I'll echo that, and here goes with some more lengthy and exasperating.
(ugh.)
The general quad discussion and Mean Streets touched on some of the
things that interest me most.
(Including a lovely nugget from Patrick about the 70's act on
flammable material, something I had no idea about.)
Maybe a bit trainspotter-ish, but hey, but only to be expected someone
fixated on collecting disposable bits of paper.
The same would go for paper from any country.
I'm in the UK, I collect paper from a lot of countries, but my
collection is primarily US material.
And it's the best of what I have.
Perhaps only to be expected given the comparative output of movies and
their promotional material.
But I think other countries can be a bit more challenging, and that
helps keep things interesting.
Michael, this was an earlier post of yours on the subject, which I
initially missed and which I think only David responded to:
with all this talk about british quads, are we overlooking a
discussion of GREAT BRITISH FILMS that have 14x36 inserts and 22x28
half sheets and 27x42 one sheets?
ironically, i purchased THE BRIGHTON STRANGLER half sheet and THE
FALLEN IDOL insert from bruce Tuesday and tonite, respectively. both
items are american posters and/or displayed in the US theatres.
THE LONG DARK HALL, another british film, has awesome
artwork..........and cheap! this past year i got the one sheet and
insert on ebay for 9.99 and 14.99, respectively.
BRIEF ENCOUNTER is a great film for the story, british streets,
trains, restaurants, etc.
>>>>>>>>>>so do not overlook paper used in the USA of the standard US
theatre sizes to advertise a british film.
michael
Yeah, great, I personally wouldn't overlook paper from the US, or any
country.
I'm going to return to Hitch for a couple of examples of how I can see
things.
If you want country of origin on the early stuff, as we know, well,
good luck.
The US paper for the 39 Steps and The Lady Vanishes for instance are
sublime, if you have the money once they turn up, easy and very good
choices.
But, only just recently I've seen the Australian daybills for those
titles, and they are excellent.
I don't think the art is quite as good as the US, but they are
interesting, (as well as cheaper), alternatives, and I imagine they
are most likely rarer still, which can make things even more
interesting.
I'd really rather it wasn't as simple as Australian daybills come from
Australia.
(I wondered for a long time the reason why, to my eyes at least,
daybills seemed either amazingly good, or terribly rendered.)
So anytime Phil, John Reid, Ari want to be lengthy and exasperating,
on matters Australian bring it on please
The more info the better for me please, it keeps it interesting, same
goes for paper from Italy, France, Japan, etc and the US.
Cheers,
Rich
On 29 Apr 2009, at 14:54, Paul Gerrard wrote:
Well, Bruce started it ...
Seriously, though, (and at the risk of another lengthy and
exasperating post), I think I'm safe in saying there are many US
collectors who diverge into collecting British and Australian
posters, in particular because the title is in English if nothing
else. Isn't it therefore enlightening for buyers to know a bit of
the history, as apart from anything else it helps assess rarity,
authenticity and relative value of such items? For example, if an
original release quad came up for Rear Window, wouldn't it influence
your impetus to buy and the amount you spend, if you knew its
comparative rarity and that it wouldn't be likely to surface again
anytime soon? And some people might like to be aware that there were
completely unique quads (and DCs) made for showings at the Academy
Cinema, as opposed to normal studio-released posters.
Now I've started thinking about it, I can't remember ever seeing an
original release quad for Rear Window - anybody got a link to an
image?
To be fair to you, Michael, I was surprised there wasn't more
reaction on your US poster-related question about reissues with
identical artwork, as that seemed to be a similarly informative
discussion topic. The sort of titles that sprang to mind for me were
3rd Man (again!), 2001, Where Eagles Dare and Sleeper. But in fact
most of these have other indicators besides what it is the bottom
corners, e.g. different distributor, colour variations, border etc.
I think Ed has already tackled the many and complicated 2001 issues
very nicely on learnaboutmovieposters, but there must be some other
ones escaping me at the moment, that more closely meet your
criterion of the only difference being an "R". Of course, with older
quads we avoid that dilemma by not having a date in the first place
( ;
Paul
In a message dated 29/04/2009 03:25:33 GMT Daylight Time, dialmbb...@aol.com
writes:
all the posts about british quads seemed so lengthy and exasperating.
wouldn't it suffice to say that a BRITISH QUAD is a poster printed
in the UK to advertise british films and films of other countries at
theatres in britian (UK) ?
wouldn't it suffice to say that an AUSTRALIAN DAYBILL is a poster
printed in Australia to advertise Australian films and films of
other countries at theatres in Australia ?
isn't that simple?
for every film there is always one poster that has the best artwork
and mood, which may not be the country where the film was made.
maybe it is the the quad, maybe the daybill, mabe the USA one
sheet........
just keeping it simple. ugh.
michael
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