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The Designer Who Makes Movie Posters Worthy of Museums

Bold bright design for the “Little Miss Sunshine” poster. Credit: Poster House
Bold bright design for the “Little Miss Sunshine” poster. Credit: Poster House
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The Designer Who Makes Movie Posters Worthy of Museums

Bold bright design for the “Little Miss Sunshine” poster. Credit: Poster House
Bold bright design for the “Little Miss Sunshine” poster. Credit: Poster House

By Erik Piepenburg

The killer’s knife, a woman cowering before it.

This was typical horror movie box cover stuff before 1991, when Dawn Baillie was asked to design a poster for a cerebral new thriller called “Silence of the Lambs.” She learned it was about a young F.B.I. agent-in-training, Clarice Starling (Jodie Foster), who enlists the help of an imprisoned serial killer, Hannibal Lecter (Anthony Hopkins), to solve a case.

“It came to me that I could illustrate ‘Silence’ if Clarice was the ‘lamb’ and the moth — or the bad guys — is what has left her without the right words,” Baillie explained in an email. “I think the poster works in showing vulnerability, strangeness and eeriness.”

In other words, the poster said: This isn’t your typical scary movie.

Starting March 14, Baillie gets marquee billing in a new exhibition, “The Anatomy of a Movie Poster: The Work of Dawn Baillie,” at Poster House in Manhattan. The show, through Sept. 8, takes us from her first poster, “Dirty Dancing” (1987) to “The Tragedy of Macbeth” (2021), for which she was the creative director. Along the way are posters for films as varied as “Zoolander,” “Indiana Jones and the Last Crusade” and “The Truman Show.”

Baillie’s career as a movie poster designer and creative director spans over four decades. Born in 1964, Baillie entered advertising in the 1980s when the industry was dominated by men and posters were mostly made by hand, not computer. After working at the agencies Seiniger Advertising and Dazu, in 1992 she co-founded BLT, the agency behind memorable posters for recent films (“Barbie”), TV shows (“The Last of Us”) and Broadway (“The Music Man”).

Angelina Lippert, the chief curator and director of content at Poster House, called Baillie a “design genius” with a style defined by “effortless simplicity.” Take the poster for “The Silence of the Lambs.”

“It’s visual anxiety that you get when you look at this, which is what makes it indelible,” Lippert said.

Baillie and Lippert recently talked about how a poster becomes a proxy for a movie itself, what’s so radical about yellow and more. The interview has been edited and condensed from questions emailed to Baillie and from a phone conversation with Lippert.

What are some things people might not realize about designing a movie poster?

BAILLIE Most people have no idea how a movie poster is made. A lot of times there is an assumption that a film still photograph is supplied by a filmmaker or studio, and type is just added. But there are so many things to be done, from sketching concepts, art-directing special shoots and making many, many, many mock-ups and revisions to logo design and pre-press production.

How does the process start?

BAILLIE Some projects begin with reading a script in preproduction, some start with reading a book or seeing a film, some start with such secrecy that we may only receive a meager summary.

Then comes my favorite part: concept, research, thumbnails and doodles. We are distilling down to: What is the experience, what do you want to take away from the director’s vision? Then there is a photo shoot, or possibly not, where we start receiving unit photography, and then we try to realize the sketches.

A poster’s job is to celebrate a film in one frame. The job is well done when an audience is piqued and the poster makes it to the dorm room wall.

Why does the “Dirty Dancing” poster work so well?

LIPPERT It is such a quiet, understated poster. She chose the moment where Jennifer Grey puts her arm around Patrick Swayze’s head, but it doesn’t look sexualized, even though that’s what the title suggests. It’s them with a drop shadow of lavender. We don’t know where they are. It’s an image that allows for endless questions and invites anticipation.

How has movie poster design changed?

LIPPERT In the ’80s everything had to be done by hand for the most part. Photoshop really didn’t exist for the masses until the ’90s. If you made comparables — the ideas you want to present to your boss — you produced maybe a dozen on a Xerox machine. You had to physically play with type size until you got it the size you want. Any element in the poster would have to be hand placed. It was very labor intensive.

As you got into the digital era, you could create hundreds of comps. Today, thousands of images can now be produced for a single film. You had to be deliberate in the ’80s. In my opinion, you had to be more creative because you can try everything today.

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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Small Part of Sunshine State Becomes Snowy State as Florida Gets Snow Second Year in a Row

A rare snow is seen in Holt, Florida, on Sunday, Jan. 18, 2026. (Danielle Brahier via AP)
A rare snow is seen in Holt, Florida, on Sunday, Jan. 18, 2026. (Danielle Brahier via AP)
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Small Part of Sunshine State Becomes Snowy State as Florida Gets Snow Second Year in a Row

A rare snow is seen in Holt, Florida, on Sunday, Jan. 18, 2026. (Danielle Brahier via AP)
A rare snow is seen in Holt, Florida, on Sunday, Jan. 18, 2026. (Danielle Brahier via AP)

A small part of Florida is the Snowy State for the second year in a row.

