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we can't reveal anything more than the cover right now, but rest assured that what is inside the pages of this magazine "breaks the 4th wall" in ways you might not expect. 

trey and caspar broadly discussed the film's narrative and the potential for exploring that with a striking and perhaps unconventional pitch deck. trey then suggested a holiday brochure format and they decided to run with it.

trey eventually presented us with an indesign file based on a template he'd found, including his desired text and a selection of images he felt suitable for the concept. izzy roth-dishy then took care of improving the typography and typesetting and worked on some digital distressing that felt in tune with the film. caspar then took izzy's work to the local printer and had it bound. he then applied further physical distressing to the brochures in the studio, whilst lighting and photographing everything as he went.

the film follows arthur "art" shapiro on his daily walks through the californian countryside as he observes—with a pencil and paper in hand—changes in the local flora and fauna. art's particular area of expertise is butterflies, and so the film explores just why that is and how incredibly important his recordings have been, not just as a professor, but also in the field of "slow science". art's obsessive behaviour has lead to some powerful truths being revealed about our planet's now rapidly changing climate.

we were taken by the film and caspar immediately had an idea for the poster. he sent karlis images from korean artist's chang hong ahn's 2004 piece 49 people's meditation and suggested we try and make a similar piece, but with art and his local butterflies at the center of it. karlis was into it and headed to california to take one more picture of art, with his eyes closed in the dappled light of his back yard. caspar then processed the photograph and proceeded to cover art in butterflies of art's choosing.

this poster was made to support the film's thesis that whilst the dream is being tested it is not necessarily failing. life for the families in the film could in fact improve, but during the current political administration things are nevertheless fraught.

the abstracted nature of the poster was also intended to speak to a broader audience. it's a nod perhaps to what it means to dream at all, in any circumstance, be that good or bad.

caspar made this poster by printing out the repeating sentences on heavy paper, and then where appropriate cutting each letter out by hand with a scalpel. he then perched each loose letter atop a pedestal of modelling clay, and bent and twisted it in different ways as if it were floating in the air. once each sentence was laid out just as seen in the poster, he photographed the whole thing using a rostrum camera, and finished the poster in photoshop.