dhoom 2

https://www.youtube.com/watch?v=oHDl2TY2q5E

hollywood and bollywood film posters

bollywood title sequences

http://www.artofthetitle.com/title/aagey-se-right/#

How often are unique title sequences used in Indian cinema?

In Indian mainstream cinema, till recently the hierarchy of importance has been — Stars, music, stars, story, dance, stars, locations, stars. So as is obvious giving credit where credit is due has been a formality and an afterthought. Normally the main credits were placed on the opening shots itself.

It would be unfair to say that Indian cinema has not seen unique title sequences. Filmmakers have experimented over the decades though the language was often borrowed in some cases such as the example below. The inspiration is clear though the adaptation is very Indianised, in this case the figure is clearly that of a curvy Indian woman.

Earlier, in India, there was a need to have the main titles in three languages. English, Hindi and Urdu. but recently there has less of the need to have it done.

 In Bollywood, the music and songs often need to be ready before the film goes into production so that the song and dance can be planned along with the shoots for the film. The music for the film is actually released before the film to garner interest with viewers. This is a part of the standard marketing strategy used for mainstream features.

Aagey Se Right has three heroes, in random sequence of importance — Gun, Cop and Terrorist. The mayhem that ensues within the film due to these three heroes holds the essence of the film. In order to create that in the titles and to keep a degree of mystery, it needed to remain abstract.

the title sequence uses a lot of graphic signs in urban areas which suggest the characters 

with 1,000 films produced annually (about double Hollywood's output), Bollywood is the world's most prolific cinema factory.

Do Knot Disturb
Colour scheme is very bold and have a very indian pallete. with repetition of the  same design. as said previous you could tell that title sequences have just recently picked up in Bollywood.

Mumblecore

The loose team of film school filmmakers known as Mumblecore were smart and didn't write a manifesto or demand adherence to their cult of filmmaking. The films often rely on handheld camera-work but never veer into nausea inducing shaky cam style.

Mumblecore's heritage includes Yasujiro Ozu, John Cassavetes, Richard Linklater, and probably even Larry David

Godfather of Mumblecore Andrew Bujalski,

The Puffy Chair - $15,000 budget Mark Duplass and Jay Duplass

Josh, the main character, wants it as a present for his father. He bought it online and his brother and girlfriend tag along to pick it up. opening sequence of the film starts with the cliche boombox playing outside a girls house. due to the film having a low budget the sequence isn't as loud as hollywood films. the text showing only last for 30 seconds which in comparison to the spectre has far less is short ( 3 mins 50 secs ). because of the films being independent and with a small crew, there isnt much information that needs to be said.

mumblecore films are said to be more about the dialogue and relationships between characters than the plot (characters are said to be usally between 20s to 30s).

by using inexpensive technology and relying on the Internet for publicity and distribution

Naturalism – both in performance and dialogue – is a key feature of almost all mumblecore films.^[2] Early mumblecore films tended to feature non-professional actors but later on some have ( anna kendrick and orlando bloom)

Naturalism where all characters were the product of their environment". Actors behave 'as they would', not 'as they could'. This means that an actor would act exactly as they would in real life, given the circumstances they are in. This may mean performing actions with your back to the audience, or talking with your mouth full for example, if that is how you would do it in real life. A realist scene represents life, but makes it more accessible to an audience
7000-7,000,000

https://www.youtube.com/watch?v=85cmTNBH42k

looking at the film greenberg it has similar styles of mumblecore design. a simple decorative typography. the title sequence is not a film in its self but an actual part of the film. hollywoods title sequences become an 'art form' in its self where the designer creates an abstract or illustrations seperatly. looking at these two films you can tell that the focus is about creating a connection with the characters.

Interview with developers of art of the title

http://schoolvideonews.com/Edit-Post-Production/The-Art-of-the-Title-Sequence

What is it that good title sequences share?

A: They are original in a way that is either daring and challenging, or clever and wonderful. They are always thoughtful; even those with raging adrenaline and nervy force have a thoughtfulness to them.

It seems like title sequences are to Se7en as branding is to the FedEx logo

 this new standard in title sequences equalled the film and the film delivered the brilliant tonal darkness promised in the sequence. That sequence and the classic example you provided in the FedEx logo have a depth and thoughtfulness to the 'communicative attributes' within.

Title Sequence Artists

analysis of title sequences

This short sequence takes the mundane morning routine of the main character and turns it into something highly unusual by adding new layers of meaning and expanding its significance beyond the literal into ideological, aesthetic, hermeneutic and even ontological realms
 In most cases the purpose of this sequence is purely expositional: to describe the main character's external persona, his life style, domestic environment, and most importantly, the psychological state, which is significant for the main storyline.Not being part of the actual narrative, this short sequence does not include any plot points, but is mere exposition, preparing the viewer to enter a different reality. it introduces the tone of the entire show. Affectively, it sets up a certain mood and state of mind that makes us accept and enjoy the morally ambiguous elements of the story.

