Credited with “almost single-handedly revitalizing the main-title sequence as an art form”, Kyle Cooper is the visionary director behind over 150 film and television title sequences. His work is known for the massive amount of time, research and detail that goes into every single sequence he creates. Cooper’s resume includes such pieces as: The Mummy, Band of Brothers, Dreamcatcher, the entire Spider-Man trilogy, Kiss Kiss Bang Bang, Across the Universe, TRON: Legacy, The Tree of Life, Sherlock Holmes: A Game of Shadows and Argo.
Skyfall Titles - Daniel Kleinman
Rattling Stick on VimeoThe Skyfall title sequence without the credit overlays. Sexy fluid dynamics !
EDIT: Unfortunately this video has been pulled off Vimeo, but you can watch it here. Thanks. — Elaine
(via Se7en (1995) — Art of the Title)
Directed by Kyle Cooper while at the newly-formed Los Angeles arm of titling giant R/Greenberg Associates, it’s a short story told in fragments and vignettes, following the hands of an unknown man – presumably the antagonist, John Doe – as he makes entries in his diary alongside clippings from books, self-developed photographs, and found images and objects, giving the audience an intimate look into the mind of a serial killer obsessed with religion and, more to the point, attrition.
It’s a sequence that has drawn comparisons to the grotesque photography of Joel-Peter Whitkin and the experimental self-aware filmmaking of Stan Brakhage, and its format has been likened to Stephen Frankfurt’s title design for Robert Mulligan’s 1963 adaptation of the courtroom thriller To Kill a Mockingbird, which also features close-up photography of personal items to describe the psyche of one of the film’s key players. But it is more likely a convergence of unique circumstances and artistic vision that gave the Se7en titles their own distinct cadence, blending Fincher’s treatment of the film itself with Cooper’s visual interpretation of its narrative.
And what ultimately distinguishes Se7en is its delivery, piecing together bits of leader and other film artifacts with ephemeral imagery and type etched right into the emulsion, all sewn together by Angus Wall’s staccato edit and Coil/Danny Hide’s nail-on-chalkboard remix of Trent Reznor’s industrial hit “Closer.” It’s an effortless presentation which – much like the killer’s diary featured within – wears its construction proudly on its sleeve.
May 17th
06:57
06:57
Malaguena Salerosa
by Chingon
Malagueña Salerosa by Chingon. From Kill Bill Vol. 2.
The credits are often the first thing we see when we watch a great film or TV show, but the complexity and artistry of title design is rarely discussed. Creators of title sequences are tasked to invent concepts that evoke the core story and themes of the production, and to create a powerful visual experience that pulls the viewer into the film’s world. In this episode we hear the stories of some of the most inventive people working in the field, including the creators of the iconic Mad Men sequence, the hilarious Zombieland opening and “rules” sequences, and the stirring end credits from Blue Valentine.
April 10th
07:58
07:58
Miss Misery by Elliott Smith. From Good Will Hunting.
The Girl with the Dragon Tattoo [2011]: David Fincher’s Commentary
So the title sequence. We had this cover of “Immigrant Song”. I was riding in a van in Sweden and had my iPhone with me…and I was listening to Led Zeppelin, and this song came on and I-I mean, aside from the incredibly, inanely obvious: “I come from the land of the ice and snow”… I just like the idea of an anthemnal, incredibly famous track that could be wailed by a woman. And I called Trent and I said: “What do you think of a cover of ‘Immigrant Song’?” I think at first he thought I was joking [laughing]. And I said, “No, imagine, you know, a woman’s voice singing this.” And he did a version just to the music and I listened to it and I thought it’s evocative of what I think Lisbeth is— Not thinking, but, you know, sort of her marrow. What’s happening down deep inside her bones. And we got Karen O. Ren Klyce gave us Karen’s e-mail address and we asked her to do this. And I think in about three or four days they had a version of this song that was— To my mind, it was undeniable. It just seemed like such a great sort of kindred spirit to what I thought Lisbeth was about. And then we needed visuals to go with it. I went to Tim Miller at Blur, and I said: “What can you do along the lines of a nightmare? What would Lisbeth’s nightmare be?” And he came back with about 50 different little scene cards and we whittled it down to about 20-25. And I turned to him and said: “That looks great. You got eight weeks. Go.”
The best damn thing you’ll see all day
Batman fan Doğan Can Gündoğdu has created an opening credits sequence for The Dark Knight Rises which the real movie will be very lucky to top. With a pounding, industrial sounding soundtrack you’ll see the standard opening credits and then flashes of ice and other items as the credit sequence takes on an unsettling tone. Just go watch it!
![“[The title sequence] was always supposed to be a very abstract version of key moments in the book and about Lisbeth. It was really supposed to be her nightmare sequence. Being a hacker is such a big part of her personality and who she was, we needed some imagery for that but it’s kind of hard to represent that abstractly. So the ones we came up with were the keyboard elements.” - Tim Miller, title sequence creative director for The Girl With The Dragon Tattoo.](http://25.media.tumblr.com/tumblr_lxdbhwvIi41qztqsao1_1280.jpg)
“[The title sequence] was always supposed to be a very abstract version of key moments in the book and about Lisbeth. It was really supposed to be her nightmare sequence. Being a hacker is such a big part of her personality and who she was, we needed some imagery for that but it’s kind of hard to represent that abstractly. So the ones we came up with were the keyboard elements.” - Tim Miller, title sequence creative director for The Girl With The Dragon Tattoo.
December 31st
22:16
22:16
Happy New Year, film friends. Hope your 2012 is just swell, year-wise.
Also, I hope you like the new look of Stay For The Credits.
October 12th
11:17
11:17
