Work in Progress Book

A CLINCA ESIETCO PRODUCTION
A JONATHON DEMME PICTURE

photoshop hollywood
“PHILADELPHIA”
JASON ROBARDOS MARY STEENBURGEN ANTONIO BANDERAS
BY HOWARD SHORE PHOTOGRAPHY TAk FUJIMOTO
MUSIC DIRECTOR

PRODUCERS GARY GOETzMAN, kENNETH UTT, RON BOzMAN
EXECUTIVE

BY RON NYSWANER
WRITTEN

BY EDWARD SAXON AND JONATHAN DEMME
PRODUCED

BY JONATHAN DEMME
DIRECTED

ENI SANTONI • ANDY ROBINSON • JOHN
Julian Fink & R M Fink and Dean Reisner RESTRICTED
UNDER 17 REQUIRES ACCOMPANYING
PARENT OR ADULT GUARDIAN
OLOR • Warner Bros. A Kinney Company

Alexander Scourby Valerie Bettis Torin Thatcher
with
OSCAR SAUL and JAMES GUNN VINCENT SHERMAN A BECKWORTH CORPORATION PRODUCTION A COLUMBIA PICTURE
Screen Play by Produced and Directed by
• • •

R FILMS PRESENT A SCOTT FREE PRODUCTION A FILM BY TONY SCOTT DENZEL WASHININGTON “DEJA VU” VAL KILMER
hollywood
WRITTEN
BY
LDBERG AND JIM CAVIEZEL SUPERVISOR BOB BADAMI BY HARRY GREGSIN-WILLIAMS DESIGNER ELLEN MIROJNICK RON WOODBINE
MUSIC MUSIC COSTUME

HOTOGRAPHY PAUL CAMERON,ASC DIRECTORS MIKE STENSON CHAD OMAN TED ELLIOTT TERRY ROSSIO BARRY WALDMAN
DIRECTOR OF EXECUTTIVE

BRUCKHEIMER BY BILL MARSILII & TERRY ROSSIO BY TONY SCOTT
WRITTEN DIRECTED

by Valerie Bettis Torin Thatcher
4 5
AMES GUNNphotoshopDirected by VINCENT SHERMAN A BECKWORTH CORPORATION PRODUCTION A COLUMBIA PICTURE
hollywood 1952 - Back to Trinidad
Produced and
• • •

back to trinidad
with
Screen Play by Produced and Directed by
• • •

with
• •

6 7
photoshop hollywood 1952 - Back to Trinidad

the cast
This thriller drips of 1950’s style. After a brief retirement and an even briefer
marriage, Rita Hayworth returned to the screen in this riveting film noir. The
poster screams “Hayworth’s Back” and capitalises on the success of Hayworth and
Glenn Ford’s earlier film “Gilda.”
This particular style of poster has become increasingly popular in the last few years
due to the seductive image of Hayworth.

iStock_000006309222
1 istockphoto.com

1

5164516-1804x2712
2 Jupiter Images collection

2

8 9

lighting the set film 3 2 1
R 43 R 253 R 235
G 115 G 252 G 210
B 168 B 1 B 188

overlay
1
R 202 R 165 R 4
2
G 135 G 52 G 12 6 5 4
3
B 65 B 44 B 23

4

the titles 5

6
Brody SB Regular Helvetica Neue
(her “Gilda” man)
9 8 7
7
77 Bold Condensed
This font has been redrawn
to match the poster exactly.
8
Brody SB Regular is the
font most similar to this

vivid light
1950 font.

multiply
9

color
with
Univers
10 12 11 10
39 Untra Thin
Condensed Screen Play by Produced and Directed by
• • •

11

SFX

vivid light 53%

soft light
12

overlay
13
14 13
Creating this poster is all about using the power of Blending Modes applied to the image. To re-create the final texture a simple grain texture
within Photoshop. The vibrant and saturated style of this 1950’s poster is added and placed on a Overlayed layer.
14
uses a combination of Vivid Light, Multiply, Overlay, Color and Soft
Subtle brushstrokes of colour are applied to create the 1950’s makeup.
Light modes. The whole process is fairly simple as long as the order of
The main text titles have been redrawn in illustrator, Brody Sb Regular
events are follwed well.
type face is close but not exact.
Some intersting steps are taken to create the poster. Loading the
The fighting couple in the bottom right corner uses the same filters and
Luminosity selection and filling it with white seems very usual, but
layer blends as the main image. the replacement picture used in this re-
creates an amazing effect!
creation is amazing similar to the original.
In reproducing the painted appearance, Blur More and Surface Blurs are