Using references, patterns and motifs is a permanent strategy in TV series to turn the audience from passive observers into active participants,

http://www.artofthetitle.com/title/dexter/

interview with the creator of the title sequence explaining his thought pattern on how he came up with the title sequence ( asked by the producers to be mundane and then looking at his grandads true detective magazines. turning something mundane into a sinnister approach )

above is a picture of the window that martin luther king was shot

This is when one member of the team, Lindsay Daniels, had the idea of a morning routine. I remember her sheepishly saying “How about him getting ready in the morning?”

We are conditioned to see a blossoming flower as beautiful. But if you look closely, if you look differently you will see it more like an explosion

Production studio: Digital Kitchen

(created title sequences for True Blood, Narcos

Zombieland

Ben Conrad

interview

Did the ‘rules’ stem from the title graphics or vice versa? Or were both always planned that way?

The rules and title sequence evolved separately, but in the end came to a more understated simple approach. The goal was to integrate the type into the film and propel the narrative without becoming heavy-handed. The film is essentially a comedy, and we felt that punctuating the humor with a simple typographic approach was the way to go.

We wanted to seamlessly integrate the type into the scene, making the type become another character.

this undead comedy centred on an unlikely group of survivors in a post-apocalyptic America which can be found by the many scenes (streets, american football stadiums and houses)

Rule #1: Cardio, which beats like a heart. Rule #2: The Double Tap gets spattered with blood.

Metalica’s “For Whom the Bells Tolls” The slow-motion cinematography.

Kintetic Typography


JUNO

Gareth Smith - Smith & Lee Design

the title sequence takes place after the first few scenes of the film. By then the viewer is already immersed into the film. the sequence doesnt have to set the tone but still

 8 frames per second For larger camera moves, used shots from the video camera, and dropped the frame rate from 24 frames per second to 12 frames per second.

encourage directors and producers to bring in the title designers very early in the production process. The concept can benefit tremendously from the live-action shoot.

created entirely by hand.

The final style was graphic, simple, and contemporary

the color palette strict for the backgrounds: only blue, green, and brown.

I don’t know if students still do this these days, but Jenny and I used to doodle like mad in our notebooks throughout our school years. It helped the time go by until the bell rang for dismissal. The text Jenny drew for the sequence is her version of that text from her high school notebooks. To create the animated look for the title cards, Jenny traced each title four times to produce a typographic loop. - smith

Scott Pilgrim vs the World

Richard Kenworthy

We test screened it once in this version. But then a couple of people had a note about the movie, one of them being Quentin Tarantino. He felt we needed a title sequence at the start to let people settle in and hint more about what we were about to see.

We wanted to visualize the music and have every graphic, symbol, and subliminal image in time with the music — a hypnotic barrage of colour, light, and music. The idea was to have it as if the animation is a manifestation of how cool the music is in Knives’ head. That why we end the sequence on her watching, the titles are like her brain is exploding with how cool the track is. 

At the very start of the film the universal is made as if it was an 8-bit video and 8-bit music ( similar to retro games )

Is there anything you’d wish would change in the profession?

RK: I think titles often tend to fall into two traps: either they’re twee animated musical interludes, or they’re a series of dull title cards padding time. It’s a shame, and the fault lies in the director’s application of them. I’d like to see a more inventive approach to their use where they play an integral part in the film and are interesting in their own right. You do a good job of picking out the most interesting ones on your site, but sadly they’re the minority.

James Bond - Spectre

Daniel Kleinman

I watched a lot of real octopus footage and I noticed that when they swim away, if they’re frightened, or they’re trying to disguise themselves or confuse an enemy, they spurt out ink. So I started doing these little drawings of octopuses flying around with ink coming out and I realized it sort of looked like bullets flying through the air, sort of trailing smoke.

But it’s the idea that this relationship that Bond is having is maybe being manipulated (image of him kissing a female and the tentacles sprout out) metaphorically.

"I really, truly tried to make a song that was for a film," Sam Smith tells THR 

To sort of help people’s memory, if they’ve seen the previous films, who Silva was from Skyfall, that Vesper is from Casino Royale — even though that wasn’t one of Sam’s movies. To remind them that M is dead. Just to take little moments with those characters. I think it fit in with the lyric about fragments of memories. So I did use bits of footage from those movies for that.

. It’s kind of like the beginning of a TV series — in last week’s episode this is what happened!