one of the film's producers, mike macmillan, got in touch and told us we were in consideration to produce a poster for this new film that had just been selected for the cannes film festival. as it turned out we'd already met director vladimir de fontenay in new york. his film was, needless to say, right up our alley in terms of aesthetics and narrative. it wasn't long before we were throwing ideas back and forth between new york and paris and fleshing out a series of radically different poster ideas. the end result is one everyone felt touched on the themes of the film both emotionally and conceptually, whilst also satisfying the sales and distribution market requirements.
producer randy mack got in touch with a copy of the film and before we even watched it we were discussing an idea for the poster. based loosely on what david bowie had done with his record sleeve for 'the next day', we wanted to somehow mention the original 'annie hall' feature film in this new poster. after watching the film we sat down and started playing around with some layouts. the end result is one that is both subtle and incredibly dramatic. both a glowing metaphor for the film's subject matter and a knowing wink to those who have seen the film.
keznamdi was put in touch with us through a mutual friend. he told us he was a fan of our work and was interested in us creating the cover for his forthcoming new album, skyline levels. we spent some time listening to the record and soon after he came to the studio in new york. we looked through various record covers he liked both by us and by others and got a sense of the kind of thing he was after. asking that we might adapt some photographs he'd had taken in the skyline levels area in jamaica (afterwhich the record was named), we produced what you see here. the record is a warm, uplifting piece of work and so it made sense that the backdrop become this big ball of light from which he was emerging.