10 11

the script
Open the original poster affair_in_trinidad_ver2_xlg.jpg. This original Duplicate the base girl Set the foreground colour to R 186 G 33 B 34. This will
file will be the guide for setting the positioning of all the elements. layer and set the top produce a red. Set the background colour to white. Now
version to Overlay. Now select the newly created merged layer girl copy 4.
Enlarge the dimensions to:
the image will appear
Go to Filter > Sketch > Photocopy. Adjust the settings as
darker.
below.

Tint the transparency of the original to 25%. This will allow you to
place the original on the top layer and be able to see the place items on
the lower layers.

Set the blending to Multiply to knock the white out. This step has added
a subtle detail to the image.

Now copy this selection to its own layer by pressing Command-J or
Now add a Curve adjustment layer to the top girl copy layer only (right-
Ctrl-J on PC.
click on the adjustment layer in the layers pallet and choose Create
Clipping Mask...). Adjust the Curves to bring back some of the detail in A new layer will now appear on top. Call the new layer girl copy 2
the over-exposed image. and set it’s blending to Vivid Light and reduce the opacity to 59% (see
above).
Now load the latest layer- girl copy 2 as a selection (A). (Click on the
layer thumbnail and press Command or Ctrl). Create a new layer on top
(call it girl copy 3) and fill the selection with white (B).

A B C It has also however, added a reddish tint to the image, looking at
the Rita original, its less red and more subtle greens. Add another
adjustment layer to this layer only. This time add Hue and Saturation.
Place, rotate and scale the female image (iStock_000006309222.jpg)
Refer to the Rita original to correct the colours. See below.
into position.
Once in position, turn off the
orginal Rita layer.
Add a Surface Blur across the
entire image. See the setting
below, this will help create the
Now set the blend on girl copy 3 to Soft Light (C).
Now you need to load the luminosity of the girl copy layer as a selection.
painted 1950’s appearance.
To do this by pressing on Option-Command and then the Tilde key (~) Make a merged layer of all the layers. the outcome will be a new layer
The next few steps involves or on a PC Ctrl-Alt and then the Tilde key. This will now bring up the comprised of all the layers, leaving the lower layers untouched.
using the power of layers and selection on the layer.
Hold down the Option key or the Alt key on PC and go to the
blends. This will enable you
Now invert the selection by pressing on Shift-Command-I or Shift- dropdown menu in the top right hand corner of the Layer Palette.
to re-create this 1950’s style
Ctrl-I on a PC.
poster, rich and colour and Choose Merged Visible, if the Option or Alt key is held down, A merged
contrast. version will now appear in the Layer Palette. Rename it girl copy 4.

12 13

Rasterize the layer and duplicate the layer. Change the colour of the text
Lets now look at the make-up. Your skills with the paintbrush are The texture will be presented in colour, remove this by pressing Shift-
Create a new layer with a merged version of all the layers. This final layer
to a 40% gray. Apply a grain texture to the gray layer, using the same
needed here. Constantly refer back to the Rita original to help you place Command-U or Shift-Ctrl-U for PC.
with sit above the layers below. Here you will add some subtle changes.
settings as the previous page. Set the blending mode to Overlay. This will
the make-up on the correct place
Remove the wrinkles below the model’s eyes and blur the whole image
create a nice strong grainy appearance. Apply a Blur More - 1.
and amounts. Also use colour
slightly to create a realistic 1950’s print.
samples from the Rita original.
First use the Clone tool and remove the wrinkles from her eyes.
Paint the colour on a new layer
Then add a slight blur using Blur More - 1 pixel
using a feathered brush. Its a
subtle process, use the layer
opacity below, I’ve adjusted the opacity to 43%.
Set the blending Mode to Color.
Repeat this process with the
Change the layer’s blending mode to Overlay.
reamianing blue text, start with
the top left. Also apply a Blur
More - 1.
The blue text on the middle
right is slightly darker than the
top left. Remember the Blur
More - 1!
Add the final smaller text
Create a white filled base layer underneath the new merged layer. On the Using the steps on the previous pages, create the fighting couple image
using Helvetica Neue 77 Bold
merged layer use a mask layer to fade the bottom of the model’s dress. that appears on the bottom right. Create a new folder called fight. Scale
Condensed and apply a Blur
and position the image 5164516-1804x2712.jpg.
More - 1.
See the bottom of the Rita
original poster.
You have successfully brought
Rita back to life after 56 years!
Now its time to create the
surrounding elements. Turn
the Rita original layer and
On a new layer paint over the
reduce the opacity. Again
lips. Use a red colour and again
you will use it as a positional
refer to the Rita original. Use the
guide.
painbrush to apply a strong red
(sample red from Rita lips)
Firstly, create a new layer and
call it black box. Re-create
Set this Lips layer Mode to Vivid
the black box that houses the
Light.
Affair in Trinidad text.
The Rita
original has
Using Univers 39 Untra Thin Condensed enter the title credits into
quite a grainy
position.
texture. This
next step will The final part of this poster is to add the main titles to the poster. As
re-create this. Create a new mentioned earlier the script type does not exactly match Brody SB
layer and call it grain. Fill the Regular, but is fairly close. You may chose to use Broday or trace the Rita
layer will 50% gray and apply original text in Illustrator. the samples to
a texture filter. go to Filter follow have been traced.
> Texture > Grain. Refer to
Place the vector file into Photoshop from
the settings on the right and
Illustrator, apply a Color Overlay use the
apply.
colour yellow - R 253 G 252 B1 (double
click on the layer to bring up the Layer
Style.)

