Page 1


he goal for this third project in visual concepts was to develop our skills in

representing a story utilizing pictures and their meanings. Articulating messages through images is a skill that all graphic designer should master. With the limitation that we were supposed to create our own images, pushed us further to developing creative solutions for representing our chosen story. We were given seven movies from the Criterion collection’s new eclipse line that focused themselves on producing budget-priced, high quality editions of hard-to-find films for young audiences. Richard Linklater’s 1991 cult-classic, “Slacker” was the film I chose. I was really attracted to the raw emotion, powerful messages, and unidentifiable plot line that wove itself throughout the movie. At first, I was really attracted to the idea that each character was connected through sidewalks and roads. But as I explored further, I began to develop a concept of textures among appearances as a unique identifier between characters. The brand I’ve developed for this dvd packaging design is one of raw textures and bold, contrasting colors. It centers around the visual appearances of each character and weaves itself within the type and imagery of the dvd package.


PROJECT BRIEF


Slacker is a uniquely structured and seemingly plotless film, following a single day in the life of an ensemble of mostly twenty-something bohemians and misfits in Austin, Texas. The film follows various characters and scenes, never staying with one character or conversation for more than a few minutes before picking up on someone else in the scene and following them. Most of the characters grapple with feelings of social exclusion or political marginalization, which are recurring themes in their conversations. They discuss social class, terrorism, joblessness, and the government’s control of the media. It’s interesting to note that in this film there are over 100 characters that share the screen. It’s a lot of people to keep track of and it’s interesting to look at how Linklater used the character’s outward appearance as well as setting to differentiate them. Linklater also worked to knit these characters together through common transitions such as “walking” or “driving” with them to the next character. Honestly, I really enjoyed this film. The plot is lost (Linklater pitched that in the very beginning) but the characters and their messages make up for it. There is something to be said about seeking individuality in a sea of people (or characters in this matter) and Linklater succeeds in diversifying these characters as well as knitting them gracefully together.

INITIAL RESEARCH


Important Elements: “Shit. I should have stayed at the bus station.” Houston, Texas What if we had a momentary glimpse into another reality? How do the choices we make impact our future?

Important Elements: “You should never traumatize a woman sexually” We are conditioned to velieve that suffering is bad. Madonna pap smear, up for sale

Important Elements: “There was such a thing as belief put into action in those days” Windows are everywhere, symbolism // windows into alternative stories? Tv backpack, that’s a real thing There are psychic powers of the televised image


Important Elements: “I’ll get a job when I hear the true call.” Film highlights the value on human life, others, self-centered JFK assassination

Important Elements: “Movies are photography 24 times a second.” Recording devices Cars tie people together, at least their paths together

CONCEPTUALIZING SLACKER


WORDCLUSTERS Bus Roy’s taxi Fat man, round glasses Pink jogger lady Camo shirt “Army, be all you can be” Guitar, cut offs, uneven socks Paul Batman, bearded man with apple juice 704, Paul’s friend Paul’s room, empty space Stephanie, back from Dallas, in hospital Graffiti USA Today Newspaper Patterns, everyone has a distinct pattern Peeping Tom Typewriter Tent Bitch Robe Madonna Pap smear Bombs have already fallen Coke vending machine Coffee Sticky notes Ron Paul Guns Landscape Television Black tank top Groceries Sweaty Greasy

Oily Dirty Fixing Junk yard Dust Texas Houston Convertible JFK Rusty judgement Questions Conversation Coke City skyline Dreads Shaggy Flowers Microphone Recorder Stereo Bicycle Car Cycles Band concert Green shower cap Stamps Time Windows Transparencies Grainy Bar Alcohol Grimy Unclean

RElationships Elvis Parody Pink dress Stripes Polka dots Floral pattern Hat Sunglasses Curly Straight Dark Blonde Hair Rejection Trade off Family system Smurfs Continentatl club Broadcasting Underlysing order Chaos Consciousness Change Cycles Fortune Future Time Rejection Conquer fear Objectivity Scooby snack Camera Audio


CRUCIALQUOTES “Shit. I should have stayed at the bus station.”

“Taken my entire life but I’ve given up not only on my own people but for mankind entirely.”

“Don’t touch her.” “Psychic powers of the televised image.” “Call me. I’d like to hear from you.” “Couldn’t wait for the bastard to die.” “It’s disgusting. I love it.” “Work? Fills bellies of pigs that exploit us.” “Obsessiveness without personality.” “I’ll get a job, when I hear the true call.” “Lookin’ for ordinary guys. Need those to colonize.” “Underlying order is chaos.” “Things are speedin’ up here at the end.” “Movies are photography 24 times a second.” “Uniqueness, differences are minor compared to the similarities.” “Ultimate losers.” “He had had enough.” “You should quit...You should never traumatize a woman sexually.” “You’re just what they want.” “Conditioned to believe that suffering is bad.” “Always glad to see any young person doing something.” “There was such a thing as belief put into action in those days.”


INITIAL COMPOSITIONS


LET’S FACE IT...


Here I experimented with photography as a means of representing the story of Slacker. Althought some were more successful than others I thought it was a good way for me to get my eyes off the computer screen and looking through a camera lens instead.

