8 Questions: Designer Jeremy Saunders

8 Questions is our feature where we ask designers, artists and illustrators the same 8 getting-to-know-you questions (sort of like the web series 7 Minutes In Heaven but without the closet and awkward kissing). We’ve chosen questions we think will elicit informative, character revealing and insightful answers, allowing readers to learn from and get to know these lovely people a little better.

Jeremy's First Poster

Recently chosen by Adobe as one of four international ‘design heroes,’ Jeremy isn’t doing half bad. Part of his success might be due to the fact that he can translate the idea of a film onto paper in such a way that makes it almost impossible to imagine a better solution excluding, possibly, his very first poster (seen above). That’s the mark of a great designer. His work has garnered him international acclaim, big name clients and even graced some (Fish Tank) prestigious Top 10 Lists (Hesher). This year, you could even see his work at the renowned 2012 Sundance Film Festival (Bear). With his proven ability to communicate visually in a way that connects with audiences world-wide, we’re confident Jeremy Saunders will be at this for many years to come (and that’s good news for everyone so, really, we’re happy to bestow our confidence in such a manner).

For more samples of his key art, plus his designs in other mediums and photography, head on over to his website.

1. Describe yourself in 5 words or less.

Actual size. Batteries not included.

2. How long have you been a designer and what made you want to be one?

In 2000, after a few months of reading Computer Arts tutorials, I started calling myself a designer. Fortunately no-one has yet bothered to check the veracity of that title. If they do, I’m screwed. I didn’t actually think it was possible to be doing something that most of the time feels easy and fun… and especially that people would actually pay me money to do it. Compared to what I’d been doing before, this was an extremely exciting and inspiring development. As it turned out, of course, it’s not always easy and fun, and people only rarely want to pay for it.

3. What would you say are your biggest influences?

Okay, it’s kind of boring but the answer has to be the film itself. You have to focus quite selfishly on that one film at a time and explore how to represent it visually. And I tend to not really go to design websites, or spend a lot of time checking out trends. It just clouds everything. I think if I do have a talent it’s the ability to explore the world of the film and express it in terms of mood and tone, and the design has to be subservient to that rather than overpowering it. Otherwise it’s more about my reaction to the film as a designer rather than about the film itself, if that makes sense. So lots of time being solely influenced by the film (which makes it easier to work on good films!)

4. What is your favorite thing about being a designer?

The best thing about being a key art designer is working with a client base that is filled with extremely talented and passionate creative people. Most of my friends are filmmakers so being able to see a little into their worlds is a real pleasure and a privilege. Plus, being allowed to dress like an aging hipster without inciting too much negative comment.

5. What’s the worst (non-design related) job you’ve ever had?

I spent ten years after flunking out of college doing a long series of jobs that to me were depressing drudgery, and I thought that’s what work was like all the time. Something you just get through. Something people pay you to do because otherwise no-one would ever do it. Most people have to do jobs they dislike, every day of their lives. If you can eke out a living, no matter how small, doing something you love, then you’re one of the lucky ones.

6. Who are some of your favorite designers and why?

In terms of key art, probably a very familiar list: Saul Bass and Robert McGinnis are probably my classic favourites. You’d have to be blind to not love Neil Kellerhouse’s work (and I’d love that client list too) and the guys at Gravillis are just on fire at the moment, producing amazing stuff. Check out Egil Haraldsen too, he’s a superstar designer in Norway but a secret everywhere else, his key art is just great.

7. What are some of your favorite movie posters of all time?

Today’s top five are:
Live and Let Die quad version (Robert McGinnis)
Takeshi Kitano’s Violent Cop (no idea of the designer – here http://mubi.com/notebook/posts/movie-poster-of-the-week-glory-to-the-filmmaker-or-kitano-in-posters)
Funny Games (Akiko Stehrenberger)
Noise (Marcus Cobbledick http://thecia.com.au/reviews/n/noise.shtml)
Enter the Void (http://www.impawards.com/intl/misc/2010/enter_the_void.html no idea who designed it)

8. Any advice for young designers out there?

Every film (or product), regardless of its quality, is unique. So to offer any film (or product) a solution that has either been used elsewhere, or is trendy, or a cliche, is not actually ‘design’. It’s styling. Which is a fine job to do, and lots of people make lots of money and have great careers being stylists. But design is about answering problems, and there are very few problems that can be answered – in a way that will spark your imagination or the imaginations of potential consumers – by relying on trends and cliches. Whenever you think, I’ll do a Social Network design for this, or characters on a white background with red text… then walk away.

Whenever you get a brief, turn off the computer. Good ideas never happen staring at a blank document.

People think all graphic designers are arrogant cunts. Do whatever you can not to prove them right.