The Designer Who Makes Movie Posters Worthy of Museums


What about the poster for “Little Miss Sunshine”?

LIPPERT This is a daring and exciting poster because of all the negative space. She chose to essentially not use two-thirds of the poster and have it be a bright school bus yellow that’s pushing down on the family, and they’re all composited together into this running scene. It has this playfulness to it. It’s comical, strange, unexpected.

BAILLIE The executive at Fox Searchlight, Stephanie Allen, gave the direction to our team to explore what she called “color branding.” She wanted to own yellow for the season. So sunshine yellow was owned.

Who decides which poster to use?

BAILLIE The ultimate decider is a mystery to me. Sometimes it’s a filmmaker, sometimes it’s an executive from marketing, sometimes it’s another artist, sometimes I really don’t know!

Do you have a personal favorite in the exhibit?

BAILLIE As a mother, I love all of my children. Each poster has its own story of love, challenges, tears, and triumphs. I love the first one, for “Dirty Dancing,” because it gave me confidence, and I love the last because it proves I’m still capable.

Do you have a favorite movie poster designed by someone else?

BAILLIE I have so many favorites, from “M*A*S*H*,” “All About Eve,” “Straw Dogs,” “Dead Men Don’t Wear Plaid,” “The Jerk,” “Rosemary’s Baby,” “The Exorcist,” “Raging Bull.” Ask me tomorrow, and it will be a different list.

How does it feel to be the focus of an exhibit?

BAILLIE It feels surreal. I’m usually behind the scenes in the marketing process. I love that Angelina curated the exhibit in a way that highlights an era of movie posters from the mid ’80s through the digital change today. You can imagine how technology has broken open so many more ways to create art.


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