POSTCARDS & PHOTOGRAPHY


I also continued this experimentation with sidewalks and the idea that they act as the link between the characters and their very diverse storylines in Linklater’s film.


Slacker

a Richard Linklater film


“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

SLACKER a film by Richard Linklater

a film by Richard Linklater

COVER IDEAS


IDENTIFIABLE TEXTURES.


A RICHARD LINKLATER FILM

YET STRIVES TO BE WHAT CAN NEVER BE.”

“The tragedy in life is that man is never free, WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

A RICHARD LINKLATER FILM

A RICHARD LINKLATER FILM

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

Richard Linklater’s Slacker

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration.

Richard Linklater’s Slacker

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.


t this point in the project, we were beginning to nail down just exactly what our

chosen movies were about and how we can express and represent that imagery within the boundaries of our own style and design work. I had three pretty different directions going by the time we started to desing full layouts. I knew I wanted to utilize my drawing skills within the boundaries of this packaging design so I worked to develop a style that spoke to the dirty and raw feel of Linklater’s film. At this point, the packaging design centered around my restricted color palette charactures but as I continued to explore this theme I felt that that solution was to easy. The orange television set was also a solid design filled with bold imagery and contrasting colors but I felt like that too was too simple of a solution. So, not quite knowing where I was going to go from here, I chose the packaging design centered around textures. I didn’t quite know where I was going to take it but I felt like I needed a creative solution to a problem that was severly “slacking.”

3 COVER CONCEPTS


SLACKER A FILM BY RICHARD LINKLATER

YET STRIVES TO BE WHAT CAN NEVER BE.”

“The tragedy in life is that man is never free, WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

A FILM BY RICHARD LINKLATER

SLACKER

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

SLACKER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

SLACKER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

Richard Linklater’s

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

SLACKER A FILM BY RICHARD LINKLATER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

Richard Linklater’s

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH


RICHARD LINKLATER

1. Should Have Stayed at the Bus Station [4:40] 2. Looks Like Some Guy Ran Over His Mom [6:49] 3. The Obsessiveness, the Utterly Passive [1:55] 4. There’s Not That Many Perverts Around [5:19] 5. You Boys done Male Bonding Yet? [2:36] 6. Sometimes He Has Good Dreams [2:37] 7. You Could Say They Put Me There [1:41] 8. Closer to the Rock God Herself Than Just a Poster [3:53] 9. Terrorism Is the Surgical Strike Capability of the Oppressed [1:19] 10. The Next Person Who Passes Us Will Be Dead Within a Fortnight [2:15] 11. You Should Never Traumatize a Woman With Sexual Intercourse [2:16] 12. It’s Like Premeditated Fun [2:10] 13. A Series Originating and Repeated to Infinity [3:47] 14. Bits and Pieces From Your Authoritative Sources [2:59] 15. Profiles in Cowardice or Conspiracy A-Go-Go [3:58] 16. It’s Practically a Big Block Now [3:58] 17. Dance on His Grave [2:10] 18. Every Single Commodity You Produce Is a Piece of Your Own Death [2:14] 19. She Was In My Ethics Class [2:01] 20. There Was Such a Thing as Belief Put Into Action in Those Days [6:57] 21. This Dormant Potential [5:36] 22. A Total Recalibration of My Mind [3:10] 23. They Don’t Want Some Smurf Leaving the Hive Colony [2:40] 24. We’re Always Tryig to Enslave Ourselves [2:54] 25. Want to Make Somebody’s Life Hell? [4:48] 26. Let’s Put Squeaky Fromme on the One-Dollar Bill [3:09] 27. I’m an Anti-Artist [2:34] 28. Late Night Pickup [1:39] 29. This Instinct for Life Somehow Asserts Itself [1:05] 30. A Free Weapons Giveaway Program [1:09] 31. Die Grasskop Polka [2:39] 32. Strangers Die Everyday [3:04]

SLACKER

SLACKER

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

SLACKER A FILM BY RICHARD LINKLATER

YET STRIVES TO BE WHAT CAN NEVER BE.”

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

A FILM BY RICHARD LINKLATER

SLACKER

RICHARD LINKLATER

“The tragedy in life is that man is never free,

SLACKER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

SLACKER

YET STRIVES TO BE WHAT CAN NEVER BE.”

