Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
Speaker 2: Hello there, and.
Speaker 3: Welcome back to the Disconnected here with the artist and
Speaker 3: graphic designer MS Beth Morris. Beth, thanks for coming on
Speaker 3: here and sharing your information with everybody.
Speaker 4: It's okay, it's great to be on here.
Speaker 3: I have admired your work from AFAR for a long time,
Speaker 3: so it's just simply an honor to meet you. I
Speaker 3: appreciate everything that I've seen that you do. For those
Speaker 3: that don't know any of your work, could you sum
Speaker 3: up what you do in graphic design?
Speaker 5: Yeah, so, yeah, I mainly may kind of it's usually
Speaker 5: just like kind of in like the indie film related artworks,
Speaker 5: either like posters and kyr.
Speaker 4: Or quite a lot of.
Speaker 5: Blu ray signs. I work with Deaf Crocodile primarily now
Speaker 5: kind of doing most of the layout work and the
Speaker 5: rock covers, and I also I've also worked with like OCN, Alder,
Speaker 5: Dinnercence and Arrow as well.
Speaker 3: Yeah, You've done a couple for Altered Innocence that I've
Speaker 3: truly loved. You've also done some stuff with Utopia that
Speaker 3: I think are just absolutely brilliant designs. One thing that
Speaker 3: I just as an artist, I am battled by what
Speaker 3: you can do, what inspires you behind some of these titles,
Speaker 3: Like with Deaf Crocodile stuff, for example, you seem to
Speaker 3: pull just the most perfect elements out of a story
Speaker 3: to make something that is captivating to the.
Speaker 4: A thanks.
Speaker 5: A lot of the time with I guess I like
Speaker 5: how I work. It's usually just kind of like a
Speaker 5: feeling of something or if there's something that's really like
Speaker 5: stood up to me while watching the film. Yeah, Like
Speaker 5: I mean, particularly with Adele has not had suffer yet.
Speaker 5: I just really loved the bit with the class and
Speaker 5: I kind of just got obsessed, like that would be
Speaker 5: such a great way to include all the kind of
Speaker 5: crazy elements from that film in one piece that kind
Speaker 5: of gives you the right idea of kind of like
Speaker 5: the what the kind of like tone of the film
Speaker 5: is like. And then still kind of also like pulling
Speaker 5: from kind of all those like Eastern European posted design
Speaker 5: styles as well, which like I'm a.
Speaker 4: Huge fan of.
Speaker 3: That's I think that's one aspect that a lot of
Speaker 3: people don't ever consider when even like thinking of the
Speaker 3: idea of an artist. For many of them, the historical
Speaker 3: aspects whether it be of a genre, or of a country,
Speaker 3: or of a filmmaker. There's a lot to consider there.
Speaker 3: Is that something that you you frequently research or is
Speaker 3: that just something that you've always been enamored with.
Speaker 5: Yeah, I've always been like a huge kind of like
Speaker 5: a fan of Collarge like photomontage. Anyway, I did it.
Speaker 5: So I did my undergrad just as like a fine
Speaker 5: art degree and primarily did a lot of like college
Speaker 5: book art using like found objects and found things. So
Speaker 5: I always kind of been obsessed with it. And then
Speaker 5: once I start started kind of doing more, I guess
Speaker 5: like all film posters. Yeah, I think between a lot
Speaker 5: of stuff from like art school looking at how stuff
Speaker 5: and a lot of that kind of like protest kind
Speaker 5: of college photomontage from me, and then discovering kind of
Speaker 5: all the kind of like polish poster scene, and then
Speaker 5: like check posters as well. Yeah, it's just like I
Speaker 5: just kind of level all that kind of stuff, just
Speaker 5: being able to like play around with loads of images
Speaker 5: and just kind of see what what pops out and
Speaker 5: like what feels right for the tone.
