"An American Werewolf in London" is one of my all-time favorite flicks. We're talking top-ten territory here. So with an abundance of time on my hands this summer, I decided to indulge myself and do this poster as a gift to my favorite client--me. Sure, I'm a demanding perfectionist who forces me to do countless revisions and stay up till all hours, but at the end of the day, I'm a client who gets me and is in sync with my artistic vision.
How can I accurately put my love for John Landis' "An American Werewolf in London" into words? It's like the "Jaws" of werewolf movies as the beast is rarely shown, which only makes it scarier. It also features one of the greatest werewolf transformation scenes of all time and is peppered with some fantastic gore and makeup effects that still hold up today. The film has a pitch-perfect tone that is both darkly hilarious and vicious at the same time, and is one of the few films that works equally well as both a comedy and a horror film. There is some debate as to whether this or "The Howling" is the better 1981 werewolf film, but to me there is absolutely NO contest.
Greg White Illustration
I'm a Lawrence of Arabia freak, so when the opportunity to do a commissioned work for it came along, I jumped at the opportunity. I think Steven Spielberg summed it up nicely when he referred to Lawrence of Arabia as a "miracle." It's a film that had every right to fail according to traditional movie standards. It's four hours long, has no female characters, takes place almost entirely in the desert, has little action for a wartime film, and features an extremely unconventional protagonist. And yet, it is amongst the most beautiful and celebrated films of all time.
The poster came together with very little fuss. I drew the original design as a portrait, but decided to do a B-side for myself in landscape that I actually like even better.
Greg White Illustration