“The tragedy in life is that man is never free,

A FILM BY RICHARD LINKLATER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

SLACKER

1. Should Have Stayed at the Bus Station [4:40] 2. Looks Like Some Guy Ran Over His Mom [6:49] 3. The Obsessiveness, the Utterly Passive [1:55] 4. There’s Not That Many Perverts Around [5:19] 5. You Boys done Male Bonding Yet? [2:36] 6. Sometimes He Has Good Dreams [2:37] 7. You Could Say They Put Me There [1:41] 8. Closer to the Rock God Herself Than Just a Poster [3:53] 9. Terrorism Is the Surgical Strike Capability of the Oppressed [1:19] 10. The Next Person Who Passes Us Will Be Dead Within a Fortnight [2:15] 11. You Should Never Traumatize a Woman With Sexual Intercourse [2:16] 12. It’s Like Premeditated Fun [2:10] 13. A Series Originating and Repeated to Infinity [3:47] 14. Bits and Pieces From Your Authoritative Sources [2:59] 15. Profiles in Cowardice or Conspiracy A-Go-Go [3:58] 16. It’s Practically a Big Block Now [3:58] 17. Dance on His Grave [2:10] 18. Every Single Commodity You Produce Is a Piece of Your Own Death [2:14] 19. She Was In My Ethics Class [2:01] 20. There Was Such a Thing as Belief Put Into Action in Those Days [6:57] 21. This Dormant Potential [5:36] 22. A Total Recalibration of My Mind [3:10] 23. They Don’t Want Some Smurf Leaving the Hive Colony [2:40] 24. We’re Always Tryig to Enslave Ourselves [2:54] 25. Want to Make Somebody’s Life Hell? [4:48] 26. Let’s Put Squeaky Fromme on the One-Dollar Bill [3:09] 27. I’m an Anti-Artist [2:34] 28. Late Night Pickup [1:39] 29. This Instinct for Life Somehow Asserts Itself [1:05] 30. A Free Weapons Giveaway Program [1:09] 31. Die Grasskop Polka [2:39] 32. Strangers Die Everyday [3:04]

“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

SLACKER

RICHARD LINKLATER

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

Richard Linklater’s

SLACKER

SLACKER

Richard Linklater’s

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

SLACKER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

SLACKER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

SLACKER

YET STRIVES TO BE WHAT CAN NEVER BE.”

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

“The tragedy in life is that man is never free,

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

Richard Linklater’s


SKETCHED CHARACTERS


SLACKER

YET STRIVES TO BE WHAT CAN NEVER BE.” “The tragedy in life is that man is never free,

THE ART OF SLACKING

THE STORY

SLACKER

A RICHARD LINKLATER FILM

SCENES

ACTORS

100 MIN 1991 UNITED STATES

Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s. Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration. presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

Richard Linklater’s Slacker

A RICHARD LINKLATER FILM

ENGLISH

Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

1.33:1

1.33:1

COLOR

COLOR

A RICHARD LINKLATER FILM

ENGLISH

1991 100 MIN

SLACKER

UNITED STATES

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration.

SLACKER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

Richard Linklater’s Slacker

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

“The tragedy in life is that man is never free,

YET STRIVES TO BE WHAT CAN NEVER BE.”

SLACKER

SCENES

ACTORS

THE STORY

THE ART OF SLACKING


As we continued to make revisions, I began to settle in to the orange and black textured design more. I don’t know if it was the slightly more original solution that was the deal-breaker, but at this point, it was pretty obvious which design was the favorite. I had some trouble initially with the overall idea of the insert. I didn’t really hollow out my exact purpose for the fold out which led to some pretty rusty first drafts. With this first handout idea, I wanted to create a set of pockets that held a different “page” of Slacker’s information. I had then planned for it to be kind of like a puzzle in that you could put each of the pocketed pieces together to form a larger image. It seemed like a good idea at first but the more I thought about it and the further I mocked it up, the more I realized that it would be too much of a distraction from the dvd itself. I needed to maintain a distinct hierarchy within this packaging and a set of pockets was not going to be my answer. I needed to think more minimally.

IDENTIFIABLE TEXTURES


For technical assistance with this or any Warner Bros. DVD, visit us at criterion.com/films/408-slacker or call 1-800-392-4201 Running Time: Approx. 100 min Stock #34441

WHAT

SLACKER

A RICHARD LINKLATER FILM

SLACKER

FREE

A RICHARD LINKLATER FILM

A RICHARD LINKLATER FILM

CAN

e

NEVER

SLACKER SLACKER

The tragedy in life is that man is

BE.

“ NEVER

A RICHARD LINKLATER FILM

YET STRIVES TO BE Running Time: Approx. 100 min Stock #34441 For technical assistance with this or any Warner Bros. DVD, visit us at criterion.com/films/408-slacker or call 1-800-392-4201

Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration.

NEVER FREE

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

Richard Linklater’s Slacker

A RICHARD LINKLATER FILM

A RICHARD LINKLATER FILM

NEVER FREE

The tragedy in life is that man is

Slacker is a prescient look at an emerging generation of aggressive nonparticipants, and one of the key films of the American independent film movement of the 1990s.

A RICHARD LINKLATER FILM

The tragedy in life is that man is

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

UNITED STATES 1991 100 MIN COLOR 1.33:1 ENGLISH

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over a hundred characters, each as unique as the last, culminating in an episodic portrait of a distinct vernacular culture and a tribute to bohemian cerebration.

SLACKER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

SLACKER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

Richard Linklater’s Slacker

A RICHARD LINKLATER FILM

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO NEWLANDER MUSIC BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONY SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

This is a w unexpected

YET STRIVES TO BE

WHAT

CAN

NEVER

BE.

A RICHARD LINKLATER FILM

SLACKER SLACKER Running Time: Approx. 100 min Stock #34441

For technical assistance with this or any Warner Bros. DVD, visit us at criterion.com/films/408-slacker or call 1-800-392-4201


A FILM BY RICHARD LINKLATER A FILM BY RICHARD LINKLATER

This is a work of scatterbrained originality, funny, unexpected andof ceaselessly engaging. This is a work scatterbrained originality, funny, unexpected and ceaselessly engaging.