Speaker 3: This is this is another thing that I see a
Speaker 3: lot of people not fully understanding what goes into specifically
Speaker 3: on physical media. How how does plays a key part
Speaker 3: in this because a lot of people, especially nowadays, and
Speaker 3: I'm sure we're going to talk about AI in just
Speaker 3: a little bit because it's the hot button topic of today,
Speaker 3: but a lot of people don't understand, you know, the
Speaker 3: idea of graphic design not necessarily coming from a I'm
Speaker 3: going to bring out a brush and colors or a
Speaker 3: pencil and do everything, not grasping that you can literally
Speaker 3: do a collage of clippings from the film in a
Speaker 3: way that is meaningful. And actually you brought up one
Speaker 3: of my favorites that you've done, which is Adella has
Speaker 3: Not had Supper Yet, which is just it captures the
Speaker 3: tone of that movie so perfect, which is very difficult
Speaker 3: because that movie is such a silly.
Speaker 2: Like montage in its own way actually.
Speaker 3: And then the other one that I think is just
Speaker 3: astonishing is the savage Hunt of King Stack that you
Speaker 3: did for def Crocodile is just gorgeous. Everything about that
Speaker 3: makes me just want to live in the visual world
Speaker 3: that you created is beautiful. So with with collage, could
Speaker 3: you share a little bit of your process, like how
Speaker 3: do you how do you go about creating something like that.
Speaker 5: Yeah, it can. It kind of like depends from like
Speaker 5: film to film. Sometimes I might be watching it and
Speaker 5: have like a really really strong kind of idea of like, oh,
Speaker 5: I think this would be really cool as like a
Speaker 5: fun little collage or cut out thing. And at other
Speaker 5: times it is just like very slowly kind of going
Speaker 5: through like stills or images from the film that have
Speaker 5: like stood out to me and just kind of playing
Speaker 5: around with again kind of like what feels right.
Speaker 4: Yeah, Like with.
Speaker 5: King Stack, it was quite it felt quite difficult trying
Speaker 5: to find the right image for that film because it
Speaker 5: is such a beautiful film, but it's it's very kind
Speaker 5: of like quiet as well at times, and it was
Speaker 5: like quite difficult, like you didn't want to show too
Speaker 5: much because I kind of because it's like a kind
Speaker 5: of like, yeah, it's like a ghost story. It was
Speaker 5: again just kind of getting the tone rights that you
Speaker 5: can get a feel of like what the film might
Speaker 5: be without yeah, it kind of being like too like
Speaker 5: in your face.
Speaker 4: So yeah, it just completely depends.
Speaker 5: It can either be you know, I can think of
Speaker 5: loads of like really over the top of collages, or
Speaker 5: it might be something a bit more simple and like
Speaker 5: minimal that I feel might work better for the film.
Speaker 2: Yeah.
Speaker 3: Uh an example of that that I I mean, it
Speaker 3: was completely taken by because it almost tells a story
Speaker 3: by itself. You have this beautiful, minimal design for the
Speaker 3: film another body for Utopia, and anybody that has seen
Speaker 3: the film or even just seen the art, there's so
Speaker 3: much that you can take away from what that is
Speaker 3: telling in itself, and it feels really personal. I just bravo,
Speaker 3: like there's so much built into that art. It's it's incredible.
Speaker 4: Thanks.
Speaker 5: Yeah, it was just because I love like the original
Speaker 5: artwork as well, like the original post it is amazing,
Speaker 5: And I didn't know whether or not maybe that would
Speaker 5: the design end is doing for it, whether it would
Speaker 5: be too simple, whether they wouldn't go for it because
Speaker 5: it was really minimal. Yeah, I just felt like that
Speaker 5: was like enough for the film.
