My name is James Berta Soto.

I'm a movie poster artist.

I've been designing posters for over 30 years.

Today we're going to compare original posters to their remakes.

Look at the ocean's 11.

So in this case you have this kind of hand tinted style from the fifties.

These little running icons.

The environment is very much from the fifties pulp novel universe.

The names are very prominently featured and logo chances very fifties graphic design, said it.

Let's take a look at the remake.

I designed this poster.

Our company chose this direction because we knew that the director wanted us to stay within this fifties aesthetic.

Let's take a look at the Vertigo poster.

This poster was designed by Sol Bas.

He's the most copied graphic designer and movie poster art, and we were inspired by this aesthetic.

The Octagon is here kind of a very reminiscent of the spiral in the background, the block and like running icon, reminiscent of the walking grouping that we have here again, that the font itself has a very fifties ecstatic.

Here it's more hand drawn, kind of more modern and contemporary.

Also, the use of negative space is in the same arena.

This'll 19 fifties s static, which comes from the Saliba School of Graphic Design, utilizes the black and white high contrast imagery to different color flat color shapes used throughout this puzzle, pieces that almost form this narrative being created Using graphic design, Let's look a TTE Saul Bass is poster for the Man with the Golden Arm.

As you can see the color palette to very similar, you have this hand drawn type.

There's a bond called Assault Basketball now that incorporates the fifties jagged type movement.

We also have these panels, which are creating a border that's central to the logo and using the language of graphic design to sell a story.

What you can see here is the stagger.

That's the main element of the poster.

These very hard, angular shapes and broken down deconstruction of the dagger is very similar to these puzzle pieces.

The use of negative space is very much from the samba school of design.

Let's look at one more Sol boss design for anatomy of a murder.

The typography here is integrated, just kind of a signature of Albus.

This actually could be in a museum.

I'm not sure if this could be in a museum, but the same graphic designer status is utilized, I think because the actors are featured, it becomes more of an advertisement than a piece of art.

You can tell this movie came out more recently because of the farm from the typography has a very commercial.

So usually, when the stars aren't big enough to carry the whole film, they start introducing a story element or trying to create some artful interpretation of the story.

In this case, the fragmented dagger creates a psychological narrative that's occurring.

This is the original 1937 release poster.

The one thing that really captures that era is this curved type.

This curved angle here creates a stage for these characters to emerge from this golden light in the use of illustration.

And this hand drawn quality gives these human emotional characteristics to the story.

You really have this embrace of the two characters, and it sells a love story front and center.

This'll 1954.

Virgin incorporates the element of collage, collage, and having your star front and center is very much from that era.

Judy Garland was a huge star at the time I'm from a marketing perspective, the experience of musicals and singing and dancing as a promise of entertainment seems toe dominated, the self compared to the previous one that featured the love story.

Here you're selling this kind of Technicolor world of multiple storylines and multiple elements that take this to a new perspective.

What you can see here is this Typography from the seventies, which is reminiscent that era with the borders and a diagonal type.

Also, the photography in this is very glamorous, provocative moment, which feels like a fashion.

Add a new way of selling your stars front and center.

Here you have Another element is very prevalent in seventies movie poster advertising, which is a secondary story sell.

You also have these border device that connects to the logo, which is very much a seventies aesthetic.

Also the Grady INTs of color.

Against this posterized photo effect, let's take a look.

A TTE a couple of fashion photos from the seventies.

A lighting is very dramatic, black and white contrast photography that's shown here.

It's a new way of showing celebrities on a poster.

That sexy approach is something that was a big trend in the seventies.

Here again, you have incorporated the block and white fashion aesthetic in the photography very human connection between the two characters, which draws you into the poster use of negative space, which allows your eye to go to the center of the poster.

The main aspect of disposes the Star Cell Engage in this human moment, Lady Gaga Oh is featured more prominently than Bradley Cooper, but their connection is very much the main draw, this poster and their two parts of unequal partners.

Let's compare this to walk the line.

There's the guitar, which is an obvious connection is very intimate moment.

They both promise a musical romance in The Star is born.

The use of gold brings it into the Oscar Academy stratosphere.

This'll is a Japanese poster for Godzilla.

This is a Kaiju movie.

Many movie titles release at this time, or about science experiments gone wrong.

What stands out most for me here is the use of the photography.

There's no clear perspective being utilized, just a collage of multiple characters fax coming out of the Godzillas mouth, very minimal and downplayed.

But it works.

You also have a very fake looking monster before trays this campy underground pop aesthetic here, you can see this suggestion of the creature scale is portrayed by the smaller scale of secondary out.

This is a promise of like a major special effects experience, and the copy line promises that and also the typography, has that very Hollywood action aesthetic.

This is reminiscent of disaster films from the late nights.

The scale of the poster is very dramatic.

In all three cases, if you notice the copy line is prominent similar to Godzilla, there's a sense of less is more where you're showing less.

But you're evoking a big epic disaster and this foreboding nature of something big coming, this grand scale perspective on minimalism.

But I think resonating in these three posters in a similar way that what's interesting about this off the bat is the use of the Con Ji that brings it into the underground Japanese pop culture, the environment, these missiles coming down in the sky.

Ending the character has a promise of action.

The fire ruin behind the landscape.

The fact that the character is walking away is drawing the viewer in the campaign for this release also incorporated fan art, which is an example of how a studio release is able to speak to a wide audience but also stay connected to the fan base.

If we look at all three Godzilla posters side by side, you conceive how this original release has influenced a lot of the fan art.

This one has brought in the Hollywood perspective in the grand scale of action films from Hollywood, and this one has a more of a quiet, understated quality to it.

This'll ce cold exploitation design is captured very powerfully here, the white border reminiscent of the seventies.

You have like a scream, which is the horror genre meets, the kind of the cold quality of logo, the use of block and this kind of exaggerated copy cell very much from that era.

Let's compare this to some cold releases from that era.

This exploitation copy cell seems to be a driving force in all of these posters.

All these three posters have that seventies border ecstatic, framing this as a non studio horror release.

If you look at the typography here, it's kind of a throwback quality to it.

The exaggerated blood splatters come from that exploitation era, but also the female character used in an exploitive manner.

You also have this unusual language of storytelling here that's not commercial at all.

That goes doc to the cold retro quality that you would not find in most traditional advertising in this day and age and as the artistic qualities that most Polish posters have.

If you look at the Polish poster parade and 1/2 you have the hand drawn typography, which is very much from School of Polish poster advertising.

They used a black and white Leinart here with the eyes of most Polish posters, even up to today are portrayed an illustration style and also the idea of one world within the other.

Yeah, so what?

And you have this illustration displaying a story.

Here you have the silhouette of the blood, and then you have the illustration is playing the story.