Hal Hinson

The Washington Post Hal Hinson The Washington Post

Should have stayed at the bus station Anarchist’s Should havedaughter stayed at the bus station Taxi driver daughter Anarchist’s Roadkill Taxi driver Jogger Roadkill Running Jogger late Hit-and-run Running lateson Grocery grabber Hit-and-run son of death’s bounty Officer Grocery Bozio grabber of death’s bounty Office Love Officer Bozio Street Office Musician Love WalkingMusician to coffee shop Street Been on to thecoffee moon shop since the 50’s Walking Pap smear Been on thepusher moon since the 50’s Quotes Hitler Pap smear pusher Conspiracy Quotes HitlerA-Go-Go Old anarchist Conspiracy A-Go-Go Post-modern Old anarchistPaul Revere Smoking writer Post-modern Paul Revere Director, Screenplay, Producer Smoking writer Cinematography Director, Screenplay, Producer Cinematography

Richard Linklater Kathy McMarthy Richard Linklater RudyMcMarthy Basquez Kathy Jean Caffeine Rudy Basquez JanCaffeine Hockey Jean Mark James Jan Hockey Sam Mark Dietert James Bob Boyd Sam Dietert Terrence Kirk Bob Boyd MeithTerrence McCormack Kirk Jennifer Schaudies Meith McCormack Delony JenniferJerry Schaudies Teresa Taylor Jerry Delony Dan Burrows Teresa Taylor John Slate Dan Burrows Louis Mackey John Slate Kendal Smith Louis Mackey Regina Garza Kendal Smith Richard Linklater Regina Garza Daniel RichardLee Linklater Lee Daniel

1. Should Have Stayed at the Bus Station [4:40] 2. Looks Some GuyatRan Mom[4:40] [6:49] 1. ShouldLIke Have Stayed theOver Bus His Station 3. Looks The Obsessiveness, Passive 2. LIke Some Guythe RanUtterly Over His Mom[1:55] [6:49] 4. There’s Not That Many Perverts Around [5:19] 3. The Obsessiveness, the Utterly Passive [1:55] 5. There’s You BoysNot Done Bonding Yet? [2:36][5:19] 4. ThatMale Many Perverts Around 6. He Has Dreams 5. Sometimes You Boys Done MaleGood Bonding Yet?[2:37] [2:36] 7. Sometimes You could Say There [1:41] 6. He they Has Put GoodMeDreams [2:37] 8. You Closer to the Herself Just a Poster [3:53] 7. could SayRock they God Put Me ThereThan [1:41] 9. Is the Surgical StrikeThan Capability the Oppressed [1:19] 8. Terrorism Closer to the Rock God Herself Just a ofPoster [3:53] 10.Terrorism The Next IsPerson Who Passes Will Be Dead Within a Fortnight 9. the Surgical StrikeUsCapability of the Oppressed [1:19][2:15] 11. You Should Never Traumatize a Woman With Sexual Intercourse 10. The Next Person Who Passes Us Will Be Dead Within a Fortnight [2:16] [2:15] 12. Premeditated Fun [2:10] 11. It’s You Like Should Never Traumatize a Woman With Sexual Intercourse [2:16] 13. It’s A Series Originating and 12. Like Premeditated FunRepeated [2:10] to Infinity [3:47] 14. and Originating Pieces Fromand YourRepeated Authoritative Sources [2:59] 13. Bits A Series to Infinity [3:47] 15. Bits Profiles Cowardice or Conspiracy A-Go-Go [3:58] 14. andinPieces From Your Authoritative Sources [2:59] 16. It’s Practically a Big Block Now [3:58] 15. Profiles in Cowardice or Conspiracy A-Go-Go [3:58] 17. It’s Dance on His Grave 16. Practically a Big[2:10] Block Now [3:58] 18. Dance Every Single You Produce Is a Piece of Your Own Death [2:14] 17. on HisCommodity Grave [2:10] 19. In My Ethics Class 18. She EveryWas Single Commodity You[2:01] Produce Is a Piece of Your Own Death [2:14] 20. She ThereWas WasInSuch a Thing as Belief 19. My Ethics Class [2:01]Put Into Action in Those Days [6:57] 21. This Dormant Potential [5:36] 20. There Was Such a Thing as Belief Put Into Action in Those Days [6:57] 22. Total Recalibration of [5:36] My Mind [3:10] 21. AThis Dormant Potential 23. AThey Don’t Want SomeofSmurf Leaving 22. Total Recalibration My Mind [3:10]the Hive Colony [2:40] 24. We’re Always Trying to Enslave Ourselves 23. They Don’t Want Some Smurf Leaving the [2:54] Hive Colony [2:40] 25. We’re Want to Make Trying Somebody’s Life Hell? [4:48][2:54] 24. Always to Enslave Ourselves 26. Let’s Put Squeaky Fromme on the One-Dollar 25. Want to Make Somebody’s Life Hell? [4:48] Bill [3:09] 27. Let’s I’m anPut Anti-Artist 26. Squeaky [2:34] Fromme on the One-Dollar Bill [3:09] 28. I’m LateanNight Pickup [2:34] [1:39] 27. Anti-Artist 29. This Instinct for Life Somehow Asserts Itself [1:05] 28. Late Night Pickup [1:39] 30. This A FreeInstinct Weapons Program [1:09] 29. for Giveaway Life Somehow Asserts Itself [1:05] 31. Die Grasskop Polka [2:39] 30. A Free Weapons Giveaway Program [1:09] 32. Die Strangers Die Polka Everyday [3:04] 31. Grasskop [2:39] 32. Strangers Die Everyday [3:04]

