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11 Classic Posters You Might've Had on Your Wall

Well, most likely you wouldn't have had all 11 of these iconic posters on your wall simultaneously, but if you grew up in a certain era you probably either owned or saw one of the following posted somewhere, whether in your own bedroom, on the wall of a dorm room, in a "hip" teacher's classroom, etc. Here are the stories behind those iconic posters:

1. Hang in There, Baby

There were hundreds of variations of a dangling kitten hanging in there, but this black and white poster was the original. Sadly, there is not much information to be found as to who created it; the copyright info leads to nothing but dead ends. However, one thing we can probably be certain of, as Marge Simpson noted when she saw the copyright date of 1968, is that the kitty model for the poster is either long dead or a candidate for Guinness World Records.

2. Farrah

The Pro Arts Company of Ohio was run by two brothers who specialized in selling youth-oriented posters. They hit pay dirt in the early 1970s when their "Fonzie" poster sold a quarter of a million copies. In early 1976, one of Pro Arts' founders heard from a friend that many of his dorm-mates at college were buying women's magazines just for the Wella Balsam shampoo ads that featured a blonde beauty named Farrah Fawcett. Pro Arts tracked down Fawcett and arranged a photo shoot beside the pool at her Bel-Air, California, home. Photographer Bruce McBroom used an Indian blanket that doubled as a seat cover in his Chevy as a backdrop. Farrah chose a red one-piece bathing suit in lieu of a bikini in order to cover a scar on her stomach. In the ultimate example of serendipity, between the time Farrah posed for the poster and its release in late 1976, she had been hired as one of Charlie's Angels and the first few episodes had aired. The free publicity provided by the show sent poster sales into the stratosphere, and made Pro Arts a multi-million dollar company.

3. Footprints

This is another poster that was reprinted in several thousand forms graphics-wise, but the poem remained basically the same: the narrator was chatting with the Lord about how when he imagined his life there were two sets of footprints in the sand, but during the lowest parts of his life there was only one set of prints. The Lord replied that those were the times when he was carrying the narrator. Sadly this inspirational verse has a very contentious history, with no less than four people vehemently insisting that they wrote the original poem. Oregon artist Burrell Webb claims that he composed the verse in 1958 after being dumped by his girlfriend. Mary Stevenson, who went on to first be a showgirl and then a nurse, states that she wrote the poem as a teenager in 1936 during the Great Depression. Evangelist Margaret Fishback Powers insists that she wrote the words in 1964 when her future husband proposed to her on the beach, and the verse became ever so meaningful to her in succeeding years when she was struck by lightning (twice), saw her daughter go over a 60-foot waterfall and her husband suffer a heart attack while rescuing her, and suffered a bout of meningitis. Carolyn Joyce Carty, who is one of the most litigious "authors" when it comes to the Footprints poem, says that she wrote the verse in 1963 at the age of six on an old Remington typewriter based on the Sunday school teachings of her aunt Ella.

4. Keep on Truckin'

Robert Crumb first drew the "Keep on Truckin'" cartoon in 1968 as part of the first issue of an underground comic called Zap. Crumb later confessed that he thought the "Truckin'" panel was the "dumbest page in the whole comic" but somehow the image caught on with the hippie counter-culture and took on a life of its own. On the advice of a friend, Crumb retained a lawyer and went after the biggest retailer of "Truckin'" merchandise, A.A. Sales, a company that was using the image on everything from posters to coffee mugs to bath mats. A lengthy legal battle ensued that resulted in Crumb receiving a whopping $750 settlement, but A.A. Sales disputed even that paltry amount and pursued the matter to federal court, utilizing a little-known defense known as "notice omission" – that is, Crumb had lost all claims to his drawing because he'd never included the little C in a circle copyright symbol along with his name and date. The case dragged on and on (and on) and even changed some copyright laws along the way, but R. Crumb ultimately stated that he'd had no intention of becoming a "greeting card artist for the counter-culture movement" – he never wanted to do "shtick."

5. Love is...

Kim Grove met Roberto Casali at a Los Angeles ski club in 1967. She drew little cartoons of a boy and girl together to document the budding romance and to give to Roberto as "love notes." Luckily Roberto kept all the drawings and submitted them to the Los Angeles Times, which published the first Love Is... panel on January 5, 1970. Soon the cartoon was syndicated worldwide and the subject of coffee mugs, T-shirts, and posters. In 1975, Roberto was diagnosed with cancer, and Kim made the then-controversial decision to have some of his sperm frozen for later use. A little over a year after Roberto passed away, Kim gave birth to their son Milo.

6. Jonathan Livingston Seagull

Today most folks view seagulls as nothing more than rats with wings, but back in 1972 one of those scavengers was the subject of a multi-million dollar franchise. Richard Bach's feel-good story Jonathan Livingston Seagull contained less than 10,000 words but sold more than 8,000,000 copies in hardcover and paperback, and various posters based on the warm fuzzy axioms in the novella were equally successful sellers.

7. Mark Spitz

Swimming superstar Mark Spitz was the first athlete to win seven gold medals at an Olympiad. When he posed for a poster wearing a Stars and Stripes Speedo and his medals, he became not only a household name but also a sex symbol. Look carefully at Spitz' famous poster and you'll notice his hand casually obscuring the "Speedo" logo. That's because he had a contract with German swimsuit manufacturer Arena at the time and was trying to avoid any "conflict of interest" lawsuits.

8. War Is Not Healthy...

Printmaker Lorraine Schneider sat at her Los Angeles work table one morning in 1966 and etched out a sunflower and a child-like anti-war slogan on a two-inch square piece of metal. The resulting poster sold millions of copies worldwide, but Schneider earned not one penny from it; shortly after she designed it, she gave all the rights to a small local group called Another Mother for Peace. AMP closed its offices in 1986, but the group was re-established in 2003 with the advent of the war in Iraq.

9. Peter Max

No bedroom was officially groovy or trippy enough without an official Peter Max poster. Max ushered in the psychedelic era of the 1960s with his vibrant colors, abstract stars and planets, and messages of love and peace. Max's artwork also powered 7-Up's 1968 "un-cola" advertising campaign.

10. Jaws

It took Bantam Books illustrator Roger Kastel six months to get the paperback cover illustration just right for the Peter Benchley book Jaws – none of the drafts seemed scary enough. Finally it was decided that the best way to get a good view of the great white shark's razor-sharp teeth was to picture him from underneath. Universal Pictures was so impressed with the final product that they agreed that it would be the only picture used in any promotional materials for the film.

11. Jim Morrison

Joel Brodsky photographed Jim Morrison in New York City for the 1967 "Young Lion" shoot. He later recalled that Jim had been drinking heavily the entire time and was stumbling around the studio, knocking lights over. Despite his faulty equilibrium, Morrison still managed to engage the camera; when the above photo appeared in The Village Voice, the paper received more than 10,000 requests for a print of it.

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11 Single Facts About Bridget Jones’s Diary
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Miramax

While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Universal Home Video

Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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