I guess you have to look at it that way otherwise, this is a sad story. Is there anything gained by the rise of music videos, which came early in your career, to offset the diminishment of album covers? I try not to because I think that’s the best way to go about it. Usually, people who are not from that world look up to certain musicians. I worked with so many great artists: Springsteen, Dylan, U2, so I feel very natural in that world. Did that give you a special understanding into their work and the process? You’ve worked with musicians for decades.
But their artwork came to be because the two of them were stronger than one individually. He was the ideas man and Po was more practical. Hopefully, we did him right by using the footage and having other people talking about him and showing how great his creative influence was. He is somebody who likes arguments, which would be fun. I would have loved to have met him in real life - he was a formidable character. Did you feel like you were able to get to know Thorgerson? But there was a certain period where album sleeves were very important. I don’t know what the future holds and how we will embrace the past and whether this work will be long-lasting or not.
And I’m interested in album sleeve design and felt the work of their great album covers needed to be told. It’s very hard not to be persuaded by him. Po came to Amsterdam to ask me to be the director. It’s a different mentality - they were art directors and designers and I was a photographer. Hipgnosis had ideas for album sleeves and used photography to achieve that, sometimes throwing in something else. I wanted to make photographs and knew I would love to see one of my photographs on a record cover. He became best known for his album covers (citing U2’s “The Joshua Tree” and REM’s “Automatic for the People”) as two of his favorites and music videos, particularly with Depeche Mode and U2.
Wall register covers movie#
Corbijn, who spoke by video from a Manhattan hotel room before screening the movie at the Tribeca Festival, started as a photographer, shooting pictures of David Bowie, Bob Dylan, Bruce Springsteen, Page and Plant. It’s directed by Anton Corbijn, who knows the music industry better than most film directors. Their iconic images include the covers of Pink Floyd’s “Atom Heart Mother,” “Dark Side of the Moon,” “Wish You Were Here,” as well as Wings’ “Band on the Run” and Zeppelin’s “Houses of the Holy” and “Presence.” The movie, which recounts the partnership’s creative process and the tumult and turmoil (mostly, it suggests, caused by the irascible Thorgerson), focuses mostly on Powell, a charming raconteur and footage of the late Thorgerson, but it also includes interviews with Roger Waters, David Gilmour, Nick Mason, Jimmy Page, Robert Plant and McCartney. They created covers for numerous major artists - Genesis, Yes, AC/DC, Black Sabbath and Bad Company - but most important was their work with Led Zeppelin, Paul McCartney and, of course, Pink Floyd. That band, called Pink Floyd, asked them to do a cover for their album, “A Saucerful of Secrets” and Hipgnosis took off.
(It debuts in Los Angeles on June 16 th at the Laemmle Royal.) Hipgnosis was an art design group started almost accidentally in the 1960s by Aubrey “Po” Powell and Storm Thorgerson who were friends with each other and some guys in a new band. The new film, “Squaring the Circle (The Story of Hipgnosis),” takes viewers back in time to when album art was a big deal.
Wall register covers download#
These days when a new album comes out, people download the music and may never focus on the image the artist selected to adorn the music. Then came CDs, and the artwork and its impact were diminished. From the arrival of the Beatles in the 1960s through the early 1990s, the album cover established itself as a serious art form.
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