IDENTIFIABLE TEXTURES REVISED


his was the weekend that I really sat down with these designs and expanded

them. It was a lot of trial and error but because I provided myself with time as well as options, I was able to utilize my ideas and make them match up to their potential. I began to play with a lot more textures with this round in an attempt to achieve to raw and emotional side of Linklater’s Slacker. I went for scratches in the cover and cd design to balance out the crisp and clear style of the Trade Gothic typeface. In addition to expanding on my style and branding, I developed my handout further. Using one of my favorite quotes from the film, I designed a fold out poster that was an extra element in my handout. It was neat to be able to intertwine the expression in the textures and patterns within the static typeface.


The tragedy in life is that man is

NEVER

NEVER

CAN

A FILM BY RICHARD LINKLATER

SLACKER

s ,

SLACKER

r

ure s

A RICHARD LINKLATER FILM

e r m

t

YET STRIVES TO BE

t

r

r

O D

WARNER PREMIERE PRESENTS WARNERAPREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO A NEWLANDER THUNDER ROAD FILM/HOLLYWOOD BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN MUSIC BY ELIA CMIRALMEDIA CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHIJAMISO EDITED NEWLANDER BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG OF WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONYMUSIC SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS BY TONY SOLOMONS PRODUCTIONCOREY DESIGNER MICHAEL BERIGDIRECTOR PHOTOGRAPHY LINEHANIS PRODUCER NINA HEYNS EXECUTIVE PRODUCERS FELDMAN KENT KUBENA BRYANOFSEXTON TELEPLAYSTEFANO BY EVANMORCALDO CHARNOV AND RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

It’s Impossible to Learn to Plow by Reading Books (1988), Linklater’s first full-length feature

Slacker culture essay by Linklater

Three audio commentaries featuring Richard Linklater and members of the cast and crew

Original theatrical trailer

Castingoftapes select “auditions” from the film over New high-definition digital transfer, with restored image and sound of the key films thefeaturing American independent one-hundred-member cast supervised by director Richard Linklater and director of photography Lee movement of the 1990s. Daniel, made from original 16mm film elements An early film treatment

Richard Linklater’s Slacker

The tragedy in life is that man is

It’s Impossible to Learn to Plow by Reading Books (1988), Linklater’s first full-length feature

Original theatrical trailer Slacker culture essay by Linklater

WARNER PREMIERE PRESENTS WARNERAPREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO A NEWLANDER THUNDER ROAD FILM/HOLLYWOOD BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN MUSIC BY ELIA CMIRALMEDIA CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHIJAMISO EDITED NEWLANDER BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG OF WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO BORGHI EDITED BY TONYMUSIC SOLOMONS PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS BY TONY SOLOMONS PRODUCTIONCOREY DESIGNER MICHAEL BERIGDIRECTOR PHOTOGRAPHY LINEHANIS PRODUCER NINA HEYNS EXECUTIVE PRODUCERS FELDMAN KENT KUBENA BRYANOFSEXTON TELEPLAYSTEFANO BY EVANMORCALDO CHARNOV AND RODIONOFF STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

YET STRIVES TO BE

CAN

NEVER

SLACKER A RICHARD LINKLATER FILM

NEVER An early film treatment

Three audio commentaries featuring Richard Linklater and members of the cast and crew

NEVER

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

A FILM BY RICHARD LINKLATER

Richard Linklater’s Slacker

A FILM BY RICHARD LINKLATER

UNITED STATES 1991 100 MIN friends eschewed a traditional plot, choosing at an emerging instead look to employ long takes and fluid transitions COLOR Slacker is a prescient generation ofto aggressive and one create anonparticipants, tapestry of over a hundred characters, 1.33:1 of the key films of the independent as American unique as the last, film culminating in an UNITED STATES each the 1990s.portrait of a distinct vernacular culture ENGLISH movement ofepisodic 1991 and a tribute to bohemian cerebration. 100 MIN Slacker is a prescient look at an emerging COLOR APPROVED SPECIAL FEATURES: DIRECTOR DOUBLE-DISC SET generation of aggressive nonparticipants, and one Castingoftapes select “auditions” from the film over New high-definition digital transfer, with restored image1.33:1 and sound of the key films thefeaturing American independent one-hundred-member cast supervised by director Richard Linklater and director of photography Lee movement of the 1990s. ENGLISH Daniel, made from original 16mm film elements

The tragedy in life is that man is

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional choosing presents a dayplot, in the life of a loose-knit subculture instead to employ long takeseccentric, and fluid transitions of marginal, and overeducated citizens to create a tapestry of overTexas. a hundred characters, in Austin,