1971
arring HARRY GUARDINO • RENI SANTONI • ANDY ROBINSON • JOHN
Daley • Screenplay by Harry Julian Fink & R M Fink and Dean Reisner RESTRICTED

14 photoshop hollywood 15
1971 - Remaking Harry’s Day
el • PANAVISION • TECHNICOLOR • Warner Bros. A Kinney Company

re-making Harry’s day
CLINT EASTWOOD in “DIrTy hArry” A Malpaso Company Production Co-Starring HARRY GUARDINO • RENI SANTONI • ANDY ROBINSON • JOHN
LARCH and JOHN VERNON as “The Mayor” • Executive Producer Robert Daley • Screenplay by Harry Julian Fink & R M Fink and Dean Reisner RESTRICTED
Story by Harry Julian Fink & R M Fink • Produced and Directed by Don Siegel • PANAVISION • TECHNICOLOR • Warner Bros. A Kinney Company

CLINT EASTWOOD in “DIrTy hArry” A Malpaso Company Production Co-Starring HARRY GUARDINO • RENI SANTONI • ANDY RO
LARCH and JOHN VERNON as “The Mayor” • Executive Producer Robert Daley • Screenplay by Harry Julian Fink & R M Fink a

16 17
photoshop hollywood 1971 - Remaking Harry’s Day

the cast
In the year 1971, San Francisco faces the terror of a maniac known as Scorpio-
who snipes at innocent victims and demands ransom through notes left at the
scene of the crime.
This simple yet striking design creates an instant visual energy for any passer-by.
11661039-5370x3580
1
The designer uses simple concept with dramatic angles and vivid colours.
Jupiter Images collection

1

iStock_000006070838
2 istockphoto.com

2

3

iStock_000007106051
3 istockphoto.com
4

This chapter re-creates this timeless poster by combining varying greyscale tonal
ranges onto separate layers and then overlaying the bold colours.

4

18 19

lighting the set film
3 2 1
R 212 R 250 R 2
G 115 G 225 G 8
B 142 B 104 B 19

overlay
1
6 5 4
2

the titles 3

4

Clint Eastwood
Helvetica Neue
5
95 Black

Dirty Harry 6 9 8 7
7
CLINT EASTWOOD in “DIrTy hArry” A Malpaso Company Production Co-Starring HARRY GUARDINO • RENI SANTONI • ANDY ROBINSON • JOHN
Helvetica Neue
8
LARCH and JOHN VERNON as “The Mayor” • Executive Producer Robert Daley • Screenplay by Harry Julian Fink & R M Fink and Dean Reisner
55 Roman RESTRICTED
Story by Harry Julian Fink & R M Fink • Produced and Directed by Don Siegel • PANAVISION • TECHNICOLOR • Warner Bros. A Kinney Company

