me to see the results so far.

I can't stop watching the most recent edit.

 

Great shit Hosack.

 

- tb

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Was he able to use the Erasure is what I would like to know?

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Oh HELL yes. This stuff looks amazing Tom, Mark, and Tim. The posters are incredible, what a relief!!! I'm so ready for this trailer I can smell the cordite. I'm already in line, I just don't have my ticket yet.

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Was he able to use the Erasure is what I would like to know?

 

Don't think so but there is another surprise in store.

But I think it's better if Mark shares all that with ya's.

The trailer is HIS baby.

 

@ Golgotha - Thanks for the sentiments!

 

- TB

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Well I gotta say it wasn't for TBs feedback, my own storytelling cred would be shot! What was I thinking with the Machine Guns??? That flying candle stick??? Shhheeeesssshhh!!!

 

 

Russell just left and we locked the edit. It's looking pretty "Malone."

 

 

I don't like the other trailer floating around, and it's more than just the "Bad To The Bone." It doesn't reflect the movie at all. Sure, guns shooting and people dying are cool, but ... I suppose it was a good teaser -- this trailer will set the record straight ... and hopefully the Raw Boards won't be disappointed.

 

 

Mark

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