Richard Linklater’s Slacker

A RICHARD LINKLATER FILM

SLACKER

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional choosing presents a dayplot, in the life of a loose-knit subculture instead to employ long takeseccentric, and fluid transitions of marginal, and overeducated citizens to create a tapestry of overTexas. a hundred characters, in Austin, each as unique as the last, culminating in an episodic portrait of a distinct culture Shooting film vernacular on 16mm for a mere $3,000, and a tributewriter/producer/director to bohemian cerebration. Linklater and his crew of

UNITED STATES each as unique as the last, culminating in an portrait of a distinct culture Shooting film vernacular on 16mm for a mere $3,000, 1991 episodic and a tributewriter/producer/director to bohemian cerebration. Linklater and his crew of 100 MIN friends eschewed a traditional plot, choosing at an emerging instead look to employ long takes and fluid transitions COLOR Slacker is a prescient generation ofto aggressive and one create anonparticipants, tapestry of over a hundred characters, 1.33:1 of the key films of the independent each as American unique as the last, film culminating in an UNITED STATES the 1990s.portrait of a distinct vernacular culture ENGLISH movement ofepisodic 1991 and a tribute to bohemian cerebration. 100 MIN Slacker is a prescient look at an emerging COLOR APPROVED SPECIAL FEATURES: DIRECTOR DOUBLE-DISC SET generation of aggressive nonparticipants, and one 1.33:1 ENGLISH

Richard Linklater’s Slacker

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

SLACKER


I continued to improve upon what was coming to be called the “Identifiable Textures” design. I liked the textures that I had placed in the previous design but in some instances, I felt like it was taking away from the main idea of the packaging. I decided to take out the footprint because I didn’t think it directly translated to the idea of each character’s journey. I also started to play with the typeface. I began to extend some linear elements of the type out to develop a more one of a kind, styllistic Trade Gothic.

IDENTIFIABLE TEXTURES

REVISED AGAIN


SLACKER (1991)

OR ED TO THE A RICHARD LINKLATER FILM

a loose-knit subculture

NEVER

Original theatrical trailer Slacker culture essay by Linklater

SLACKER (1991)

Richard Linklater’s Slacker

ARE MINOR S THAT THE COMPARED TO THE

Richard Linklater’s Slacker presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas. Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over aahundred presents day in characters, the life of

SLACKER

last, culminating in anand overeducated citizens UNITED STATES each as unique asofthe marginal, eccentric, distinct Texas. vernacular culture 1991 episodic portrait inof aAustin, and a tribute to bohemian cerebration. 100 MIN Shooting film on 16mm for a mere $3,000, look at an emerging writer/producer/director Linklater and his crew of COLOR Slacker is a prescient generation of aggressive and one friendsnonparticipants, eschewed a traditional plot, choosing 1.33:1 of the key films of the American independent film and fluid transitions instead to employ long takes ENGLISH movement of theto1990s. create a tapestry of over a hundred characters, UNITED STATES each as unique as the last, culminating in an portrait of a distinct vernacular culture 1991 episodic and a tribute to bohemian cerebration. SPECIAL FEATURES: DIRECTOR 100 MIN APPROVED DOUBLE-DISC SET Slacker is a Casting prescient look atselect an “auditions” emerging tapes featuring from the over New high-definition digital transfer, with restored image and sound COLOR one-hundred-member cast supervised by director Richard Linklater and director of photography Lee generation of aggressive nonparticipants, and one 1.33:1 of the key films of the American independent film Daniel, made from original 16mm film elements An early film treatment ENGLISH movement of the 1990s.

A FILM BY RICHARD LINKLATER

Original theatrical trailer

A FILM BY RICHARD LINKLATER

The tragedy in life is that man is

Three audio commentaries featuring Richard Linklater and members of the cast and crew

Slacker culture essay by Linklater

The tragedy in life is that man is

NEVER

Richard Linklater’s Slacker

A RICHARD LINKLATER FILM

Richard Linklater’s Slacker

It’s Impossible to Learn to Plow by Reading Books (1988), Linklater’s first full-length feature

NEVER

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO WARNER PREMIERE PRESENTS NEWLANDER BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO A THUNDER MUSIC ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREYBORGHI FELMANEDITED JAMISO BY TONY SOLOMONS MICHAEL BERIGDIRECTOR OF WESTERKAMP PHOTOGRAPHYVLOKKIE STEFANOGORDON MORCALDO LINE PRODUCER HEYNS NEWLANDER MUSIC BYPRODUCTION ELIA CMIRAL DESIGNER CO-PRODUCERS THOMAS BECKER JORG DARIO PIANA GIORGIONINA BORGHI EDITED BY TONY R E SOLOMONS S T R I C T E D PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS UNDER 17 REQUIRES ACCOMPANYING EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF PARENT OR ADULT GUARDIAN STORY BY EVAN Strong Sexual Content Including Nudity, Dialogue,CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

Richard Linklater’s Slack presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

Violence And Language

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over aahundred presents day in characters, the life of

Richard Linklater’

For technical assistance with this or any Warner Bros. DVD, visit us at criterion.com/films/408-slacker or call 1-800-392-4201 Running Time: Approx. 100 min Stock #34441

