What makes a literal still image from Dogtooth less representative of the film than one of your designs? Those three lines.Ī lot of international Dogtooth posters used a still image from the film instead of your design. Vasilis Marmatakis: Exactly! I forgot about that. I rewatched Dogtooth last night, and the three lines actually appear in the film. But in a lot of people’s minds, it’s associated with Dogtooth. But for us, it made sense, because it’s a distortion – the three kids have a distorted view of the world. Everywhere else, they thought it was too unconventional and weird to have as a film poster. So this one ( Dogtooth, above) actually came out in Greece. Are you more relaxed about explaining your designs? Yorgos hates explaining his films he would never say, “this means this”. I discovered cinema, like Dario Argento, through the posters.” Here, Marmatakis gives us a guided tour to a selection of his posters for Lanthimos – including a few concepts that were never officially released. When I was a kid, I’d get videotapes because of the covers. “Marketing were like, ‘No one’s going to get it.’”ĭoes Marmatakis want the poster to be the first image a viewer sees? “I think it’s an entry to the film,” he says. “It’s Everest pretending to be the Alps,” Marmatakis laughs. So to understand the poster, you need to have seen the film and possess a decent knowledge of mountain ranges. It refers to a line of dialogue about how the Alps could replace another mountain, but no mountain could stand in for the Alps. A rejected poster for Alps features Everest as its main image. It’s like discovering a band’s weird, wonderful B-sides – the tracks deemed too experimental for public consumption. But, really, you should have guessed that tone from Marmatakis’s macabre poster.Īt an exhibition of his work, Marmatakis talked me through the unused concepts for these films. The newly released comedy – a twisted period piece starring Emma Stone, Rachel Weisz, Olivia Colman and 17 rabbits – is ultra-mean, malicious fun. Marmatakis crafted the artwork for these cult oddities, but he also went one further with his involvement on Lanthimos’s new film, The Favourite. Filippou would later co-write Dogtooth, Alps, The Lobster and Sacred Deer. Since Dogtooth in 2005, Marmatakis has designed the promotional posters for all of Lanthimos’s movies, creating eye-catching images that challenge observers to fill in the blanks. In the early 2000s, Lanthimos did freelance work at the advertising company that employed his future collaborators, Marmatakis and Efthymis Filippou. The artist to thank is Vasilis Marmatakis. Is it a horror? Where’s the deer? Wait, is he the deer? And how did he grow a beard that quickly after The Lobster? Already, my excitement was heightened. Yet I felt compelled to analyse this solitary image like a magic eye puzzle. The framing of Colin Farrell, in a hospital, looming over two empty beds, told me hardly anything about the plot. At the time, I couldn’t formulate an explanation. For instance, before watching The Killing of a Sacred Deer(2017), the image that fuelled my anticipation was the eerie, mind-boggling one-sheet released for its Cannes premiere. With Greek director Yorgos Lanthimos, the posters are as provocative as the films.
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