multiply
9

SFX 10
12 11 10
11
The re-creation of this seventies poster requires a pattern to replicate Revert back to grayscale, make a selection of the black and cut an paste
12
the course printing method. The pattern is a simple four toned graphic into the original Photoshop file.
repeated over the solid colours. The dodge and burn tools are used to
The gun is placed into position to create the illusion the male is in
create an uneven exposure range seen in the top left. A texture is also
possession and aiming.
applied to the main text to “dirty” and roughen the text
The small image collage at the bottom is a series of images scaled and
An extreme contrast alteration of the shattered glass image is used to
worked together in grayscale.
create the white shattered effect. The selection is acquired using the
Overall this poster is a fairly simple project. A little experimentation
channels, and a white fill applied. Slight masking is also used to clean
with the tonal range to create the right type to black and white bitmap
up any unwanted shatters. Artistic license is also applied here, using the
is required. The gun is always placed on a separate layer to give more
brush to extend the cracks to the edge of the poster.
control when creating the bitmaps.
Transforming the images to a bitmap appearance, is exactly that. Alter
the contrast of the male image to create the different layers of colour,
extract the image into a new file, grayscale the image, then convert to
bitmap.

20 21

the script
Open the original poster dirty_harry_xlg.jpg. This original file will be Place, rotate and scale the gun image (iStock_000006070838) into a Create a new layer below these layers and fill it with the yellow colour.
new layer and create a hard-lined clipping mask around the image.
the guide for setting the positioning of all the elements.

Create guides to outline the main image area.
To remove the white out of the layer find a suitable channel and Alt -
click on the channel layer (e.g. green). This will create a selection of the
image, now inverse this selection, create a new layer and fill with black
or change to the red using the Layer Style and Colour Overlay.
Now create another layer above the yellow and fill it with the black
colour. Create a mask to cover the yellow area, that needs to be black.

Save this Photoshop file. Resave this file and Save As “greyscale.psd. This
Tint the transparency of the original to 25%. This will allow you to new file will create the bitmaps for the main Photoshop file.
place the original on the top layer and be able to see the place items on
In this new file you need to experiment with the tonal ranges to create
the lower layers
different levels of intensity to create the black and red colours.
Place and scale the male image (11661039-5370x3580.jpg) into
Convert the mode to grayscale and then to bitmap.
position. Create a rough mask around the curved features on the male
You can choose to leave the black layers white a solid white, make sure
head. Create straight masks on the edges (use the prelaid guides).
those layers are blended to Multiply

mask
Once all the layers are placed in the original psd file, use masking to
create a similar look to the original Dirty Harry poster. See below.

You’ll see the bitmap effect. Using the burn tool and levels create an
Open the shattered glass image iStock_000007106051 and apply a level
outcome for the red and black layers. To capture the extra black and red
adjustment layer. An extreme adjustment is required here. The outcome
detail on the gun, you may decide to create a second black layer.
is a high contrasting selection that you can transfer into the original.
Once you find the right level of black and white convert the mode back
to grayscale and drag each layer into the original psd file.

22 23

Create a selection of the white colour (Alt-click on a colour channel and A subtle pattern now interacts against the solid colours below it.
inverse) and transfer to the original psd. Position, rotate and fill with
white. Use artistic license to mask and create extra shards of glass to
replicate the Dirty Harry original.

Use the Dodge Tool to over expose the black on the right side of the Create a new gray scale Psd file and place the Dirty Harry original in the
poster. This a purely an effect to replicate the Dirty Harry poster. centre. Reduce the transparency. Again this will allow you to add, scale
and manipulate the images into the correct position.

Create a merge layer and add to the main Psd file. Adjust the contrast
and run a texture (grain) through it. You are done.

The poster needs a texture throughout to replicate the 1970s appearance.
Create a new layer on top and fill it with grey (R 111 G 111 B111).
Create the main text within the poster. Use Helvetica Neue 95 Black. Add the building first, scale, skew and then mask out the surrounding
Apply the Filter > Texture > Grain to the layer. Apply a Desaturate to
buildings. Once you are happy with the positioning adjust the contrast
Once you have scaled and kerned to the right size rasterize the text
this layer to remove the colour. to match the black white original version. Repeat this process with the
layer, apply a texture filter (grain > horizontal) to the text and a slight
remaining images.
horizontal blur.

Set the layer of the blend to Overlay. Apply a Pattern Overlay to the
layer. Create a pattern similar to the below and apply the settings.

Set the layer of text below the textured greyscale layer and reduce the
transparency to 85%. Repeat this process to the sub text that ranges to
the left just above the main text. Use a lighter Helvetica Neue font.
The final black and white collage is a simple arrangement of highly
contrasted imagery. This collage is really a sub graphic so it’s accuracy
depends on much time you spend on it.

