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LIVE FROM THE HEADLINES

Interview with Tony Seiniger

Aired July 25, 2003 - 19:53   ET

THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.

ANDERSON COOPER, CNN ANCHOR: Ah, "Jaws." When the movie came out, it was all about suspense and anticipation. But the first look people got of the shark wasn't when he goes after Quint's boat. It was on the movie poster, a poster that became an instant classic. Knowing how to construct classic posters like the ones for "Jaws" and, more recently, "The Hulk," is big business.
And in that business, no one is bigger than Tony Seiniger, president of Seiniger Advertising, who joins us now from Los Angeles.

Tony, thanks for being with us. It's great to meet you.

What is it that makes a great movie poster?

TONY SEINIGER, MOVIE-POSTER DESIGNER: Anderson, it's simplicity. Like they said in the Bauhaus, you know, 50, 60 years ago, we learned in art school, less is more.

COOPER: And I guess it's also about not just what you show but what you don't show.

SEINIGER: You know, exactly. I mean, one of the things that I learned very early on from Spielberg, actually, when we were working on "Jaws" and some of his other movies, was, if you don't show them everything, and you try to entice people into a movie, then they get their money's worth.

It's -- you know, I noticed that you guys have "Poltergeist" up there. It's a perfect example of not showing too much, just enough to entice people to want to see the movie. Then let them pay their money to see the goods.

COOPER: All right, of all the posters you've done, (UNINTELLIGIBLE) you've done, (UNINTELLIGIBLE) you've had just such an extraordinary career, continue to, what are your favorite posters?

SEINIGER: Oh, if I had to pick one of all of them, it would be "The Eyes of Laura Mars." It is, I guess, today, over 20 years old, and would still hold up today as a good piece of graphic design. I'm very proud of that one.

COOPER: And what, (UNINTELLIGIBLE) again, I mean, I guess that's a perfect example of simplicity. You also did the "Glory" poster.

SEINIGER: Yes. That's also one of my favorites. We were actually in battle when they shot that scene, and I was there with three photographers, right in the middle of the Civil War. And we got this wonderful, simple image out of it, which, you know, I think is a very lasting, quality image.

COOPER: Now, I also understand, you know, I'm trying to come up with (UNINTELLIGIBLE) a new show, some new show ideas and a name and everything. I heard you might have some ideas for me.

SEINIGER: Well, it's funny, Anderson. They sent me a photograph of you at the beginning of the week, and I looked at this photograph, and I said, this guy looks like a combination of Richard Gere and Steve Martin, you know, the premature gray hair. So I figured that, you know, we might try you out as a romantic star. So we replaced Nick Nolte with you. And now you have that to look at. There you are.

COOPER: That's great. Me and (UNINTELLIGIBLE), OK.

SEINIGER: (UNINTELLIGIBLE). Sorry, (UNINTELLIGIBLE). (UNINTELLIGIBLE), said, you know, wait, wait, he does look like a little like Steve Martin. How about comedy?

COOPER: Oh, that's good.

SEINIGER: Maybe he could do Dan Aykroyd's role in "The Blues Brothers."

COOPER: That's great.

SEINIGER: And then I think, (UNINTELLIGIBLE) good-looking guy should be able to do action as well. So we put you -- that's the "Escape From L.A." poster Kurt Russell did.

But I don't know if you know it or not, but they're going to make a new Indiana Jones movie...

COOPER: (UNINTELLIGIBLE).

SEINIGER: ... (UNINTELLIGIBLE), and I figure you are perfect, you are perfect for the new Indiana Jones.

COOPER: Well, Tony Seiniger, it's great meeting you. I'm a big fan of all your posters. And I appreciate you joining us tonight. Thank you.

SEINIGER: All right, thanks, Anderson.

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