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!