Tribute to a legend: Drew Struzan passes away at 78
American poster designer Drew Struzan, whose name became synonymous with some of the most enduring visuals in film history, has died at age 78. News of his passing, confirmed by a statement on his official Instagram account, marks the end of an era in cinematic art. The family shared that Struzan moved on from this world on October 13, underscoring the profound impact his work had on generations of moviegoers who grew up admiring his unforgettable covers.
From album sleeves to blockbuster posters
Struzan began his career crafting album covers for artists such as the Beach Boys, the Bee Gees, Earth, Wind & Fire, Liberace and Black Sabbath. His distinctive style—lush color, dramatic composition, and a talent for conveying a mood rather than a literal scene—soon translated to the big screen. One of his early breakthroughs came with a poster for Alice Cooper’s Welcome to My Nightmare, later hailed by Rolling Stone as one of the greatest album covers of all time. Yet it was in film poster design where Struzan would leave his deepest mark.
Mapping a career that defined an era
In the 1970s, Struzan began focusing on movie posters, initially working on lower-profile projects and B-movies. A breakthrough arrived with a secondary poster for the theatrical re-release of Star Wars, after which demand for his work surged. By the 1980s, he was often producing around ten posters a year, a rate that reflected not just his skill but his ability to translate a film’s essence into a single, compelling image.
Struzan’s collaboration with Steven Spielberg yielded some of the most iconic visuals of the era, from ET: The Extra-Terrestrial to Indiana Jones and Temple of Doom and Hook. His posters for Back to the Future, The Empire Strikes Back, The Goonies, The Shawshank Redemption, The Thing and Indiana Jones and the Last Crusade became synonymous with those films as much as the stories themselves. He also crafted memorable art for Blade Runner, Coming to America, First Blood and the American poster for Harry Potter and the Philosopher’s Stone, among others.
Philosophy: art that evokes feeling, not just a plot
Struzan often spoke about his approach, arguing that a poster should evoke a feeling rather than narrate every plot point. “Telling the story in a poster is wrong for a movie,” he once explained. “I wasn’t looking to tell a story. I’m looking to give a person a feeling about something they could hope for.” This philosophy helped him create some of cinema’s most enduring images, resonating with fans across generations and turning posters into cherished keepsakes.
Recent health updates and industry response
In March of this year, Struzan’s wife shared that he had been battling Alzheimer’s disease, describing a difficult period where he could no longer paint or sign things. Despite health challenges, tributes poured in from across the industry. DC Comics president Jim Lee called him “a giant among giants,” praising how Struzan captured humanity, emotion and power in a way few artists could match. He added that Struzan helped bring to life many childhood and adolescence memories associated with beloved films.
A lasting legacy in film and poster art
Struzan’s work transcends individual movies; it defined an era of theatrical advertising and became a blueprint for how legendary films are marketed. His posters—whether of a hero’s silhouette, a single character in dramatic pose, or a collage that hints at the film’s scope—remain references for aspiring designers and nostalgic reminders for fans. His influence can be seen in how poster art continues to shape audience expectations, mood, and curiosity before a cinema screen lights up.
What fans can take away
As tributes continue to circulate, fans are reminded of the power of poster art to capture imagination and to become a cultural touchstone. Drew Struzan didn’t just sell movies; he created an artistic language that invited viewers to dream about possibilities beyond the screen. His vibrant legacy—built one illustrated face at a time—will endure in theater lobbies, galleries and the memories of anyone who ever stood in a cinema line admiring a Struzan poster.