Speaker 3: You know that That brings up a good point that
Speaker 3: I kind of wanted to ask about your stuff, specifically
Speaker 3: because I've been lucky enough to work with that crocodile,
Speaker 3: so I've seen some of the early stages of what
Speaker 3: you're submitting as ideas behind it, and it's long before
Speaker 3: it's final. It's not a complete project. It's not something
Speaker 3: that you can if you've not been doing this a while,
Speaker 3: you can't even visualize what it's going to be when
Speaker 3: you've turned in these in a way, I guess we'll
Speaker 3: say dailies. It's not really a good word for that.
Speaker 3: But is there anybody that's ever like pushed back on
Speaker 3: something simply because they don't have the ability to fully
Speaker 3: picture what it's going to be when it's all done.
Speaker 5: I'm trying to think. I'm sure it definitely has happened
Speaker 5: a few times. I think I usually, like pre war like,
Speaker 5: depending if it's like new people i'm working with, the
Speaker 5: will be like these aren't completed versions. He's hopefully going
Speaker 5: to give you like a rough idea of like what
Speaker 5: the final concept will be. Yeah, I'm trying to think
Speaker 5: of anyone's really kind of pushed back against Sometimes. You know,
Speaker 5: if people really are like this is not the kind
Speaker 5: of style we had in mind, I'll go back right.
Speaker 5: It might end up being something completely different. But usually
Speaker 5: at least there's something in one of the designs that
Speaker 5: they might be, you know, gravitated towards, and then I
Speaker 5: can kind of work from that.
Speaker 3: There's there's one of those in the works right now
Speaker 3: that people are they know they're coming, So saying this
Speaker 3: exists is not spilling the beans or anything. But there's
Speaker 3: a reprint coming for Deaf Crocodile's Bubble Bath. And I
Speaker 3: saw one of the early iterations of the slipcover, I
Speaker 3: was like, Oh, that's going to be neat. And then
Speaker 3: I saw the final slipcover and I'm like, damn, this
Speaker 3: is incredible. It looks gorgeous. I mean, even somebody that's
Speaker 3: been doing this for a while, I was able to
Speaker 3: kind of picture what doesn't even look like, but man,
Speaker 3: that final is an incredible piece of art. So it's
Speaker 3: it's kind of like a like a tool. You got
Speaker 3: to be able to reference. Hey, i've seen what this
Speaker 3: person's artwork is going to look like. I should be
Speaker 3: able to glean what I think it might look like
Speaker 3: at the end. So that's it's a skill almost at
Speaker 3: that point. With what you've been doing, You've got so
Speaker 3: many different poster styles and arts inspirations that you can
Speaker 3: clearly see on your website. The amount of things that
Speaker 3: you've worked on is huge. Are there any projects that
Speaker 3: felt like this was a dream project? This was one
Speaker 3: that I had absolutely wished that I could be a
Speaker 3: part of and I'm so glad to have my name
Speaker 3: associated with it.
Speaker 5: Probably the still probably the biggest thing for me was
Speaker 5: like getting to work with Peter Strickland for his teaser
Speaker 5: a flex Scoremet Yeah, because I was such a huge.
Speaker 4: Fan and like the whole like.
Speaker 5: How I ended up even working with him was because
Speaker 5: I had entered like a it was like a movie
Speaker 5: student competition to design an alternative poster for his short
Speaker 5: film Cole Meridian.
Speaker 4: That was one I.
Speaker 5: Entered it, and I think it was I jointly won
Speaker 5: it with someone else, and then a couple of weeks
Speaker 5: later I got an email from Peter Strickland because someone
Speaker 5: had sent the design to him, and he he he
Speaker 5: wanted just just like a copy that he could print out.
Speaker 5: And then it was like, I know, maybe half a
Speaker 5: year later, I'd think he recommended me to like his
Speaker 5: producers to do a teaser poster, which was crazy. I
Speaker 5: still can't really believe it happened.
Speaker 2: Contest that's so cool.
Speaker 4: Yeah, and yeah it was it was a yeah, really big. Yeah.
Speaker 5: Still probably one of the biggest things I've worked on,
Speaker 5: I think in terms of like, like who.
