One-Sheet to
the Wind
the Wind
By Thad Baden-Church
4 April 2013
4 April 2013
Visitors to the official website of the upcoming Little Blue Men documentary, A Kipper in the Alley, have no doubt been intrigued of late by the tantalising clues to the design of the film's official poster, or "one-sheet," as it's known in the film business. I sat down recently with the creator of this mysterious work of art, Mr. Geezer Bunch. What follows is the transcript of our discussion.
THAD BADEN-CHURCH: Thank you for joining me, Mr. Bunch.
GEEZER BUNCH: Always a pleasure.
TBC: Let's dive right in. This poster is a rather interesting work. It's not what I would have imagined for this film.
GB: Well, that was partly by design. The filmmakers wanted to go in a different direction from the old "dramatic pose of the band members in front of a brick wall" motif. So I worked in a brick wall, just to piss them off, but put a twist on it so I'd still get my fee.
TBC: I wondered why the wall was there.
GB: It's tongue firmly in cheek, I'm afraid.
TBC: Now the focal point of the poster -- is that your own work?
GB: Oh goodness, no. That's an old work by -- well, I'm not entirely sure that I can let that one out just yet. They're revealing it bit by bit on the website, I think.
TBC: Well, they're giving clues. They're revealing squares, but they're random areas from the poster from what I understand. Oh, I love this song -- what is it?
GB: "Sea and Sand" by the Who. It's a "Quadrophenia" day here, I'm pleased to say.
TBC: Ah, the Who -- now that's a great band. Brilliant. Expert songwriting, flawless musicianship... But back to the Little Blue Men. Why did you decide to use this other artist's work as the focal point of the poster?
GB: Because the copyright had expired! No, really I just thought it summed up a lot of what I wanted to convey. And if Derain has already -- oh shit, I just revealed who did the --
TBC: It's ok, I think there's only one square left to go anyway. If they're art lovers, they've already put it together. If they're not, they probably won't.
GB: If they're not, fuck 'em!
TBC: Wow.
GB: I'm teasing, of course. But, yeah, I really do despise non-art-lovers. I'm very pretentious that way. Well, ok, if the cat's out the bag, then alright, I'll just say it. André Derain had already painted what I wanted to say, so I just ripped him off and collected my commision. The copyright really did expire, by the way, so don't bother coming after me.
TBC: So really, what you're saying is: you stole the main focal point of the poster, and you added a brick wall just to piss off the producers who wanted something more original than a brick wall.
GB: That's about right, love.
TBC: How do you sleep, sir?
GB: Next to your sister, asshole.
The interview took a rather dark and violent turn at this point. There's really no sense in transcribing the rest. In any event, Mr. Bunch's "work" will be revealed soon on littlebluemenmovie.com with an option to purchase it.
THAD BADEN-CHURCH: Thank you for joining me, Mr. Bunch.
GEEZER BUNCH: Always a pleasure.
TBC: Let's dive right in. This poster is a rather interesting work. It's not what I would have imagined for this film.
GB: Well, that was partly by design. The filmmakers wanted to go in a different direction from the old "dramatic pose of the band members in front of a brick wall" motif. So I worked in a brick wall, just to piss them off, but put a twist on it so I'd still get my fee.
TBC: I wondered why the wall was there.
GB: It's tongue firmly in cheek, I'm afraid.
TBC: Now the focal point of the poster -- is that your own work?
GB: Oh goodness, no. That's an old work by -- well, I'm not entirely sure that I can let that one out just yet. They're revealing it bit by bit on the website, I think.
TBC: Well, they're giving clues. They're revealing squares, but they're random areas from the poster from what I understand. Oh, I love this song -- what is it?
GB: "Sea and Sand" by the Who. It's a "Quadrophenia" day here, I'm pleased to say.
TBC: Ah, the Who -- now that's a great band. Brilliant. Expert songwriting, flawless musicianship... But back to the Little Blue Men. Why did you decide to use this other artist's work as the focal point of the poster?
GB: Because the copyright had expired! No, really I just thought it summed up a lot of what I wanted to convey. And if Derain has already -- oh shit, I just revealed who did the --
TBC: It's ok, I think there's only one square left to go anyway. If they're art lovers, they've already put it together. If they're not, they probably won't.
GB: If they're not, fuck 'em!
TBC: Wow.
GB: I'm teasing, of course. But, yeah, I really do despise non-art-lovers. I'm very pretentious that way. Well, ok, if the cat's out the bag, then alright, I'll just say it. André Derain had already painted what I wanted to say, so I just ripped him off and collected my commision. The copyright really did expire, by the way, so don't bother coming after me.
TBC: So really, what you're saying is: you stole the main focal point of the poster, and you added a brick wall just to piss off the producers who wanted something more original than a brick wall.
GB: That's about right, love.
TBC: How do you sleep, sir?
GB: Next to your sister, asshole.
The interview took a rather dark and violent turn at this point. There's really no sense in transcribing the rest. In any event, Mr. Bunch's "work" will be revealed soon on littlebluemenmovie.com with an option to purchase it.
Copyright 2013, The Newcastle Times