1993
STEENBURGEN ANTONIO BANDERAS
WARD SHORE PHOTOGRAPHY TAk FUJIMOTO
DIRECTOR
24 photoshop hollywood 25
1993 - Retrial Philadelhpia
ETzMAN, kENNETH UTT, RON BOzMAN
BY RON NYSWANER
WRITTEN

DWARD SAXON AND JONATHAN DEMME
BY JONATHAN DEMME
DIRECTED

retrial philadelphia
TRISTAR PICTURES PRESENTS
“PHILADELPHIA”
MUSIC DIRECTOR

EXECUTIVE

BY RON NYSWANER
WRITTEN

PRODUCED

BY JONATHAN DEMME
DIRECTED

“PHILADELPHIA”
MUSIC DIRECTOR

EXECUTIVE

BY RON NYSWANER
WRITTEN

PRODUCED

BY JONATHAN DEMME
DIRECTED

26 27
photoshop hollywood 1993 - Retrial Philadelhpia

the cast
Te vel euipis ea facidunt ulput vel dui eriustion eumsandip eriure min hendrerat.
kvlcxlkvk xvklxvk kvdskkodsfodsiofi sfiodfispod fopsdifo dsiof ofi ifds fosaodfsifo
dsop aodsfioadsfiodsifodisfo ofiosdif i odfi od dof odf Um amconse diamcore do-
lobor sum et lore dolorem zzrit nit luptatue velis nullan ulput accummy nullaore
cons et incipsum alis eugue eugue magnim alit wisis niam zzrillum quisis alisl 4523873-4142x6213.jpg
1
ullan vel eu faccumm olorem ilissequi bla cor iliquipisi. Jupiter Images collection
Volore elesto dignis nim iure modoloreet wisit pratio esed etue dt v

1

Postcard Exchange.com
2
2

4

3

5808602-5370x3580.jpg

4066826-1287x3300.jpg

28 29

lighting the set film
3 2 1
R 45 R 12 R 255 1
G 91 G 16 G 255
2
B 168 B 17 B 255

Color
3
6 5 4

the titles
4
5
6

Multiply

Multiply
Eurostile Bold Condensed Eurostile
7
Condensed
This font has been
redrawn to match the
poster exactly.
9 8 7
Futura Bold Futura Extra
Bold
8
Univers
39 Untra Thin
Condensed

“PHILADELPHIA”
JASON ROBARDOS MARY STEENBUR- 12 11 10

SFX
9
GEN ANTONIO BANDERAS
HOWARD SHORE PHOTOGRAPHY TAk FUJIMOTO
MUSIC DIRECTOR
BY

EXECUTIVE

BY RON NYSWANER
WRITTEN
10

Color Burn
This poster is a simple poster to reproduce. A lot of time and care is
needed to create the multiple masksBYuse within the AND JONATHAN DEMME
EDWARD SAXON recreation process
PRODUCED

Level Adjustment layers are used to create the high BY JONATHAN DEMME
DIRECTED
contracting male
images. Two adjustments layers are used. An under-exposed vesion and
11
an over-exposed version. The layers are masked to revel the different
tonal ranges on the faces.
12
The same process is applied to the gavel. Again great care is needed when
applying the masks.
The black background uses soft paint brushes

30 31

the script
Open the original poster philadelphia_xlg.jpg. This original file will be Mask the man bottom using the layer mask. Use a combination of hard
The faces on the movie poster have quite a contrasting look. To create
the guide for setting the positioning of all the elements. lines for the front of the face and soft brushes for the back of his head.
this, you will make two adjustment layers of Levels for the face. An
under and over exposed version and then create masks for those
adjustment layers to reveal the dark and light areas.
Start by adding the two Level
adjustment layers above the man
top layer. Make sure you set them
to mask the top man layer only
(right-click on the adjustment
Change the colour to black and white. Don’t change the Mode setting of
layers in the layers pallet and
Tint the transparency of the original to 25%. This will allow you to the file. Add an adjustment layer, Black & White and place it above the
choose Create Clipping Mask...).
place the original on the top layer and be able to see the place items on image layers.
the lower layers. Call each adjustment layer dark
and light.
Create a white filled base layer
Adjust the Levels on the light adjustment layer first. Refer below for the
Place, rotate and scale the 2 male images (5808602-5370x3580.jpg and

