Legendary Poster Designer Drew Struzan Dies at 78
News of the death of Drew Struzan, the acclaimed poster designer behind some of cinema’s most enduring images, has prompted an outpouring of tributes from fans and peers alike. Struzan, whose art became inseparable from modern blockbuster branding, died on October 13 at the age of 78. His influential career spanned decades and genres, shaping how audiences connect with iconic films before they even sit in a theater.
A Career Defined by Iconic Imagery
Struzan began his career designing album covers for acts like the Beach Boys, the Bee Gees, Earth, Wind & Fire, Liberace and Black Sabbath. His early success with Alice Cooper’s Welcome to My Nightmare cover helped establish a reputation for bold, atmospheric artwork. He transitioned to film posters in the 1970s, starting with smaller projects and gradually building a reputation for crafting poster art that felt like a doorway into the film’s world rather than a literal scene-by-scene retelling.
One pivotal moment came when he produced a secondary poster for the theatrical re-release of Star Wars, a move that propelled him into the top tier of Hollywood illustrators. By the 1980s, Struzan was among the most sought-after poster designers, often creating multiple posters per year for major releases. His poster for Blade Runner, The Empire Strikes Back, Back to the Future, Indiana Jones and the Temple of Doom, and The Goonies helped define the look of their eras, blending realism with expressive, almost painterly storytelling.
Philosophy: The Poster Is an Experience, Not a Summary
Struzan himself spoke about a philosophy that set his work apart. “I had to do something different, and I think that the trouble with a lot of early movie posters is that they looked too much like classic illustration, which feels like it’s telling the whole story,” he explained in a 2021 interview. “I didn’t want to do that. I felt that art was more than just telling the story. In fact, telling the story in a poster is wrong for a movie. I wasn’t looking to tell a story. I’m looking to give a person a feeling about something they could hope for.”
This approach helped create posters that whispered rather than screamed, inviting viewers to imagine their own journey with the film. His collaboration with director Steven Spielberg yielded enduring images for ET: The Extra-Terrestrial, Indiana Jones and the Temple of Doom, and Hook, among others. His portfolio also included work for Batman-adjacent projects, Blade Runner, Coming to America, First Blood, and even the American poster for Harry Potter and the Philosopher’s Stone.
Legacy, Alzheimer’s and Public Response
In March of this year, Struzan’s wife shared that he was living with Alzheimer’s disease, stating in a Facebook post that he “can no longer paint or sign things for you,” and that he was fighting for his life rather than enjoying retirement. The news added a bittersweet layer to the tributes pouring in from colleagues and fans who regard his work as a cornerstone of modern cinematic identity.
Tributes have poured in from across the industry. DC Comics chief Jim Lee called Struzan “a giant among giants,” praising how his art captured the humanity, power and emotion of his subjects in a way not seen since. Lee added that Struzan helped bring to life “all the tentpole moments of my childhood and beyond.”
A Lasting Impact on Film Marketing
Struzan’s posters did more than advertise films; they built emotional bridges between audiences and stories. His face-melting color palettes, dramatic compositions and careful attention to detail created images that many fans still remember decades later. His influence can be seen in contemporary poster design, where cluttered, photo-heavy campaigns give way to bold, character-driven visuals that hint at the heartbeat of a film rather than its plot points.
Remembering a Master
As the world mourns a master of poster art, the takeaway is clear: Drew Struzan’s work transcended print media to become a shared cultural touchstone. His posters were more than images; they were invitations to dream, to imagine the thrill of a story, and to relive memories of beloved films.
