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99% Invisible-28- Movie Title Sequences

2011-06-09 | 🔗

More and more I’m finding that the first 2-3 minutes of a movie are my favorite part of the film. My life is devoted to the beautiful expression of information, which is why film title sequences hold a special place … Continue reading →

This is an unofficial transcript meant for reference. Accuracy is not guaranteed.
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This is ninety nine percent, invisible, I'm roman Mars was an hour ago and loud and free. I want you to be my sweet. Vienna bow was a tree grow and tall and green all I want you to shade me and be my leaves. Teenage girl named Juno is walking down the street with a half empty one, gallon jug of sunny these citrus beverage and she passes a tree and everything becomes animated. It's kind of a low five unpolished xerox, coffee, animation, inspired by Pencroft, music fires, talent, main title music from Juno, stuck it still there yeah. I think so you know what they're using some commercial these days, when I heard it was I just got flashbacks is crazy, while in brief on unwanted due to be ass, we may be about where the tree go into green. On unwanted. You gave me and be mildly,
big ones immediately establishes Juno's quirky world classical music say must whatever time. Yes, as a title design, it's very important that the music use in a sequence is something that you love, that you really enjoy working with, because it can be rough. Otherwise, Miss Gareth Smith, and I am a film title designer dearer than his partner. Jenny led the tunnels for Juno end up in the air, among others. My name is key and albinism. I- and I am the founder and editor in chief of art, of the title. A website that curates title design inside is awesome. That's a completely different set of people that do the work that do titles, sequences people don't always realise that, and I always seem to be always surprised that our summer she thought about this, and someone actually gets paid to design into work on something so separate from the thumb yet so connected to this fundamentally, a title,
sequence is a presentation of a legal document to the audience is a list of names of the crew and actors, everything who are associated with a film and then there's the more interesting and artistic reason for the tunnel sequence such as establishing tone, and perhaps a story like. But there are What are you doing? A studio film, the designer The company will gets a it's a document that you know maybe ten fifteen pages long. If you just read out the text for the total signal, You could fit easily on a single page, but of course it is suspecting page document and beside each title, there's several paragraphs of text about how each title needs to be treated like maybe in some sequences the lead to actors require their names to be bigger than the other titles and I'll actually list and the document the exact percentage size that it needs be bigger than the other titles and the sequence. So it's very specific in its in as a designer, it gets very frustrating. Challenging to deal with this, because it feels very limiting to need
have every single title and the sequence be exactly the same size when it comes to innovation and influence entitled design. There are two words you need to know Saul bands. He was a major benchmark in terms of realising that you could have good design in a title sequence. One. All bass came along, he was a designer that started to work on more promotion for films and then started to bring his illustration and design style. Two fellows. He worked with Hitchcock on a number of pieces. If the tendency This is of such vast or immediately spring to mind. Do yourself a favor and Google Anatomy murder, a man with a golden armor, psycho or vertigo? Oh god, what I love about some of his earlier title sequences as if you look at them their basically animated fell posters, but a lot of that saw bass, style, faded away in the eighties unity
It is in the nineties, you started to get the branding idea with films and so a lot of title sequences, weren't so much title sequences, but we're just over the logo. The thumb and say you, your creating the brand for the thumbs refer back to the future where it's it's a very. I conic lower design, and you have a lot of that in late eighties and early nineties, you didn't see as many complete opening statements as are or title sequences. Be them stand alone are sort of integrated with the film which has not done very much these days and unless you know turn on a lot of films, where there's just a big logo that you see on the poster, even ask, but then we hit the second major benchmark the movie stuff. It's titles were created by Kyle Cooper, sort of re introduce the idea that the title sequence could be its own thing, which is what bastard decades earlier the tunnel seven works as both a stand alone vignette and is of vital introduction to the grimy and obsessive feel of the movie serial killer.
Seven doesn't appear until two thirds of the way into the film, but you really get to know the killer right here in the first two minutes. How Cooper took us inside his head, the most memorable, I sequences are really ones were you know, there's a great movie after of seven was put in front of some terrible movie that no one saw it wouldn't have moved on to influence generation, tattle designers after it one of the elements in Sentara title sequences is another Kyle Cooper creation, the island of Doktor Moreau. It was the one that kicked in the head and made him start noticing titles in the first place. But if you were smart, you probably didn't see the island of doktor moreau- and you don't know how cool the title sequences, but ever
human on earth over the age of twenty knows the name of Gear Smith's favorite tunnel sequence, making you didn t be title sequence for cheers. I can watch said endlessly. I remember liking it before I was a designer had anything to do with design. So I was trying to put my finger on. Why, like it and, of course, a great theme song, bats idle sequence makes a big difference, but it also just has lovely type, augur. Faye very simple: lovely typographical ends the. Editing the sequences fantastic it. It just captures. The entire tone of the television show in and thirty seconds to a minute cheers is montage of historical drawings and photographs of people enjoy themselves in bars and what they do underneath each of the title cards for the actors, as they actually find historical image that does serve suggests that characterise the television series. The reason I enjoy it is warmth and friendship, and that really comes across. I think about
since there are a lot of fans of film title design out there, trying to figure out why that is- and I feel like film title design more than other sorts of design has a bit of a long jeopardy because it is committed to film is enough. Design is commercial or prince and a kind of is designed to exist for a week or two weeks and in distant vanished from the face of the planet. Where's on design. You really do have to think about what is this going to look like in twenty five years? You hoped that the movie You're working on is gonna, be one those movies, that's gonna, be seen many years from now and I had to get a hold up over time. Ninety nine percent what was please this week by me, roman Mars, the support from lunar, making a difference with creativity. It's a project, take a W. Ninety one point: seven local public, new in San Francisco, the american instead of architects in San Francisco. In this,
are for architecture and design for videos and links to all the titles we talked about in this episode, as well as a kick ass. Montage of kick ass titles edited together by Ian Albinson, go to the website. It's not percent invisible dot org. HU. I want to do a little social media outreach before you go if you could go like this show on Facebook. That would mean a great deal to me because there's as other projects, really noble called the ninety nine percent, and I just want to get more fans on them. So there's like a thousands and thousands and thousands do you like, on average, like ten twelve thousand, you listen to this weekly and- and I have almost seven hundred fans on Facebook, so I think we can do better. Okay, that's one. The other one is
You would take the time to review this show and Itunes. You would not believe the impact it has that you're, like a Nielsen family, but you get to choose yourself when you review something on Itunes that represents millions of people. It's crazy! The rankings. I go up instantly when I get one review and Itunes. So if you could do that to hear five stars is a very popular option. That would mean so much all right. Thank you. Ninety nine percentile we'll talk next week.
Transcript generated on 2020-02-15.