Speaker 4: Was in the film as well.
Speaker 5: Yeah, I just really loved and just playing around with
Speaker 5: all the different options.
Speaker 4: That one is like a big one.
Speaker 5: And then I also loved working on the alternative post
Speaker 5: of a Horde again just like getting to like kind
Speaker 5: of work with like Lunar Caar Moon and like look
Speaker 5: at all of her like visual references. I kind of
Speaker 5: really like because I do love kind of like seventies
Speaker 5: post design and like like British films in the seventies
Speaker 5: that are a bit like odd all that kind of thing.
Speaker 5: It's like my favorite kind of stuff that I just
Speaker 5: like to watch and get inspired by. So it was
Speaker 5: really lovely to work with someone who's kind of on
Speaker 5: the same way with length and like understands kind of
Speaker 5: what you're going for.
Speaker 4: So that was really nice, right, And that got ended up.
Speaker 5: Getting used as a BlueBay cover for the Like release
Speaker 5: in the The Like released by Plumeria in the UK
Speaker 5: as well, which was really lovely. So it's nice again
Speaker 5: to see it like printed because it was just originally
Speaker 5: digital own.
Speaker 3: The Flux score may it's it's such a unique piece
Speaker 3: and I mean that film pardon the pun with this,
Speaker 3: I guess, but it's such a visual feast of really
Speaker 3: great choice. I mean it's strickling. Everything is going to
Speaker 3: be just masterful. And yeah, I can't imagine getting that
Speaker 3: email and not pinching yourself.
Speaker 5: Yeah, having like phone calls with him and being like
Speaker 5: this is like so strange.
Speaker 4: But yeah, that was amazing.
Speaker 3: For those that are inspired by your work, could you
Speaker 3: share what kind of tools you use?
Speaker 5: Are?
Speaker 3: What are some of the programs that you use, what
Speaker 3: kind of hardware you working on it? It sounds like
Speaker 3: a nerdy question, but a lot of people like to
Speaker 3: know stuff like that.
Speaker 5: Yeah, still kind of like mainly and mainly just using
Speaker 5: Photoshop for most stuff. And then yeah, just like a
Speaker 5: selection of by the textures that and things I might
Speaker 5: scan in, and then I also use It's a couple
Speaker 5: of really good websites for textures and also what else.
Speaker 5: Whenever I've done I've only done a few kind of
Speaker 5: like animated bits like I used to do. I did
Speaker 5: a couple a couple of years ago for like ur
Speaker 5: player and stuff, and I use like after effects as well,
Speaker 5: and again just playing around with different textures and things.
Speaker 3: Yeah, uh, this is probably a good point to bring
Speaker 3: in now because Photoshop and Adobe specifically has started embracing
Speaker 3: the use of AI and the the generative AI specifically,
Speaker 3: where it's essentially creating something out of what you've already
Speaker 3: put in or what they've already had into the system.
Speaker 3: And it's controversial. There's a lot of people out there
Speaker 3: that are fully against it. There's a lot of people
Speaker 3: out there that are fully supportive of it. There's a
Speaker 3: lot of people that are starting to use it in
Speaker 3: design choices. And just first of all, how do you
Speaker 3: how do you feel about the landscape of that whole
Speaker 3: arena in twenty twenty five.
Speaker 5: Yeah, like, obviously with a lot of stuff in photoshop,
Speaker 5: even if it's just using to like cut it out
Speaker 5: using AI in some form. But yeah, the whole like
Speaker 5: generative AI thing is I kind of like the whole
Speaker 5: thing for me is that I feel like it's it
Speaker 5: like homogenizes everything because eventually it's not you know, actually thinking,
Speaker 5: it's not coming up with new ideas, it's rehashing certain things,
Speaker 5: and everyone starts using it, everything's going to end up
Speaker 5: kind of looking the same. But I do, yeah, I
Speaker 5: know other you know people use it to help kind
Speaker 5: of like generate ideas and things. But yeah, at the moment,
Speaker 5: I'm still I pretty much just don't use generatively. I
Speaker 5: I know, obviously like AI is within certain tools that
Speaker 5: I use, but I, yeah, I don't really use anything
Speaker 5: like that at the moment because I know it obviously
Speaker 5: affects a lot of other people that I know that
Speaker 5: more illustrative work, and it's clearly affecting jobs that they
Speaker 5: can get because people are just being like, I'm just
Speaker 5: going to use AI to a poster quickly for my
Speaker 5: short film or whatever.
