Saul Bass Quotes

Over the years, I have realized that there's more to a film's fate than just good acting and a solid script. It needs to be marketed well. It's the package that sells - the songs, action, actors, etc.

When I have to promote things now, sometimes I realize that I had a movie in mind, but in the end, it's a vision of somebody else, so I have to promote their idea.

Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.

If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.

If I'm doing a logo, I'll do it in black and white. Once the form is feeling right, only then do I start exploring the color palettes. A good example was the process of rebranding the Salvador Dali Museum. I did at least 100 versions in black and white.

The only way to advertise is by not focusing on the product.

A poor logo doesn't mean a business will fail, and a good logo doesn't mean it will succeed - it just helps. Ultimately a good logo is something that people recognize instantly and relate to.

The importance of logo into today's fashion is un! be! Lievable!

That's great advertising when you can turn Chicago into a city you'd want to spend more than three hours in.

The scariest people to turn a movie over to are always the people who are drawing up the poster, because that's the first impression it's going to make. And very often it's portraying a very different film from the one the actors actually did.

A great trademark is appropriate, dynamic, distinctive, memorable and unique.

In 1997, I was working with Greg Wilson of Red Ball Tiger, our ad agency at the time, when he came up with an addition to the famous slogan 'I guarantee it' that I was known for saying.

The principal role of a logo is to identify, and simplicity is its means... Its effectiveness depends on distinctiveness, visibility, adaptability, memorability, universality, and timelessness.

When you're promoting a film it's really interesting trying to gauge what people think about it.

Just advertising departments with legs and high heels.

Every advertisement should be thought of as a contribution to the complex symbol which is the brand image.

I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.

The “Kentucky – Unbridled Spirit” logo replaces the previous “Education Pays” logo which should no longer be used. Please use “Kentucky – Unbridled Spirit” alone and not in conjunction with “Education Pays.”

When I made my Obey logo, it was 100 percent an homage to Barbara Kruger's work and 0 percent had anything to do with Supreme.

I know some directors get very involved in trailers and posters. Some even cut their own. I stay completely away from it. I just see my job as making a film.

I was stuck with the dark glasses. They took all these pictures that went around the world. I guess once you become successful, you don't want to change anything too drastically.

My husband is in branding. He brands places - cities, institutions.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo.

The ideal trademark is one that is pushed to its utmost limits in terms of abstraction and ambiguity, yet is still readable.

A new 'look' for any organization cannot be a papier-mache cover, tacked on with Scotch tape under the heading of 'beautification.' It has to be based on a probing examination of the company and the people who work for it. As a result, the eventual external visual design becomes the graphic extension of the internal realities of a company.