Final Final Theatrical Poster
Okay, so here’s the final final poster. What changed?
Added “Critical Praise”Admit it, you read these, right? Isn’t it the kiss of death for a rental if the cover art features a quote from some sources? No dig against Larry King but I don’t exactly assume he and I share the same tastes in movies. I personally liked Gavin Smith’s quote better but our distributor recommended this one and I understand why. It helps set expectations as to what kind of movie you’re considering. By invoking Inconvenient Truth it tells you environmental film of some sort and helps to counterattack the otherwise arguably too-ominous, too-abstract artwork. Having Malick and Redford’s names above the title also of course hopefully subtly calibrate expectations too.
Absent these cues and obligatory Laurel Wreathes, I might think this movie is some sort of underwater horror flick. I guess in a weird way, it IS.
Directed by Laura Dunn
If you know Laura, you know that she resists this attribution. She’s very quick to redistribute praise to collaborators avoids appropriating the limelight. But the director is typically part of any story about a film. And given her preternatural poise in front of audiences and cameras, it would be criminally negligent to disassociate her from her work.
Title
So the title treatment changed. I moved it to the right to avoid centering everything and to get it off of the meticulously patterned “blueprint from hell” (extracted from the opening title sequence by Kyle Cooper and Prologue.) The word “TERRENCE” was also dropping out somewhat… Not cool.
Credit Block
Went from blue to grey. It’s just not part of the story and I felt like it was already turning into a cyanfest anyways.
Two Versions
So I have one with the turtle and one without. Laura likes the turtle and I do too, but there’s something more mysterious and less disarming about the swimmer alone.
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About The Unforeseen
The Unforeseen, executive produced by Terrence Malick and Robert Redford, premiered at the 2007 Sundance Film Festival. Called "the best film at the festival, hands down" by Film Comment's Gavin Smith, the film documents the struggles between development and preservation of Austin Texas.