Above: Us one sheet for The 4th Man (Paul Verhoeven, Netherlands, 1983).
I’ve always liked this elegant poster for Paul Verhoeven’s The 4th Man with its striking combination of soft realism and hard geometry (that knife-like number 4!) and I decided recently to look for other designs by the artist who signs himself Topazio. But, although I have found a number of pieces with his signature, I have so far come up short on much information on the man. Vincent Topazio was, it seems, an illustrator who worked from at least the mid 70s (I found a 1975 New York magazine illustration for an article on dog trainers credited to him as well as the cover for The Average White Band’s Cut the Cake from the same year) through at least the mid 80s. I have found seven of his movie posters, all illustrated in what seems to be a combination of crayon and airbrush.
I’ve always liked this elegant poster for Paul Verhoeven’s The 4th Man with its striking combination of soft realism and hard geometry (that knife-like number 4!) and I decided recently to look for other designs by the artist who signs himself Topazio. But, although I have found a number of pieces with his signature, I have so far come up short on much information on the man. Vincent Topazio was, it seems, an illustrator who worked from at least the mid 70s (I found a 1975 New York magazine illustration for an article on dog trainers credited to him as well as the cover for The Average White Band’s Cut the Cake from the same year) through at least the mid 80s. I have found seven of his movie posters, all illustrated in what seems to be a combination of crayon and airbrush.
- 1/23/2015
- by Adrian Curry
- MUBI
Above: Us poster for Le Sauvage (Jean-Paul Rappeneau, France/Italy, 1975).
Since my column last week on the lesser-known posters of Jean-Luc Godard got so much attention, and since this week the great Catherine Deneuve turned 70 years old, I thought I’d do the same for the grand diva of French cinema. Deneuve—“the most beautiful woman in the world”—has graced well-known posters for numerous masterpieces, whether for Bunuel’s Tristana or Belle de Jour, Demy’s Umbrellas of Cherbourg or Donkey Skin, Truffaut’s Mississippi Mermaid or Polanski’s Repulsion, and when I was searching for a poster to mark her birthday last Tuesday, these were the films that kept popping up. But Deneuve has been making films for over 50 years and has appeared in over 110 of them so there should be a lot more to choose from. So that is what I want to focus on here to celebrate Ms.
Since my column last week on the lesser-known posters of Jean-Luc Godard got so much attention, and since this week the great Catherine Deneuve turned 70 years old, I thought I’d do the same for the grand diva of French cinema. Deneuve—“the most beautiful woman in the world”—has graced well-known posters for numerous masterpieces, whether for Bunuel’s Tristana or Belle de Jour, Demy’s Umbrellas of Cherbourg or Donkey Skin, Truffaut’s Mississippi Mermaid or Polanski’s Repulsion, and when I was searching for a poster to mark her birthday last Tuesday, these were the films that kept popping up. But Deneuve has been making films for over 50 years and has appeared in over 110 of them so there should be a lot more to choose from. So that is what I want to focus on here to celebrate Ms.
- 10/26/2013
- by Adrian Curry
- MUBI
The singer and actress on her famous parents, stage fright and working with Pete Doherty
For a performer who gets stage fright, making an album of mostly live recordings – the recently released Stage Whisper – might seem an odd choice. Were you consciously pushing yourself?
Always. I love to push myself, I find it exciting. The first time I performed live, I did a terrible show in Paris. It was a nightmare and I thought I'd never do it again.
Perhaps it was only you who thought it was terrible…
No, even my agent told me how dreadful it was. It was only with invited people, so they were there with their champagne glasses and I felt so judged. You could see it on my face; it was like a black tunnel I had to go through. But gradually I understood that I could get some pleasure out of performing live.
For a performer who gets stage fright, making an album of mostly live recordings – the recently released Stage Whisper – might seem an odd choice. Were you consciously pushing yourself?
Always. I love to push myself, I find it exciting. The first time I performed live, I did a terrible show in Paris. It was a nightmare and I thought I'd never do it again.
Perhaps it was only you who thought it was terrible…
No, even my agent told me how dreadful it was. It was only with invited people, so they were there with their champagne glasses and I felt so judged. You could see it on my face; it was like a black tunnel I had to go through. But gradually I understood that I could get some pleasure out of performing live.
- 2/5/2012
- by Tim Lewis
- The Guardian - Film News
A reputation for starring in straight-to-video action flops isn't usually a ticket to arthouse acclaim, but that's just how things have worked out for Christophe Lambert
Christophe Lambert cuts a distinctly American-in-Paris figure as he strolls, Blackberry in hand, to the table where his bottle of Coke Zero and pack of Marlboros are lying in wait. Against the marble- floored, chandelier-lit lobby of Paris' Hotel Crillon, his choice of dress – jeans, trainers and black sweatshirt rolled up to the elbows – seems even more defiantly un-French. Who needs chic when you've got Hollywood?
But, comfortingly familiar though the aura is, this is not the Lambert who became a star in Highlander in 1986, all tousled blond mane and piercingly blue eyes. His hair is now sleek, kempt and grey. He peers through spectacles – his myopia is so severe he often has to act without being able to see very much.
If the...
Christophe Lambert cuts a distinctly American-in-Paris figure as he strolls, Blackberry in hand, to the table where his bottle of Coke Zero and pack of Marlboros are lying in wait. Against the marble- floored, chandelier-lit lobby of Paris' Hotel Crillon, his choice of dress – jeans, trainers and black sweatshirt rolled up to the elbows – seems even more defiantly un-French. Who needs chic when you've got Hollywood?
But, comfortingly familiar though the aura is, this is not the Lambert who became a star in Highlander in 1986, all tousled blond mane and piercingly blue eyes. His hair is now sleek, kempt and grey. He peers through spectacles – his myopia is so severe he often has to act without being able to see very much.
If the...
- 6/17/2010
- by Lizzy Davies
- The Guardian - Film News
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