Eric Skillman, the artistic director for Criterion Assortment, is continuously expanding his impressive roster of talented artists. His dedication to curating exceptional artwork reflects a commitment to quality and innovation in film presentation.

As the driving force behind the selection of artists responsible for the stunning DVD artwork of Criterion Assortment, Skillman has amassed an extensive archive filled with thousands of artists. This vast collection allows him to discover and collaborate with a diverse range of creative talents, ensuring each project is matched with the perfect artist for its unique vision.

Skillman’s quest for new artists is relentless; he is always on the lookout for the ideal fit for each film. In a recent conversation with Variety via Zoom, he shared insights into his process of pairing artists with specific projects. “I typically learn about the upcoming schedule a month or two in advance before I need to assign artists. Sometimes, I find myself racing against time to revisit films that I have watched previously before making these assignments,” he explained, underscoring the meticulous nature of his work.

Access to a wide array of exceptional films empowers Skillman in his search for the most talented illustrators and artists from around the globe. The creative process can vary greatly; sometimes it involves developing a simple composition, while other times it requires distilling a scene into a captivating illustration. Whenever possible, he seeks to collaborate directly with filmmakers, enriching the artistic process with their insights and perspectives.

“It’s all about determining who is the best fit for each project,” Skillman notes. “The films continue to surprise me; they remain incredibly diverse and intriguing, presenting countless opportunities to discover new artists who are ideally suited for various projects.” His enthusiasm for exploring new artistic talent is evident, reflecting a deep appreciation for the art of filmmaking and its visual representation.

In his engaging dialogue with Variety, Skillman elaborates on the intricate process of bringing cover art to life. Below, he delves into the creative concepts behind several striking Criterion designs and illustrations.

The Role of Filmmakers in Shaping Criterion Collection Artwork

Criterion Collection collaborates more closely with filmmakers regarding their artistic preferences than with studios. The process inherently involves direct engagement with the filmmakers themselves. If there is a particular element that they cherish from previous designs, we often take their preferences into account. However, our primary goal is to create fresh and innovative artwork. We believe that the narrative surrounding a film can change significantly when it is released for the first time, as it is essential to introduce it to a new audience rather than relying on preconceived notions established over the years.

Initiating the Artistic Process for Criterion Collection Projects

The artistic process typically begins with a conversation, often between myself and our internal producer. Each project is assigned a producer who oversees the entire endeavor from inception to completion. During our discussions, we outline our goals and the message we wish to convey through the artwork. If the filmmaker is still active, we strive to set up a meeting to include their insights. Following this, we engage an external designer to explore various concepts based on our initial ideas. Their creative input often surpasses our expectations, as we collaborate with some of the most talented individuals in the field. The process includes a standard back-and-forth approval cycle where sketches are shared, feedback is provided, and revisions are made. Overall, this entire journey from conception to finalization spans approximately two months, followed by an additional month dedicated to fine-tuning every detail.

Essential Qualities to Look for in Artists Collaborating with Criterion

The qualities we seek in an artist are highly project-specific. For instance, in a project like Jo Jo Dance, we had a clear vision of utilizing collage techniques, which required finding an artist whose work resonated with that aesthetic. In other cases, it involves having a prior relationship with an artist and being able to say, “I trust you. Let’s explore this vision together.” I am continually collecting names; whenever I discover something inspiring, I make a note of the creator’s name. My archive now contains a couple of thousand names of talented individuals I am eager to find the right project for in the future.

Below, Skillman shares insights into the concepts behind four captivating Criterion posters.

“The Grifters” by Drusilla Adeline

“We engaged in numerous discussions regarding the use of that particular shade of yellow. While we struggled to articulate why that specific yellow worked, it was clear that no other color we experimented with resonated like it did, and it always felt essential to incorporate it into the design.

“The sunglasses featured in the film are iconic, and a significant part of their allure stems from their prominent usage in the poster as well as in the opening scene. Their strong establishment in that initial sequence ensures they leave a lasting impression on viewers.

“Our goal was to find a contemporary interpretation of these sunglasses. While the original poster is excellent, it has been widely seen, and audiences know what to expect. Therefore, we sought to provide a fresh perspective. This led us to the innovative choice of isolating the sunglasses and showcasing them as the sole focus of the poster.

“This idea originated from our designer, Drusilla, who is an exceptional collaborator. I initially pitched a few different concepts centered around the sunglasses, and she responded with, “Why don’t we simply emphasize this idea?” Her creativity and insight were instrumental in shaping the final outcome.”

‘The Piano’ by Greg Ruth

“Working with Greg Ruth is an absolute delight; he is endlessly inventive, collaborative, and brings a joyful spirit to every project.

“This particular project was particularly fascinating. The concept stemmed from something Jane Campion mentioned in an interview. She discussed a scene where Holly Hunter, playing Ada McGrath, walks away, transitioning to a shot of a wooded area before cutting back to her. Jane emphasized how critical this edit was in conveying the film’s deeper meaning. This transition symbolizes Ada’s journey from a constrained, civilized existence to a profound awakening of her individuality and sexuality, marking a pivotal moment in the narrative.

“Our challenge was to merge these two images into a single, striking visual. Greg has a background in creating composite drawings that I greatly admire. However, he hadn’t yet applied that technique for us. So, I approached him with the request, “Greg, could you explore this approach for this scene?” He grasped the idea immediately and brought it to life beautifully.”

‘Celine & Julie Go Boating’ by Lauren Tamaki

“The film has a runtime of approximately three and a half hours. While it’s an enjoyable experience, the intricate plot is so rich that it’s unrealistic to expect anyone to capture every detail. What truly matters is the experience of spending time with the two women and savoring their friendship and joy.

“Lauren is an artist who embodies that kind of vibrant energy in her personal life and excels at capturing joy in her artwork. For this project, we encouraged her to watch the film and share her impressions. She produced an astonishing 35 drawings, allowing us to curate and select the best elements to include in the final package, ensuring that none of her outstanding work went to waste.

“One of my favorite moments is when I reach out to a designer with a film they haven’t seen before, and after they watch it, they express their disbelief that they hadn’t encountered it earlier. When they fall in love with the film, it reinforces my belief that I have chosen the right person for the project.”

‘Jo Jo Dance’ by Matt Smalls

“This particular piece is a stunning metal collage created by Matt Smalls. He utilizes fragments of scrap metal to construct his art. We approached him with a vision, saying, “Create a portrait of Richard Pryor using your unique style.” The film’s fragmented nature resonated with us, as it explores Pryor’s self-portraiture and his journey of self-reconstruction following a dramatized version of his infamous self-immolation incident. The concept of piecing together a fractured sense of identity from the various fragments of one’s life story felt perfectly aligned with Matt’s artistic approach.

“The collaboration required minimal art direction or feedback beyond our initial discussion. Matt was able to create a breathtaking piece that truly captured the essence of Richard Pryor and the film’s themes.”