Speaker 3: Yeah, you did bring up a good point, which I
Speaker 3: think is something that not enough people are discussing, and
Speaker 3: that's so many are staunchly against just the I don't
Speaker 3: even know the concept.
Speaker 2: Of AI, I guess, but in not reality, Like.
Speaker 3: If you're typing in Microsoft word and their spell check,
Speaker 3: that literally is AI. You're already using it in tons
Speaker 3: of different areas in your life. You just don't even
Speaker 3: realize that it's like that. I think specifically, especially artists
Speaker 3: really need to hone in on if it's generative AI
Speaker 3: that they're against. We need to talk with proper terms
Speaker 3: and spell it out, because yeah, like you said, clipping
Speaker 3: something in photoshop technically is using a form of AI
Speaker 3: because of the way.
Speaker 2: That it identifies it.
Speaker 3: Yeah, there's so many of these software companies that are
Speaker 3: building companies on the work of others that I can
Speaker 3: see that being a very difficult touch point for.
Speaker 2: A lot of people.
Speaker 3: So AI not the creative powerhouse that it thinks it is,
Speaker 3: but also it does a lot that we already use
Speaker 3: in our lives everything.
Speaker 4: Yeah.
Speaker 5: Yeah, there's currently a big kind of thing at the
Speaker 5: moment in the UK to do with like copyright and
Speaker 5: AI and whether or not people are still going to
Speaker 5: be able to have control over what they have written,
Speaker 5: whether it's like music or artwork, or whether AI will
Speaker 5: just be able to like use it for free. Just
Speaker 5: still kind of ongoing whether or not that's going to
Speaker 5: be allowed hopefully hopefully not.
Speaker 3: That was happening. That's fascinating. That's going to set a
Speaker 3: big Yeah.
Speaker 5: So there has been a lot of debate, Yeah, petitions
Speaker 5: and things signed and like quite a lot of like
Speaker 5: big artists and musicians against it, but still don't really
Speaker 5: know whether or not the government are going to stay
Speaker 5: on the side of like artists and their rights or
Speaker 5: whether kind of big business will win.
Speaker 4: Hopefully.
Speaker 3: The world has not had a great track record with
Speaker 3: all this over the last ten years. Definitely a little
Speaker 3: worried about that, Brent, all of all of this film
Speaker 3: stuff that you are now embroiled in. Have you always
Speaker 3: been a fan of film or is that something that
Speaker 3: you came to through art eventually.
Speaker 5: I think I've always been a fan of film, But yeah,
Speaker 5: I think definitely more over the last Yeah, probably would
Speaker 5: have been maybe when I started You Need, but maybe
Speaker 5: I think just before is that actual lea Weirdly, when
Speaker 5: I was in school for I think it was like
Speaker 5: a gcs C graphic design project. I made kind of
Speaker 5: like a Soul Baths inspired poster that really obviously at
Speaker 5: the time I didn't know because I would have been
Speaker 5: about like forteen or fifteen, but I kind of did
Speaker 5: made up a film that basically sounded a bit like
Speaker 5: Peeping Tom. So it was like a like a like
Speaker 5: a cereal color movie that was killing people to do
Speaker 5: with a camera, but I didn't know people Tom was,
Speaker 5: you know, existed A few years later then I was like, oh,
Speaker 5: I kind of like weirdly made an entire art.
