Luca Antonucci, Colpa Press co-founder and printer

Yeah, and I would love to maybe talk a little bit more about the methodology.

And as I understand, you're yourself also a designer.

So one of the books, it's not just about the movies.

It's a collection of basically you creating brand books, imaginary brand books, kind of like speculative design for this series of movies inspired by classic brand books like NASA or Coca-Cola, etc.

I'm just curious to talk a little bit more about this kind of tools in your toolbox.

There is this fan component, but there is also this component of you contributing to the fandom in some ways.

Can you please talk about how this book came to be in similar examples?

Oh, yeah.

So that, okay.

So there's a few things.

I used to be really worried about what Culpa was, like how it was defined.

And if a book fit within our context, within what I was trying to accomplish with my publishing.

And I never really did anything about that worry.

I just worried about it.

And now, I guess, it kind of just happened naturally.

Basically, if you only make books about the things that you're interested in, and you just never compromise on that, which is to say, if someone offers you a project that is interesting and cool, but it just doesn't really like isn't something you're passionate about, Then I feel like that would have changed the kind of course of it, but I was lucky enough to be able to pick and choose the work I wanted to make.

And I think that ended up forming sort of what Culpa became, which at the end of the day is just things that I'm interested in and the things my partners were interested in.

When I worked with David Kasperczak for eight years, so he was kind of like my longest partner.

Before that, I worked with Carissa Potter from 2010 to 2013.

And then in 2014, I met David and we worked together until three and a half years ago when he moved down to Los Angeles.

And so.

That was really great because it was like merging this other person's interests with yours and then finding the intersections of the things you're interested in.

And so when me, so David was someone that was really interested in design, but he also was like a curatorial studies student at CCA.

And so his knowledge of contemporary art was like far beyond mine.

And the Cinematic Graphics Manual was something that just came out of his sort of understanding of design and exhibition making, and then merging with my sort of fandom of science fiction films and horror films.