MAKING THE TITLE THE STAR
Corey took full advantage of not being legally confined to a specific size, and he made the title the star of the poster. Building off type, he then explored the idea of print. Corey chose CMYK colors and traditional overprinting techniques. In the end, he says, his design is “a celebration of the poster.”
“I wanted the title to be as big as possible, since you can never really do that with movie posters. With a movie poster, the billing block [the credits at the bottom of the poster] is legally bound to be a ratio of the title. There is a little wriggle room, but typically it’s 25 percent of the size of the title. So, if the title is 100-point type, the typeface in the billing block must be 25-point. This means that if you make a logo really big, the billing block will take up one-third of your poster—which no designer wants.” This is one reason big titles are rare in movie posters. But this was client work, and the client said no.
When asked if he thought his rejected solution met the brief, Corey was thoughtful: “An all-type solution hadn’t been used in ten years or more, and I think it fit the other requirements of fun, colorful, et cetera. That said, I could see how a client might not find something done in the International Style as being celebratory. You can see by what they chose that that was a deciding factor.”
While many design aficionados would argue that the International Style is in fact celebratory, the IFF went in a completely different direction—a solution created without Corey.
So Corey’s poster was killed, filed away, and buried. Is he happy with it? Does he still like it? He answers with a resounding, “Yes, because it’s all type. I almost never get to do type-only solutions, so this was fun. And I’m glad I was given an open brief that allowed me to go this far with it.”