Speaker 4: Project about that film without knowing about it.
Speaker 2: It's awesome.
Speaker 5: So yeah, and then I went to You Needed. A
Speaker 5: lot of like college stuff and was inspired by a
Speaker 5: lot of all the beautiful kind of like on set
Speaker 5: or like still photography that was made around like the
Speaker 5: forties and fifties, when you know that they would using
Speaker 5: kind of all the lovely like magazine books and film books,
Speaker 5: and then yeah, we're kind of just stayed kind of
Speaker 5: like interested in film. Then did a masters in graphic
Speaker 5: design just before kind of like the pandemic happened, and
Speaker 5: that's kind of like that's partially how I ended up
Speaker 5: getting into it because my job, I was working at
Speaker 5: a pollstyrene studio that basically made big letters and like
Speaker 5: it glittered things for like visual merchandising, and obviously you
Speaker 5: can't really work from home for a job like that,
Speaker 5: so I was like stuck at home, had way more
Speaker 5: time and started making more like alternative posts as while
Speaker 5: I was doing this graphic design eme. And then things
Speaker 5: started slowly, like slowly happened from there. So I ended
Speaker 5: up doing like a poster and title design for my
Speaker 5: friend Seline's short stagger and then yeah, I think I
Speaker 5: don't I think it was just stuff I was interested in,
Speaker 5: people I was following, and things like slowly kind of
Speaker 5: built up. So it's been quite a natural progression, but like, yeah,
Speaker 5: I don't know how to explain it following to people
Speaker 5: and like child back and forth, and then yeah, I.
Speaker 3: Know a lot of people to get inspired by some
Speaker 3: of this work kind of you know, take it upon
Speaker 3: themselves to wish that they could.
Speaker 2: Get in the industry.
Speaker 3: And one of the big questions is always how did
Speaker 3: you get here? And you mentioned you know a couple
Speaker 3: of these like a contest or your friend shorts. Is
Speaker 3: there any any certain thing that you feel like was
Speaker 3: a big breakthrough where suddenly, oh, like I am going
Speaker 3: to be somebody that people can actually come to and
Speaker 3: I can keep getting this work.
Speaker 4: I think.
Speaker 5: I'm not sure, Like I like because I started doing
Speaker 5: a few small bits and then I was still working
Speaker 5: at the at studio, but I was kind of I
Speaker 5: went down like part time because I was getting a
Speaker 5: couple of jobs in here and there with the graphic
Speaker 5: design stuff. I always thought, oh, I'll get like a
Speaker 5: I guess of all serious graphic design job and like
Speaker 5: the film stuff will be like occasional probably because like there,
Speaker 5: you know, I don't know how else how am I
Speaker 5: going to get into this. All of the big agencies
Speaker 5: are based in London and I live in Cardiff, which
Speaker 5: is you know it well, yes it's the couple of
Speaker 5: City of Wales.
Speaker 2: But it's it's.
Speaker 4: Not really fulfilmed, I mean Doctor Hughes film.
Speaker 5: But but yeah, I never thought that it would end
Speaker 5: up becoming my full time job and it just kind
Speaker 5: of I think the biggest thing I feel is definitely
Speaker 5: kind of like showing your enthusias, showing what you want
Speaker 5: to work on, because I've managed to kind of keep
Speaker 5: working within kind of like in you know, primarily like
Speaker 5: indie film scene, which is like stuff that I love,
Speaker 5: and it also means there's a lot more freedom to
Speaker 5: play around with designs, which if you work on bigger films,
Speaker 5: it gets more specific and also kind of a lot
Speaker 5: of things like local to me, so like my local
Speaker 5: independent cinema chapter. I've done a couple of posters for
Speaker 5: like some of their seasons and things like recently they're
Speaker 5: showing all of Twin Peaks over the Next World. I
Speaker 5: think they started a couple of months ago, but they're
Speaker 5: showing the whole like all three seasons and fire Walk
Speaker 5: with Me as well, so I did some artwork for that.
