As with 'Film Propaganda', there was a problem with sourcing images for this. Everyone wanted the image of Clint Eastwood that we eventually used, but we only had a small slide of it and, blown up, it lost quality. I argued that this degradation of the image could be a strength in viscerally conveying the ragged violence of the films. To capitalise on the effect, I suggested the red tint and the disjointed, courier type face.
This was the first in a loose series of film history books and its layout - wonky type, white background, single dominant colour and all - became the template for the ones that followed. |