NEVER

SLACKER

...YET STRIVES TO BE

NEVER

a loos

last, culminating in anand overe UNITED STATES each as unique asofthe marginal, eccentric, portrait in of aAustin, distinct Texas. vernacular culture 1991 episodic and a tribute to bohemian cerebration. 100 MIN Shooting film on 16mm for a mer look at an emerging writer/producer/director Linklater COLOR Slacker is a prescient generation of aggressive nonparticipants, and one eschewed a traditional plo 1.33:1 of the key films offriends the American independent film and instead to employ long takes ENGLISH movement of theto1990s. create a tapestry of over a hun UNITED STATES each as unique as the last, culmi portrait of a distinct vern 1991 episodic and a tribute to bohemian cerebr SPECIAL FEATURES: DIRECTOR 100 MIN APPROVED DOUBLE-DISC Slacker is a Casting prescient look atselect an “ae tapes featuring New high-definition digital transfer, with restored image and sound COLOR one supervised by director Richard Linklater and director of photography Lee generation of aggressive nonparti 1.33:1 of the key films of the American i Daniel, made from original 16mm film elements ENGLISH movement of the 1990s.

NOR RED TO THE

SLACKER (1991)

A FILM BY RICHARD LINKLATER

The tragedy in life is that man is

CAN

CAN

...YET STRIVES TO BE Violence And Language

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREY FELMAN JAMISO WARNER PREMIERE PRESENTS NEWLANDER BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GIORGIO A THUNDER MUSIC ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” COREYBORGHI FELMANEDITED JAMISO BY TONY SOLOMONS MICHAEL BERIGDIRECTOR OF WESTERKAMP PHOTOGRAPHYVLOKKIE STEFANOGORDON MORCALDO LINE PRODUCER HEYNS NEWLANDER MUSIC BYPRODUCTION ELIA CMIRAL DESIGNER CO-PRODUCERS THOMAS BECKER JORG DARIO PIANA GIORGIONINA BORGHI EDITED BY TONY R E SOLOMONS S T R I C T E D PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PRODUCER NINA HEYNS UNDER 17 REQUIRES ACCOMPANYING EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANIS RODIONOFF PARENT OR ADULT GUARDIAN STORY BY EVAN Strong Sexual Content Including Nudity, Dialogue,CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DARIO PIANA

It’s Impossible to Learn to Plow by Reading Books (1988), Linklater’s first full-length feature the cast and crew

UNITED STATES 1991 100 MIN Shooting film on 16mm for a mere $3,000, look at an emerging writer/producer/director Linklater and his crew of COLOR Slacker is a prescient generation of aggressive nonparticipants, and one eschewed a traditional plot, choosing 1.33:1 of the key films offriends the American independent film and fluid transitions instead to employ long takes ENGLISH movement of theto1990s. create a tapestry of over a hundred characters, UNITED STATES each as unique as the last, culminating in an portrait of a distinct vernacular culture 1991 episodic and a tribute to bohemian cerebration. SPECIAL FEATURES: DIRECTOR 100 MIN APPROVED DOUBLE-DISC SET Slacker is a Casting prescient look atselect an “auditions” emerging tapes featuring from the over New high-definition digital transfer, with restored image and sound COLOR one-hundred-member cast supervised by director Richard Linklater and director of photography Lee generation of aggressive nonparticipants, and one 1.33:1 of the key films of the American independent film Daniel, made from original 16mm film elements An early film treatment ENGLISH movement of the 1990s. Three audio commentaries featuring Richard Linklater and members of

Shooting film on 16mm for a mere $3,000, writer/producer/director Linklater and his crew of friends eschewed a traditional plot, choosing instead to employ long takes and fluid transitions to create a tapestry of over aahundred presents day in characters, the life of a loose-knit subculture each as unique as last, culminating in anand overeducated citizens ofthe marginal, eccentric, episodic portrait in of aAustin, distinct Texas. vernacular culture and a tribute to bohemian cerebration.

presents a day in the life of a loose-knit subculture of marginal, eccentric, and overeducated citizens in Austin, Texas.

al trailer the over

Three audio commentaries featuring Richard Linklater and members of the cast and crew

ker

NKS THAT THE

JAMISO NEDITED JAMISO YNS I EDITED EYNS

Linklater

eatment

ber one cast nd nt film

, ew of g sitions cters, an ture

bculture tizens

A RICHARD LINKLATER FILM

A RICHARD LINKLATER FILM

O Slacker cu

It’s Impossible to Learn to Plow by Reading Books (1988), Linklater’s first full-length feature

WARNER PREMIERE PRESENTS A THUNDER ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” WARNER PREMIERE PRESENTS NEWLANDER BY ELIA CMIRAL CO-PRODUCERS THOMAS BECKER JORG WESTERKAMP VLOKKIE GORDON DARIO PIANA GI A THUNDER MUSIC ROAD FILM/HOLLYWOOD MEDIA BRIDGE PRODUCTION A FILM AFRIKA-APOLLOMOVIE CO-PRODUCTION “SLACKER” BY TONY SOLOMONS MICHAEL BERIGDIRECTOR OF WESTERKAMP PHOTOGRAPHYVLOKKIE STEFANOGORDON MORCALDO LINE PRO NEWLANDER MUSIC BYPRODUCTION ELIA CMIRAL DESIGNER CO-PRODUCERS THOMAS BECKER JORG DARIO PIANA BY TONY R E SOLOMONS S T R I C T E D PRODUCTION DESIGNER MICHAEL BERIGDIRECTOR OF PHOTOGRAPHY STEFANO MORCALDO LINE PR UNDER 17 REQUIRES ACCOMPANYING EXECUTIVE PRODUCERS COREY FELDMAN KENT KUBENA BRYAN SEXTON TELEPLAY BY EVAN CHARNOV AND HANI PARENT OR ADULT GUARDIAN STORY BY EVAN CHARNOV PRODUCED BY BASIL IWANKYK PHILLIP B. GOLDFINE DAVID WICHT DIRECTED BY DA Strong Sexual Content Including Nudity, Dialogue, Violence And Language