Snow briefly covered the grass and rooftops in parts of the western Florida Panhandle on Sunday morning as just enough frigid air rushed in behind a cold front to turn the last rain showers into snowflakes in the Sunshine State.

And it wasn't a once-in-a-lifetime thing. Less than a year ago, on Jan. 21, 2025, some of those same areas saw up to 8 inches (20 centimeters) of snow in what was the most significant snowfall in many places since the late 1800s.

Snow photos flooded social media. There were a few flakes on the beach and snow nestled into palm fronds. It was too warm to stick to the roads, but a dusting of snow sat on the grass for a little while before mostly melting.

The rare snow in the South wasn't just in Florida. Southeastern Alabama and southern Georgia also reported snow in areas that also got to celebrate a second winter wonderland in less than a year.

Snow covered the ground in Columbus and Macon, Georgia, and officials warned enough might fall to make travel treacherous.

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Shark Mauls Boy in Sydney Harbor

This photo shows an aerial view of Bondi Beach and Sydney Harbor as seen from a plane flying over Sydney on January 14, 2026. (AFP)
This photo shows an aerial view of Bondi Beach and Sydney Harbor as seen from a plane flying over Sydney on January 14, 2026. (AFP)
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Shark Mauls Boy in Sydney Harbor

This photo shows an aerial view of Bondi Beach and Sydney Harbor as seen from a plane flying over Sydney on January 14, 2026. (AFP)
This photo shows an aerial view of Bondi Beach and Sydney Harbor as seen from a plane flying over Sydney on January 14, 2026. (AFP)

A shark mauled a boy swimming in Sydney Harbor on Sunday, leaving him in critical condition with serious leg injuries, authorities said.

The predator bit the boy, believed to be about 13 years old, during the late afternoon off Shark Beach, New South Wales state police said.

"The injuries are consistent with what is believed to have been a large shark," police said in a statement.

Officers pulled the boy from the water off the harbor beach within minutes of being alerted to the incident, police said.

They gave the boy first aid for "serious" leg injuries while he was aboard a police boat, applying two medical tourniquets.

Paramedics transported him to Sydney Children's Hospital, where he was said to be in critical condition.

"Swimmers are advised to avoid entering nearby waters at this time," police said.

Shark Beach, in Sydney's eastern suburb of Vaucluse, was closed and police evacuated nearby beaches in the harbor, the state government said.

Wildlife experts were working to identify the shark species involved, it said in a statement.

"This is a tragic shark attack on a young boy having a swim on a Sunday afternoon near a harbor beach in Sydney's east," New South Wales Agriculture Minister Tara Moriarty said.

"Our thoughts are with the young boy and his family. I understand there were also other young people with him at the time of the attack, our thoughts are also with them."

There have been more than 1,280 shark incidents around Australia since 1791, of which more than 250 resulted in death, according to a database of the predators' encounters with humans.

Increasingly crowded waters and rising ocean temperatures that appear to be swaying sharks' migratory patterns may be contributing to a rise in attacks despite overfishing depleting some species, scientists say.

A great white shark mauled surfer Mercury Psillakis to death at a popular northern Sydney ocean beach in September.

Two months later, a bull shark killed a woman swimming off a remote beach north of Sydney.

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Social Media Addiction's Surprising Challenger? Anti-doomscrolling Influencers

A 13-year-old boy poses at his home as he looks at social media on his mobile phone in Sydney on December 8, 2025. (Photo by Saeed KHAN / AFP)
A 13-year-old boy poses at his home as he looks at social media on his mobile phone in Sydney on December 8, 2025. (Photo by Saeed KHAN / AFP)
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Social Media Addiction's Surprising Challenger? Anti-doomscrolling Influencers

A 13-year-old boy poses at his home as he looks at social media on his mobile phone in Sydney on December 8, 2025. (Photo by Saeed KHAN / AFP)
A 13-year-old boy poses at his home as he looks at social media on his mobile phone in Sydney on December 8, 2025. (Photo by Saeed KHAN / AFP)

It’s simple to accidentally become entranced by an endless loop of videos on Instagram or TikTok. But sometimes, that mindless scroll is interrupted by a reminder that what you thought was a 10-minute break spent on your phone was closer to 30 minutes.

Olivia Yokubonis, armed with a kind voice and scientific research, often pops up in feeds on social platforms, gently reminding viewers that they might not remember the video they saw two videos before she appeared on the screen.

Yokubonis is a content creator who goes by the name Olivia Unplugged online, making videos to combat overuse or mindless use of social media. For the most part, people who view her videos welcome the disruption from the endless loop of content, treating it as a wake-up call to get off their phones. Other times, they are snarky, The Associated Press said.