Speaker 5: And then there's also a film festival not too far
Speaker 5: from me in Bristol called Simer. We discover that I've
Speaker 5: done artworks for like some of the seasons that they
Speaker 5: have in the festival for the last couple of years,
Speaker 5: and I've just been working on one for like this year,
Speaker 5: which again I'm quite excited for that to go life.
Speaker 5: I don't know when it will, probably soon, But it
Speaker 5: was because of that, like a couple of years ago
Speaker 5: they'd done like a pre Code Cinema season as part
Speaker 5: of the festival, and because I kind of love like
Speaker 5: twenties and thirties imagery, it was like so much fun
Speaker 5: to work on. So Justin from OCN saw the poster
Speaker 5: and I think I was following him maybe, but he
Speaker 5: hid it on his stories and I dropped him a
Speaker 5: message and that's how I ended up ended up kind
Speaker 5: of like working with him. So it's kind of Yeah,
Speaker 5: I think showing your enthusiasm is like the biggest thing.
Speaker 3: Yeah for me, that's awesome. You have a lot of
Speaker 3: examples of stuff that you've done. There's probably twenty posters
Speaker 3: that I would just love to hear the stories behind
Speaker 3: or what they were used for something. But there's a
Speaker 3: couple specifically that I really want to hear what they
Speaker 3: were used for. One being, this is going to be
Speaker 3: probably super odd to focus on this one, but the
Speaker 3: Bruce Lee film Fist of Fury. The Bruce Lee films
Speaker 3: historically have had very very similar and specific art style
Speaker 3: pretty much across everything. But your poster for Fist of
Speaker 3: Fury is the most unique poster for any Bruce Lee
Speaker 3: thing that I've ever seen, and I love it. What
Speaker 3: was that used for, like a local cinema thing?
Speaker 5: No, it was so I get my local cinema was
Speaker 5: showing I think they showed all three films and I
Speaker 5: hadn't seen it. Actually, I hadn't seen any of them,
Speaker 5: I think. But yeah, so I went to see Fist
Speaker 5: Fury and I absolutely loved it. It was amazing. It
Speaker 5: was great to see at cinema. I'm so happy I
Speaker 5: could see it.
Speaker 2: Yeah.
Speaker 5: Yeah, And I was like, I'm going to make a
Speaker 5: little like fun poster. So that was like again kind
Speaker 5: of like a that was relatively quick. I think we're
Speaker 5: working on it and it was really fun and then
Speaker 5: everybody loved it.
Speaker 2: It's so good, So.
Speaker 3: I guess taking that does that mean that pretty much
Speaker 3: everything on the personal work side of your website. Is
Speaker 3: that all just for you for fun? Basically?
Speaker 4: Yeah? Usually, damn kind of. I mean, I haven't done
Speaker 4: many alternate puss for a while. I think the last
Speaker 4: one I did might have been Green Night, which was
Speaker 4: partly thing.
Speaker 2: Was like, sign look what I'm wearing right now?
Speaker 3: Amazing? That was incredible. Wow that was that was serendipitous.
Speaker 3: What one film that is on here not a lot
Speaker 3: of people in the world have seen. So I'm just
Speaker 3: stoked to be able to see somebody else that truly
Speaker 3: loved it enough to make a poster just for fun
Speaker 3: dinner in America? Where where did where did the inspiration
Speaker 3: for that one come from? Because I adore that.
Speaker 4: Movie Oh so good. I can't remember. I think it
Speaker 4: must have been I must have heard it on.
Speaker 5: Yeah, I think maybe. I think it was like some Ashes,
Speaker 5: some Ashes was going on about on the like our podcast.
Speaker 2: They did release it and.
