These are the odd-sized posters in my collection. None of them conform to the American standard of 27 X 41 inches (or 40 inches, post 80s). They are all either half-sheets (22 X 28 inches), inserts (11 X 17 inches), TV-related posters, or odd-sized indie or foreign posters. I haven't measured each piece, as of this posting, but will do so soon. As far as I can tell, this is the first appearance on the internet for most of these pieces. Again, thanks to Tim O'Donnell for taking the photographs.
The 65th Annual Academy Awards (1992). Designed by Saul Bass. Rolled, G.
Saul Bass designed four Oscar awards ceremony posters in the early 90s. They must stand as his last graphic outputs, which makes them instantly valuable. There can't be many of these out there.
The 66th Annual Academy Awards (1993). Designed by Saul Bass. Rolled, D.
Another Saul Bass Oscar poster, this one damaged slightly. Still, I find it mesmerizing.
Blood of the Beast (Georg Koszulinski, 2002). Rolled, VG.
Koszulinski attended the 2002 Dahlonega Film Festival, submitting his Florida swamp zombie movie, which I thought was quite effective. I especially liked the small-scaled, blood-red poster he used to promote the two screenings his team had. The handwriting at the bottom of this playbill is his. I'd really like to see Georg make it big; he's an arresting filmmaker.
The Chairman (J. Lee Thompson, 69). Half-sheet, rolled, G.
Never seen this movie (ugh--J. Lee Thompson) but I like the bombastic 60s artwork.
Dead and Buried (Gary Sherman, 81). Half-sheet, rolled, G.
A guilty pleasure. Sherman's horror movie boasts of a witty script by the famed Dan O'Bannon, and though the film is tastelessly gory at times, it's still a cleverer-than-average 80s screamfest sporting a memorable performance by, of all people, Jack Albertson as a VERY GOOD necro-comsmologist. I really like the somehow calming ad campaign, though it probably did nothing to get asses in the seats.
Fellini Satyricon (Federico Fellini, 70). Italian, damaged.
Representing one of Fellini's greatest achievement, a lovely composite image, which I haven't taken care of. The size is about 30 X 43 inches.
The Godfather Part II (Francis Ford Coppola, 74). Italian, VERY damaged, folded.
I got this while cleaning out the warehouse for the old Atlanta poster purveyor called The Paper Chase. It was so damaged, no one wanted it. It was about to fall apart at the folds, so I taped the folds on the back. I almost threw it away at one point, it was so damaged. But I couldn't do it.
Magnum Force (Ted Post, 73). Insert, D
Someone gave me this in trade for a Harold and Maude insert (an insert is a long-gone poster format that runs 11 X 17 inches). I kept it in good shape until about 2001, when it incurred some damage. Still, it's a great Eastwood image--perhaps the best out there.
Mein Kampf (Erwin Leiser, 60). Half-sheet, VERY damaged.
I picked this up on a whim, even though it was damaged. It just seemed so weird to me. Any movie poster with Hitler on it, I'm buying. Just like I'd buy any poster with Manson on it...
Murder By Death (Robert Moore, 76). Half-sheet, Charles Addams art, VG.
I thought the movie worked only occasionally, despite the incredible cast (Truman Capote stole the movie), but I bought this for the Charles Addams art. Did he do anything else for the movies?
Phase IV (Saul Bass, 74). Half-sheet, G. '
Strangely, it isn't Saul Bass art taking center stage here (though I assume he designed the logo). I bought it only because it's Bass' only feature. I like the macro-photography of ants in it, but the stiff acting tanks the movie.
Silent Night, Evil Night (a.k.a. Black Christmas, 74). Insert, damaged.
A rare insert for the classic slasher movie. My rolled copy got folded accidentally. (In the old days, inserts and half-sheets were the only poster formats that regularly came rolled.)
The Starlight Six 50th Anniversary Drive Invasion (2002). Rolled, VG.
The Starlight Six, located in Atlanta, Georgia, has to be the greatest drive-in movie theater left in America. Still, it has six screens, and it's as popular as it's ever been. There's a lot of Atlanta love for the Starlight, and the artwork by the late Scott Rogers makes this piece even more valuable, at least to me personally. This is a small piece, by the way...about 9 X 12 inches.
The Straight Story (David Lynch, 1999). British poster, rolled, G
A beautiful image--almost as good as the American version. I prefer the American logo, though. But I DO think the poster works better as a horizontal piece. It measures about 35 X 22.
FINALLY: the last entry in this 28-part series will be coming soon. It will cover the 35 posters for which I could not find an image for on the net. These are clearly my most rare posters, thus. Stay tuned.