“People will comment and they’ll be like, ’Oh, (it’s) ironic that you’re posting. And I’m like, ‘Where else am I supposed to find you, Kyle? Outside? You’re not outside. You are here, sitting here,’” she said. “For us to actually be seen, we have to be where people are.”

Yokubonis’ content responds to the feeling many people have, that they spend too much time on social media or apps.

“Most people have no clue how much time they spend on social media,” said Ofir Turel, a professor of information systems management at the University of Melbourne who has been studying social media use for years. Through his research, Turel found that when he presented people with their screen time information, they were practically “in a state of shock” and many people voluntarily reduced their usage afterwards.

Yokubonis is part of a growing group of content creators who make videos encouraging viewers to close out the app they’re on. Some are aggressive in their approach, some more tame; some only occasionally post about social media overuse, and some, like Yokubonis, devote their accounts to it.

She works for Opal, a screen time app designed to help users “reclaim their focus,” she said, but those who engage with her content might not have any idea she is working for the company. Brand logos, constant plugs to download the app and other signs of branding are almost entirely absent from her page. “People love hearing from people,” she said. Millions of views on her videos point to that being true.

“It’s a fine line and a balance of finding a way to be able to cut through that noise but also not adding to the noise,” she added.

Ian A. Anderson, a postdoctoral scholar at California Institute of Technology, said he finds this kind of content interesting, but is curious whether it's disruptive enough to prompt action. He also said he wonders whether those with the strongest scrolling habits are “thoughtless about the way (they're) intaking information.”

“If they're paying full attention, I feel like it could be an effective disruption, but I also think there is a degree to which, if you are really a habitual scroller, maybe you aren’t fully engaging with it,” he said. “I can think of all sorts of different variables that could change the effectiveness, but it does sound like an interesting way to intervene from the inside.”

With billions of active users across TikTok, Instagram, YouTube and other social media platforms, talk of cutting down on screen time is perennial, as is the idea of addiction to social platforms. But there’s tremendous disagreement over whether social media addiction actually exists.

Is social media “addiction” real? Researchers, psychologists and other experts agree some people spend too much time on social media, but the agreement tends to stop there. Some researchers question whether addiction is the appropriate term to describe heavy use of social media, arguing that a person must be experiencing identifiable symptoms, like strong, sometimes uncontrollable urges and withdrawal, to qualify as addiction. Others, like Turel, acknowledge the term seems to resonate with more people and is often used colloquially.

Anderson said he recognized the prevalence of casual mentions of being addicted to phones and was curious to see if that talk was “benign.”

A recent study of his suggests the debate extends further than academic discourse. In a representative sample of active Instagram users, Anderson found that people often overestimate whether they are “addicted” to the app. On a self-report scale, 18% of participants agreed that they were at least somewhat addicted to Instagram and 5% indicated substantial agreement, but only 2% of participants were deemed at risk of addiction based on their symptoms. Believing you are addicted also impacts how you address that issue, Anderson said.

“If you perceive yourself as more addicted, it actually hurts your ability to control your use or your perception of that ability and makes you kind of blame yourself more for overuse,” Anderson said. “There are these negative consequences to addiction perception.”

Cutting down on screen time

For those looking to curb their social media habits, Anderson suggests making small, meaningful, changes to stop from opening your social media app of choice. Moving the app’s place on your phone or turning off notifications are “light touch interventions,” but more involved options, like not bringing your phone into the bedroom — or other places where you often use it — could also help.

Plenty of intervention methods have been offered to consumers in the form of products or services. But those interventions require self awareness and a desire to cut down on use. Content creators who infiltrate social media feeds with information about the psychology behind why people scroll for hours a day can plant those early seeds.

Cat Goetze, who goes by CatGPT online, makes “non-pretentious, non-patronizing” content about artificial intelligence, building off her experience in the tech industry. But she’s also been on a lengthy road to cut down her own screen time. She often makes videos about why the platforms are so compelling and why we tend to spend longer than we anticipate on them.

“There’s a whole infrastructure — there’s an army of nerds whose only job is to get you to increase your time spent on that platform,” she said. “There’s a whole machine that’s trying to get you to be that way and it’s not your fault and you’re not going to win this just (through) willpower.”

Goetze also founded the business Physical Phones, which makes Bluetooth landline phones that connect to smartphones, encouraging people to spend less time on their devices. The inside of the packaging reads “offline is the new luxury.”

She was able to build the business at an accelerated pace thanks to her social media audience. But the early success of Physical Phones also demonstrates the demand for solutions to high screen time, she said.

“Social media will always play a part in our lives. I don’t necessarily think that’s a bad thing. If we can get the average screen time down from, if it’s 10 hours for a person to one hour, or from three hours to 30 minutes, that is going to be a net positive benefit for that individual and for society,” Goetze said. “That being said, I’d love to be the person that they’re watching for those 30 minutes.”