BFI Film Classics’ 20th Anniversary

Designer covers

Nick Morleywww.nickmorley.co.uk

@linocutboy

‘The colours were important to me – I chose red and green which have are strongly symbolic in the film.

They are also complementary colours (and the colours of old-fashioned 3d specs) so they really vibrate next

to each other, adding to the feeling of vertigo… I hope it is evocative of a sense of drama without giving away

too much of the plot’

Vertigo

Paul Pope@pulph0pe

‘I approached the cover the way classic Ukiyo-E printmakers such as Utamaro and Hiroshige portrayed Kabuki actors in prints celebrating the actors in their greatest roles, yet to do the drawing with a strong

sense of Expressionism. I tried to find the most iconic moment of Rutger Hauer's performance, and

exaggerate the intensity of the emotions using harsh, expressive brushwork and colour.’

Blade Runner

Cristiana Couceirowww.cristianacouceiro.com

Metropolis

Mark Swanwww.kid-ethic.com

‘The film deals with disguise and deceit. I wanted to have one element of the design revealing a darker, secret side. The classic-looking British font has the shadow of a more Germanic-styled font. The film is quite dark and brutal for an Ealing production so I

wanted the cover to look quite sinister.’

Went the Day Well?

Eric Skillmanwww.ericskillman.com

‘Kane spends so much of the film building up the mythology of himself, rendering him as the noble icon he aspires to be seemed appropriate. And hopefully

the handmade, slightly ‘off’ quality of the image hints at the complexity of the man underneath.’

Citizen Kane

Chloe Giordanowww.chloegiordano.com

@ChloeGiordano

‘I couldn't leave out the iconic yellow brick road, so in making it form the text itself I've tried to make it an integral part of the design rather than just a prop…The design itself is sewn onto a piece of hand dyed

calico, with a range of embroidery thread. I hand sew all my work, which I feel gives me the ability to work into minute detail but also to make sure the whole

piece flows together.’

The Wizard of Oz

Benio Urbanowiczwww.iambenio.com

‘I managed to find a beige coat I thought looked similar to the coat from the film in Oxfam, then

crafted a hood out of cartridge paper and added it to the coat. Then I stuffed the coat with newspaper to

make it look as if someone was wearing it. Suspended on string from the ceiling, I poured red gloss over the

jacket and let it drip slowly, whilst adjusting my lighting.’

Don’t Look Now

Marc Atkinswww.marcatkins.com

@Marc_Atkins

‘Having watched Taxi Driver many, many times over the years, there were several elements which struck me as being of major significance to its structure and

symbolism… For the shot used on the cover, I took two of the aspects - the notebook and pencil (I spent

some time practising to approximate Travis’ handwriting, and wrote down the title and author in

the note book), and the twenty dollar bill.’

Taxi Driver

Louise Weirwww.louiseweir.com

‘I wanted to embrace the ‘Hollywood Feel’ of the time when the film was shot, and the positive feel of the film. I wanted to convey the glamour, bright lights,

singing, dancing and ‘feel good’ quality. Also I wanted the title and author's name to become part of

Broadway, so Gene is dancing through lights that spell out the title and author's name.’

Singin’ in the Rain

Andy Bridgewww.andybridge.com

‘After working through several ideas centred on the hunting scene and the farcical chases through the house, I settled for concentrating on the tangled

relationships between the main characters and their hierarchy, with Robert, Marquis de la Cheyniest at the top of the pile, looking down on all the other players.’

La Règle du Jeu

Su Blackwell www.sublackwell.co.uk

Photography: Jochen Braun

‘I used a second-hand book by Andrew Lang, cutting out pages with a scalpel from the original story that

Snow White and the Seven Dwarfs was based on, Snow White and Rose Red. With my templates cut out,

I then painted Snow White, and the apples red, and assembled the final piece with wire.’

Snow White and the Seven Dwarfs

Eda Akaltunwww.edosatwork.com

@edosatwork

‘I really liked the 1930s spaces in the film, especially the grand halls and décor of the Fascist era. Although the film was in colour, there was a subdued look to it

and the light and shadow contrasts were very strong. I wanted to convey this aesthetic in my artwork, as well as focusing on the main character Marcello Clerici in

action.’

Il Conformista (The Conformist)

www.palgrave.com/bfi