Mask
settings. The exposure now looks low.
4523873-4142x6213.jpg) into position. Name the top left male layer
“man top” and the other “man
bottom”
Once in position, turn the
original movie poster layer and To create a similar contrating image, you will repeat the process used on
the male bottom layer off for the top man layer. Add two Level adjustment layers. Lable them light
now. and dark. See the Level settings below.
Using original movie poster layer
as a reference create a mask of
Place and scale the gavel image
the top man layer. Slowly paint
(4066826-1287x3300.jpg) into position
the background away using a Now adjust the dark adjust layer. See the
and apply a mask.
large soft brush. setting below. It is now overexposed.
The image will appear in black and white
Adjust the brush opacity and
as it is sitting under the Black & White
flow to create the soften effect on
adjustment layer.
the mask. See the mask below on
the right. The gavel will need the same Levels
adjustment treatment previously used on
the male images. Before this can happen,
you’ll notice the subtle cityscape of
Philadephia inside the gavel.
Open the cityscape
image (Postcard
Using the mask on the dark adjustement layer, you will now need to
Exchange.com)
hide the overexposed areas. Refer to the original for guidance.
and adjust the
levels in the image
to create an high
contrasting black
and white image.
Again, on the dark adjustment layer, use the mask to hide the unrequired See right.
Mask

overexposed areas. Refer again to the original poster to see the allocation
Mask

Place the contrasting image into position on the main PSD poster file.
of dark and light areas.

32 33

Create another layer on top of the black layer and fill it with 50% black.
Set the Blending Mode to Multiply.
Apply a texture to the layer, the same settings as the texture previously
mentioned.
This time change the blending mode to Color Burn. The texture should
now look quite contrasting.

Refer to the original poster to see how the light
and dark elements fall on the gavel. Use the
mask on the dark layer to hide the unwanted
shadows.

Create a new layer called “black” and position it above the white bottom
To fine tune the gradients apply a Level adjustment layer to the “black”
layer. Fill the layer with 100% black. Using the original as a guide, mask
layer. Lighten the black back to reveal more detail.
the black where the faces are on the poster. This will allow the white
See the Level setting below.
below to come through and create the white areas, like the original.
Use the soft brushes to paint the white through.

Place the City layer into the masking area of the hammer layer (right-
click on the city layer in the layers pallet and choose Create Clipping
Mask...). The city will now mask to the hammer mask below. In the city
layer, mask out the image at the bottom, so it merges into the gavel.
Set the city layer blending mode to Multiply.
Now add two Level adjustment layers above the city layer, lable them
light and dark. See the light Level setting below.

Also apply a Level adjustment layer to the
Texture layer. Apply the below settings. This
will bring more detail to the gradients in the
black background.
Mask

One final element needs to be added to the gavel, a grainy texture.
Create a new layer, called hammer texture and fill it with 50% black.
Now adjust the dark adjust layer. See the
Apply the Filter, Texture>Grain... to the gray and place the layer below
next setting. It is now overexposed.

Mask
the Level adjustment layers.

34 35

Place the vector graphic into place on the poster and apply a color
It is now time to introduce the blue tint to the poster. Create a Solid
overlay of R 120 G 12 B 26.
Color adjustment layer and choose the colour values R 45 G 91 B 168.
Move the adjustment layer the sit above the Black & White adjustment
layer. Reduce the opacity of the Solid Colour adjustment layer to 48%.

That’s a wrap!

Mask
The next text sits above the main title. This typeface is Futura Bold.
Create a new layer folder and
call it “text”.
This folder can sit above the
Solid Color adjustment layer.
Turn the movie poster original
layer back on and reduce to
Change the blending mode to Color. This will give an even blue tint
25% opacity.
thoughout the poster.
Again you can use this as a
The final main text is the movie title. the typeface is a close match to
guide to place the text in the
Eurostile Bold Condensed. You can use Eurostile or modify and redraw
correct position.
the title in Illustrator.
Add the first text. The two
name titles along the top. Use
the below type settings for
both.

Refer to the Illustrator settings below. Use the tools within Illustrator to
replicate the final text.

Now add the two sub text in the middle of the poster. This typeface is
Futura Extra Bold.
The original has lighter areas of blue in soome parts. Use the mask on
the Solid Color adjustment layer to reduce the blue intensity. Refer to
the original as a guide.

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