rubberneck wrote:Ala Ansin and Gabz and the rest, he does use screen caps and stills for reference when rendering. That's not my concern or issue tho.
I genuinely want to know what's so defining or unique about this composition that has everyone so ga-ga. This hobby is usually meant to be 'alternative' posters whose design and concept bucks the usual safe studio output. This imo, feels workmanlike, it simply shows Gosling standing next to his car in LA with a hammer. What's the hook or unique take?
Kurtz did a great job on Graduate and ACO, here I just struggle to see the oomph-factor.
Agreed in that I don't think it's the composition that's as unique, just that the expected execution is probably going to be great. Rendering an image like that as a screenprint and all. Thought ACO was great from a simple concept perspective (which is why I feel it's superior among his current offerings). Graduate, I certainly love it but think it's similar to Drive in terms of simple composition (I get it with regards to the representation via leopard, but it's still quite straightforward to me). But like Graduate, managing to execute the image will be where a lot of the appreciation will come from - Hoffman was both drawn and printed very well, and I imagine the level of detail in printing those gradients will also be present here. Not the most alternative of designs, granted, though given the film and its focus on Gos, think it works.
Hoping the overall output from Kurtz is either not too high in quantity or there's more variety and pushing his boundaries composition-wise, as he's capable of more surreal and interesting builds. More well-done straightforward likeness-oriented pieces can start to wear, and if they don't, that probably says more about the audience just wanting more of the same, sadly.