Speaker 5: Then it was on our play so I think I
Speaker 5: must have watched it on the and I was like
Speaker 5: obsessed with it. I was like, if I had seen
Speaker 5: this as a teenager, I would have been obsessed. And yeah,
Speaker 5: I just really wanted to make I think I ended
Speaker 5: up making two posters, but Yeah, I just really wanted
Speaker 5: to make something kind of like fun and kind of punk.
Speaker 5: And yeah, again I had like an idea of like
Speaker 5: what I kind of wanted to do with all these
Speaker 5: kind of like broken like dinner plates and things, and yeah, yeah,
Speaker 5: it was just Yeah, it's just such a great film.
Speaker 3: It's so fun, so fun. Other than that, not much
Speaker 3: else I could ask. But I'm sure there's a lot
Speaker 3: of companies out there that you'd love to work for.
Speaker 3: Is there any any that you're like, Man, I hope
Speaker 3: eventually they contact me because I would love to do
Speaker 3: some layout work for them.
Speaker 5: Obviously, Criteria it's still like right up, they have like
Speaker 5: the top ones. I would love to work with Eureka
Speaker 5: as well because kind of like the range of films
Speaker 5: they release is always amazing. Yeah, and Second Site maybe
Speaker 5: as well would be cool.
Speaker 2: I also feel like BFI kind of fits your style.
Speaker 4: Amazing.
Speaker 5: I have been like not, yeah, I've kind of been
Speaker 5: like trying, but yeah, I should probably try again see
Speaker 5: if I can end up working on something with them.
Speaker 5: The Flip Side releases would be really cool.
Speaker 3: Yeah, that would fit your style perfect because there's so
Speaker 3: many different things to pull from.
Speaker 2: Yes, that's perfect. Yeah, all right, Well, thank you for
Speaker 2: doing this, Beth.
Speaker 3: I really hope people look at this and, you know,
Speaker 3: get inspired to check out your website. The work that
Speaker 3: you've done is genuinely magnificent. Every single time that I
Speaker 3: get art from Craig that's going to be on one
Speaker 3: of the upcoming releases, I'm just blown away. And I've
Speaker 3: seen so many people for Deaf Crocodile stuff that specifically
Speaker 3: looking at the standard art, get drawn into buying from
Speaker 3: Deaf Crocodile for the first time, and it really shows
Speaker 3: how valuable art can be, not only to appeal to
Speaker 3: the eye for certain people, but it allows you to
Speaker 3: open your mind to something else. Many of these Deaf
Speaker 3: Crocodile films specifically are so out there, they're so there
Speaker 3: are things that no one has ever heard of except
Speaker 3: for this who runs the company, who's incredible and knows everything.
Speaker 5: It's like everything almost every film I have never heard of,
Speaker 5: most of them.
Speaker 4: Which I love.
Speaker 5: It's always like such a wide variety of films is like,
Speaker 5: I just love that you just don't know what is going.
Speaker 4: To be released next.
Speaker 3: But I mean, you know, with the two titles specifically
Speaker 3: that we talked about early on is with the Savage
Speaker 3: Hunt of King Sack and Adele's not had supper yet.
Speaker 3: Easily looking at that art, it's it's easily something that
Speaker 3: somebody would say, well, I want to watch that. I
Speaker 3: don't know what it is now, but I want to
Speaker 3: watch that. And it's if you hear the titles, that's
Speaker 3: not necessarily going to grab you immediately. But your art
Speaker 3: is a huge part in that. So just incredible.
Speaker 2: Keep it up.
Speaker 3: I appreciate what you've done for physical media, for Deaf Crocodile,
Speaker 3: and for some of these films that I also love.
Speaker 2: It's it's inspiring.
Speaker 4: Thank you.
Speaker 2: Thanks, have a good one and we'll talk soon.
Speaker 3: Thank you for listening to the Disconnected podcast. There's one
Speaker 3: big thing that you could do to help the show,
Speaker 3: and that is to leave a rating and review on
Speaker 3: the podcast service of your choice. Thank you.
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