whats up lovely

LOVELY Poster Art (Stuff We Never Ended Up Using)

Back in 2010, when deciding on how to market and get the appropriate tone for the surreal, dreamlike world of WHAT'S UP LOVELY, my talented brother (Mike King) and I were put to task on playing around with various images.

I found these as I was organizing some files and thought it'd be pretty fun to share versions that never saw the light of day.

Here are some versions that I designed.

 

Here's the teaser poster that we did prior to filming. A talented photographer friend Nicole Marie Polec went out with the lead actress Jenn Dees and me and shot around the Lower East Side. It's still one of my favorite posters for any of my films.

Here's the theatrical poster.


 

Influenced by a Quiet Master: (Bergman and Me)

I'm a huge Bergman fan. Growing up, I never knew who he was or saw any of his films. I think the only time in my childhood I heard the name "Ingmar Bergman" brought up was when Siskel and Ebert mentioned FANNY AND ALEXANDER being one of their favorite films of 1982.

As an adult, I've discovered some of his films have made a huge impact on me in terms of character (usually led by strong female protagonists), theme and gravitas, not to mention some very visually stunning work. In fact, CRIES AND WHISPERS might be one of the most terrifying films I've seen in the past 10 years.

Not that anyone would notice, but he has definitely influenced me in my filmmaking, especially for WHAT'S UP LOVELY and an upcoming film in the works.

Here's an amazing video essay showing the influence of PERSONA on a myriad of other filmmakers' works.


Hallway Obsession

The other day I was very flattered and intrigued when someone pointed out to me something about my films that I hadn’t even noticed.  I’m talking particularly about the movies that I’ve personally done and not the “for-hire” gigs.

Without consciously thinking about it, all the films that I’ve written and directed feature a major character walking away from the camera down a long hallway — each time occurring during Act 1 of their story.  I guess you do what you love (sometimes without even noticing it).

The cool thing is that now I have a tiny body of work to look back on and reflect on my growth.  I can see the flaws, learning lessons and, in this case, patterns.  I wonder why I’m obsessed with characters and hallways?

When looking back, what have you noticed about your films so far?

HOW DO YOU WRITE A JOE SCHERMANN SONG (2012)