THE FLINTSTONES (1994) MOVIE POSTER, ONE SHEET, DREW STUZAN ARTWORK
Size AU One Sheet (27" x 40")
The Flintstones (1994) One Sheet Movie Poster Starring John Goodman, Rick Moranis, Elizabeth Perkins and Rosie O'Donnell, Directed by Brian Levant is in Very Fine Condition. Movie Poster and Condition...
The Flintstones (1994) One Sheet Movie Poster Starring John Goodman, Rick Moranis, Elizabeth Perkins and Rosie O'Donnell, Directed by Brian Levant is in Very Fine Condition.
Movie Poster and Condition
Condition: This Australian One Sheet Movie Poster presents in Very Fine condition, with pin holes in each corner and a little rippling in the paper at the top of the poster and some minor handling and edgewear. This Poster is currently stored rolled and will be carefully packed and shipped in cylinder. This stunning original movie poster features the iconic artwork of the legendary Drew Struzan, one of cinema's most celebrated poster artists. Struzan's photorealistic airbrushed style defined film marketing throughout the 1980s and 1990s, creating over 150 memorable posters including Star Wars, Indiana Jones, Back to the Future and Harry Potter franchises. His distinctive technique of layering ensemble casts into dramatic compositions made him the preferred artist for directors Steven Spielberg and George Lucas. The Flintstones poster showcases Struzan's masterful ability to capture character likenesses whilst maintaining the whimsical, prehistoric charm of the beloved Hanna-Barbera property.
Movie Synopsis
The Flintstones brought the beloved Stone Age family to live-action life in this 1994 family comedy directed by Brian Levant. The film stars John Goodman as Fred Flintstone, Rick Moranis as Barney Rubble, Elizabeth Perkins as Wilma Flintstone, and Rosie O'Donnell as Betty Rubble, with Kyle MacLachlan portraying villainous executive Cliff Vandercave and Halle Berry as his seductive secretary Sharon Stone. The film also features Elizabeth Taylor in her final theatrical film appearance as Pearl Slaghoople, Wilma's mother.
Set in the prehistoric town of Bedrock, the story follows big-hearted quarry worker Fred Flintstone who generously loans money to his best mate Barney Rubble so he and Betty can adopt young Bamm-Bamm, a feral boy with superhuman strength who was raised by mastodons. In an act of gratitude, Barney secretly swaps his IQ test with Fred's during an executive search programme at their workplace, Slate & Company quarry. This well-intentioned deception leads to Fred's unexpected promotion to vice president, catapulting the Flintstone family into the lifestyle of the rich and prehistoric.
However, Fred's new position makes him the unwitting target of a sinister embezzlement scheme orchestrated by the manipulative Cliff Vandercave, who plans to swindle the company of its vast fortune and pin the blame on an unsuspecting employee. As the conspiracy unfolds, tensions arise between the two families when the Rubbles struggle financially whilst the Flintstones enjoy their newfound wealth. Throughout the adventure, Fred must rely on the loyalty of Barney, Wilma and Betty to uncover the truth and save both his reputation and the company.
The screenplay was written by Tom S. Parker, Jim Jennewein and Steven E. de Souza, bringing together elements of workplace comedy, friendship and family values. Executive producer Steven Spielberg insisted on casting John Goodman as Fred after working with him on the film Always, recognising that Goodman possessed the perfect combination of charm, comedic timing and physicality to embody television's most famous caveman. The production was presented by "Steven Spielrock" (Spielberg's prehistoric alter ego), continuing the playful Stone Age wordplay that defines the franchise.
The film's production design was nothing short of spectacular, bringing the modern Stone Age world to life through elaborate sets, costumes and practical effects. The clever prehistoric inventions from the animated series, such as household appliances made from labouring dinosaurs and other beasts, were brought to life by the wizards at Jim Henson's Creature Shop and Industrial Light and Magic through a combination of puppetry and cutting-edge computer-generated effects. Every detail of Bedrock was meticulously crafted, from foot-powered automobiles rumbling past dinosaurs to split-level cave dwellings complete with pig-powered garbage disposals.
The B-52's performed their version of the cartoon's iconic theme song "Meet the Flintstones," appearing in the film as their caveman alter egos, the BC-52's. This celebrity cameo honoured the tradition from the original animated series of featuring popular real-life bands as prehistoric versions of themselves. The film's marketing campaign was orchestrated by the same Universal Studios team responsible for the previous year's Jurassic Park phenomenon, and included a massive promotion through McDonald's (renamed "RocDonald's" with Stone Age theming) along with toy lines and merchandise.
The Flintstones dominated the box office over Memorial Day weekend 1994, earning $37.2 million in its opening four-day weekend and setting a record for the holiday period. The film became a commercial success, grossing $130.5 million domestically and $211.1 million internationally, for a worldwide total of $341.6 million against its $46 million budget. It also achieved the biggest May opening weekend until being overtaken by Twister in 1996. The movie's international performance was particularly strong, achieving the second-highest opening week in the United Kingdom behind Jurassic Park.
Despite mixed reviews from critics who felt the storyline was too mature for family audiences, many praised the film's visual effects, faithfulness to the source material, elaborate costume designs by Rosanna Norton, and the performances of the cast, particularly Goodman's portrayal of Fred. The film successfully translated the spirit of the 1960-1966 Hanna-Barbera animated series to the big screen, capturing the show's distinctive blend of contemporary suburban sitcom situations transplanted into a prehistoric setting. This Australian One Sheet poster with Drew Struzan's magnificent artwork remains a highly collectible piece of cinema history, representing one of the most ambitious adaptations of a beloved television property.
To find out more about The Flintstones (1994) click here to go to IMDB.com.
Special Notes
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.