A FILM BY RICHARD LINKLATER

This is a work of scatterbrained originality, funny, unexpected and ceaselessly engaging.

Hal Hinson

The Washington Post

Should have stayed at the bus station Anarchist’s daughter Taxi driver Roadkill Jogger Running late Hit-and-run son Grocery grabber of death’s bounty Officer Bozio Office Love Street Musician Walking to coffee shop Been on the moon since the 50’s Pap smear pusher Quotes Hitler Conspiracy A-Go-Go Old anarchist Post-modern Paul Revere Smoking writer Director, Screenplay, Producer Cinematography

Richard Linklater Kathy McMarthy Rudy Basquez Jean Caffeine Jan Hockey Mark James Sam Dietert Bob Boyd Terrence Kirk Meith McCormack Jennifer Schaudies Jerry Delony Teresa Taylor Dan Burrows John Slate Louis Mackey Kendal Smith Regina Garza Richard Linklater Lee Daniel

1. Should Have Stayed at the Bus Station [4:40] 2. Looks LIke Some Guy Ran Over His Mom [6:49] 3. The Obsessiveness, the Utterly Passive [1:55] 4. There’s Not That Many Perverts Around [5:19] 5. You Boys Done Male Bonding Yet? [2:36] 6. Sometimes He Has Good Dreams [2:37] 7. You could Say they Put Me There [1:41] 8. Closer to the Rock God Herself Than Just a Poster [3:53] 9. Terrorism Is the Surgical Strike Capability of the Oppressed [1:19] 10. The Next Person Who Passes Us Will Be Dead Within a Fortnight [2:15] 11. You Should Never Traumatize a Woman With Sexual Intercourse [2:16] 12. It’s Like Premeditated Fun [2:10] 13. A Series Originating and Repeated to Infinity [3:47] 14. Bits and Pieces From Your Authoritative Sources [2:59] 15. Profiles in Cowardice or Conspiracy A-Go-Go [3:58] 16. It’s Practically a Big Block Now [3:58] 17. Dance on His Grave [2:10] 18. Every Single Commodity You Produce Is a Piece of Your Own Death [2:14] 19. She Was In My Ethics Class [2:01] 20. There Was Such a Thing as Belief Put Into Action in Those Days [6:57] 21. This Dormant Potential [5:36] 22. A Total Recalibration of My Mind [3:10] 23. They Don’t Want Some Smurf Leaving the Hive Colony [2:40] 24. We’re Always Trying to Enslave Ourselves [2:54] 25. Want to Make Somebody’s Life Hell? [4:48] 26. Let’s Put Squeaky Fromme on the One-Dollar Bill [3:09] 27. I’m an Anti-Artist [2:34] 28. Late Night Pickup [1:39] 29. This Instinct for Life Somehow Asserts Itself [1:05] 30. A Free Weapons Giveaway Program [1:09] 31. Die Grasskop Polka [2:39] 32. Strangers Die Everyday [3:04]

A RICHARD LINKLATER FILM

Running Time: Approx. 100 min Stock #34441 For technical assistance with this or any Warner Bros. DVD, visit us at criterion.com/films/408-slacker or call 1-800-392-4201

IDENTIFIABLE TEXTURES FINAL


“SPELLBINDING...A SCRAPPY & SHREWLY HILARIOUS FIRST FILM”

- PETER TRAVERS, ROLLING STONES MAGAZINE

A RICHARD LINKLATER FILM Written, Produced and Directed by RICHRD LINKLATER Cameraman LEE DANIEL Production Manager, Casting ANNIE WALKER-McBAY Dolly Grip, Assistant Camera CLARK WALKER Sound DENISE MONTGOMERY Editor SCOTT RHODES Script Supervisor MEG BRENNAN A Detour Filmproduction Case A LOT OF PEOPLE R E S T R I C T E D

UNDER 17 REQUIRES ACCOMPANYING PARENT OR ADULT GUARDIAN Strong Sexual Content Including Nudity, Dialogue, Violence And Language

© 1991 ORION PICTURES CORP.


ith the movie posters, I wanted to utilize the character sketches that

I had created for the other packaging design and integrate those into my movie poster. The trick was to successfully integrate both the textures and the characture sketches as one fluid design. I also continued the stylized Trade Gothic typeface to further connect the movie poster to Slacker’s packaging.

FINAL POSTER


TRADE


GOTHIC CONDENSED NO.18


DVD Package Re-Design: Process Book  

Process book for DVD packaging re-design project

Read more
Read more
Similar to
Popular now
Just for you