Every month, we shine a spotlight on a different PosterSpy PRO member. Today’s interview subject is Rob Watts, who has undertaken the daunting task of creating a poster for every James Bond movie in existence. Talk about commitment!
Before we get to your Bond posters, can you talk a little about your style and how it developed? Your digital collages are very striking.
When I started out, my work was heavily influenced by bold colours, and that still plays a big role in my designs today. Over the years, my style has evolved, depending on the content and the ideas behind each piece. A major influence has been 1980s film posters, particularly their use of collages, which I like to modernize with a fresh twist. That said, I also enjoy experimenting with more minimalist compositions when the concept calls for it.
On to Bond. What was the inspiration behind this project?
I’ve always admired poster artists like Gabz and Tyler Stout, and for years, I dreamed of creating my own film posters. But for a long time, I hesitated as I didn’t think I was good enough. Then, in 2023, with the 60th anniversary of James Bond approaching, a friend encouraged me to design a special poster for Dr. No to mark the occasion.
I posted it online, and the response was incredible. So many people asked if I was going to continue the series, and that gave me the push to keep going. What started as a one-off tribute quickly became an ambitious passion project designing a poster for every Bond film in the franchise.
How and when did you decide on the overall look (or template) for the posters?
I wanted to create a consistent visual framework that could be used across all the posters, something that felt cohesive, whether as individual pieces or as part of a full collection.
The idea of a structured frame or grid appealed to me, making them feel like they could work as art cards, Blu-ray covers, or even a collector’s series.
The bullet hole motif came to me while looking at a publicity still of Sir Roger Moore from Live and Let Die, where he’s framed behind shattered glass. I thought, what if the broken sections of glass could hold key moments from the film? That concept became the foundation for the whole series, allowing me to visually break down each Bond adventure into striking, memorable fragments.
Can you walk us through your creative process, from conception to execution?
If I have time, I rewatch each film to absorb its atmosphere, take note of the main characters, and highlight the key action sequences. I also pay close attention to colour themes that stand out in the movie. From there, I search for a powerful hero shot of Bond as the central image and begin constructing a composition around it, incorporating the supporting cast and action moments until the layout feels just right. Once the composition is locked in, I experiment with different textures, filters, and digital painting techniques to add depth and detail. Each poster has been a learning experience, refining the style as I go.
Each Bond artwork has a unique two-tone palette. How do you choose the colours for each piece?
Dr. No is the only poster in the series that has a pure monochrome look. After that, I wanted to establish a bold, two-tone colour scheme that would make each piece stand out.
The colours are always inspired by the film either reflecting its overall theme or taking cues from specific visual elements that appear throughout the movie.
Which of the posters you’ve done is your favourite, and why?
While it’s not my favourite Bond film, I’m particularly proud of how Moonraker turned out. The symmetrical layout really works, and it captures the larger than life, space-adventure feel of the movie.
That said, I have a soft spot for GoldenEye and Casino Royale, as they’re my personal favourite Bond films. I put extra effort into getting those just right, each one reflecting the distinct visual style and energy of its era. GoldenEye has that sleek, tech-infused ‘90s espionage feel, while Casino Royale leans into a rawer, more grounded aesthetic.
Which piece posed the biggest challenge?
My most recent poster for Quantum of Solace was the trickiest. I went through multiple layouts before settling on the final design. After completing the Brosnan-era posters, I realized I had been cramming too much detail into the compositions, so I wanted to take a more refined approach moving forward.
Finding the right colour scheme was another challenge. Nothing seemed to click at first, but after some trial and error, I landed on a distorted, energized effect that reflects the film’s themes, using water and desert tones to capture its unique visual style.
Finally, any other creative plans once you finish this series?
I have three more posters left in the series, but I’m planning a little surprise once I complete the last film. Beyond that, I don’t think I’m done with Bond just yet. There are some big anniversaries coming up, including Thunderball’s 60th and GoldenEye’s 30th. I’d love to create fresh designs for those, but in a completely different style to keep things interesting.
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