Kubrick’s favorite typeface

Paul Renner

There are few things I love more than typography and cinema, so when I found out 2001: A Space Odyssey was going to be playing at the historic Castro Theatre, I had to get tickets for the showing, even if I'd seen it more than 2,000 times before. Okay maybe I haven’t seen it that many times but I have seen it quite a few times, and in this most recent viewing, I was struck by how typography enhanced the visual narrative and reinforced the film's thematic elements of technological advancement and human evolution. This fascination led me to explore Kubrick's work further, where I discovered that he had a favorite typeface.

After a quick Google search on typography in the films of Kubrick, I came across an article from 2004 published by the Guardian titled "Citizen Kubrick." In it, writer Jon Ronson recounts a visit to the Kubrick estate, two years after the filmmaker's death. There, a man named Tony Frewin (Kubrick's long-serving personal assistant) revealed Kubrick’s typographic preference. "It's Futura Extra Bold," Tony explained. "It was Stanley's favorite typeface. It's sans serif. He liked Helvetica and Univers, too. Clean and elegant."

Futura, designed by Paul Renner in 1927, is a typeface that embodies modernity and precision. Rooted in the principles of the Bauhaus movement, Futura is characterized by its geometric shapes, clean lines, and lack of ornamental flourishes. Its letters are built from simple circles, triangles, and squares, making it not only visually appealing but also timeless. Over the decades, Futura has appeared in everything from corporate logos to movie posters and was even used on the plaque left on the Moon by the Apollo 11 astronauts.

Castro Theatre, San Francisco, CA

A few logos using variants of Futura.

Futura was used primary on promotional material.

Futura was used on title cards throughout the film.

Kubrick's affinity for Futura is evident in many of his films. The typeface’s bold and uncluttered style mirrors the director’s meticulous approach to filmmaking, where every detail is carefully considered. In 2001: A Space Odyssey, the clean, futuristic look of Futura complements the film’s aesthetic, reinforcing the themes of human progress and technology. This intentional choice of typeface helps to create an immersive and cohesive visual experience for the audience. The use of Futura in Kubrick’s work is a testament to his understanding of typography’s power in storytelling.

Discovering Kubrick’s love for Futura has given me a new appreciation for his films. It’s a reminder that even the smallest details, like the choice of typeface, play a crucial role in creating a masterpiece. So, next time you watch a Kubrick film, take a moment to appreciate the typography—you’ll be seeing the work of a true visionary who understood the art of visual storytelling in its entirety.

2001: A Space Odyssey theatrical poster on display at the Castro Theatre in San Francisco, CA. Futura used for the title.