A mood-board I created on my laptop for crime thriller, using pictures, typography and words that I felt represented the Crime Thriller Genre
Wednesday, 15 December 2010
Mood-board: Crime Thriller
A mood-board I created on my laptop for crime thriller, using pictures, typography and words that I felt represented the Crime Thriller Genre
Institution Logo Animation
An animation I have created for my logo idea for our institution 'square 1'
Analysis of Love Actually
Love Actually is a 2003 romantic comedy film written and directed by Richard Curtis. Distributed by Universal studios and Studio Canal. Love actually was produced by Working Title, who has produced many British comedy and romantic comedy films.
Love actually begins softy and gently, there is soft non-diegetic music in the background, and the colours are soft and lighting is bright, which gives a pure sort of atmosphere. The lighting focuses on a couple embracing each other and kissing, as if they haven't seen each other for awhile. Then is changes to a women embracing here children, focusing on the child's happy expression, and the light illumination her face.
The shots focus on the different relationships people have,focusing on the lives of people,the audience get the sense of love, which is backed up by the close ups of expressions and embracing.
Hugh Grant voice over begins, Hugh Grant has starred in many romantic comedy films such as Notting hill, 4 weddings and a funeral, music and lyrics, so when the audience here his voice, they will get the expectation that the film will be a romantic comedy.
He beginnings by talking about the gloominess of the world, which juxtaposes the mise-en-scene, which shows happiness and purity. He also talks about Heathrow airport, which then gives the sense of location, talking about how people see the world, with 'hatred and greed', again the comparison and the juxtaposition between the mise-en-scene of the light and happiness to what he is saying, so the audience focus on the the happiness of the mise-en-scne, brings out the romantic, 'focusing on love is everywhere'.
Love actually 'is' all around work 'is' is in read to emphasis that this film will be about love and relationships,
Love actually 'love' is in red typography focusing on the work so that the audience get the expectation of the films genre. 'Love' is in red to represent romance and passion.
The film title then fades to a black background, then changes to Bill Mack played by Bill Nighy in a rather colourful shirt, sitting in a recording studio, signing 'Love is all around' by 'Wet Wet Wet', which they are recording, however apparently signing the wrong words, the second time he gives a serious of curses, as they are turning it into a Christmas song, giving a sense of date. Speak slurred slightly give the impression that he is a rugged, on the out sort of music star.
The scene then changes to an establishing shot of the London eye and houses of parliament. then changes to a scene of a department story with Christmas trees a decorations, which then says its 5 days to Christmas. few shots of London, again reinforces location and date.
http://www.youtube.com/watch?v=_saCHD4Wzqk&feature=related
Love actually begins softy and gently, there is soft non-diegetic music in the background, and the colours are soft and lighting is bright, which gives a pure sort of atmosphere. The lighting focuses on a couple embracing each other and kissing, as if they haven't seen each other for awhile. Then is changes to a women embracing here children, focusing on the child's happy expression, and the light illumination her face.
The shots focus on the different relationships people have,focusing on the lives of people,the audience get the sense of love, which is backed up by the close ups of expressions and embracing.
Hugh Grant voice over begins, Hugh Grant has starred in many romantic comedy films such as Notting hill, 4 weddings and a funeral, music and lyrics, so when the audience here his voice, they will get the expectation that the film will be a romantic comedy.
He beginnings by talking about the gloominess of the world, which juxtaposes the mise-en-scene, which shows happiness and purity. He also talks about Heathrow airport, which then gives the sense of location, talking about how people see the world, with 'hatred and greed', again the comparison and the juxtaposition between the mise-en-scene of the light and happiness to what he is saying, so the audience focus on the the happiness of the mise-en-scne, brings out the romantic, 'focusing on love is everywhere'.
Love actually 'is' all around work 'is' is in read to emphasis that this film will be about love and relationships,
Love actually 'love' is in red typography focusing on the work so that the audience get the expectation of the films genre. 'Love' is in red to represent romance and passion.
The film title then fades to a black background, then changes to Bill Mack played by Bill Nighy in a rather colourful shirt, sitting in a recording studio, signing 'Love is all around' by 'Wet Wet Wet', which they are recording, however apparently signing the wrong words, the second time he gives a serious of curses, as they are turning it into a Christmas song, giving a sense of date. Speak slurred slightly give the impression that he is a rugged, on the out sort of music star.
The scene then changes to an establishing shot of the London eye and houses of parliament. then changes to a scene of a department story with Christmas trees a decorations, which then says its 5 days to Christmas. few shots of London, again reinforces location and date.
Jamie Bennett played by Colin Firth searching through a draw looking for something saying hes gonna be late, then shows Jaimie's girlfriend.
Liam Neeson who plays Daniel talking on the phone about his wife who has just died, to Karen played by Emma Thompson, Daniel says he will call back later. Then it switches to Karen's daughter who says she is going to be a lobster in the nativity play, which adds humour to the film.
Colin Frissell played by Kris Marshal, who is giving out food in the office making sexual innuendos, portraying him as a jokey character.
Scene again switches to a grand location, introduced to John played by Martian Freeman and Judy. Who are stand ins for a sex scene in a movie.
The Scene changes again to a wedding introducing Mark played by Andrew Lincoln Peter's best friend and best man and Peter played by Chiwetel Ejiofor the groom. Peter asks if there are any surprises like the stag night, to which he replies unlike the stag night. Which is relived that their were prostitutes which turned out to be men. The bride is then relieved Juliet played by Keira Knightley.
The scene changes for the final time to the front of number 10 downing street, with a silver car pulling up of which Hugh Grant steps out of and walks into number 10, who is revelled to be the prime minster.
Each cut scene introduces the characters that the film will be following, and they give the audience gratification of a romantic comedy, but also the lack of information that is given, keeps the audience wanting to know more about everyone's life's and what part they have to play in the plot.
White typography is used to give the sense of purity whilst the titles are rolling, with the first letter of the actors first names being red, but quickly fading to white, which relates back to the typography of the title.However the red and white could also represent that with love opposites attract which is connoted by the typography. Also the typography is close together to give the sense of togetherness which relates to the plot.
http://www.youtube.com/watch?v=_saCHD4Wzqk&feature=related
Tuesday, 14 December 2010
Wednesday, 8 December 2010
'Love on the line animation'
A little animation I created in my spare time, which could be used in our opening title sequenc
Love on the Line Treatment
For displaying our treatment we have kept in mind the codes and conventions for a romantic comedy, portraying our understanding of the genre, through the use of typography and music.
Institution Research
Touchstone Pictures, established in 1984, is one of several film labels of The Walt Disney Company.
Touchstone Pictures is merely a label and does not exist as a separate company: the two companies behind it are the Walt Disney Motion Pictures Group and Walt Disney Pictures and Television.
Touchstone has produced Romantic comedies such as 'The proposal', 'When in Rome', 'Confessions of a Shopaholic', 'Calender girls', 'Runaway Bride', '10 Things I hate about you' and 'Pretty Woman'.
Paramount Pictures is an American film production and distribution company, located a in Hollywood, it was founded in 1912 and currently owned by Viacom, and it is America's oldest existing film studio. It has made romantic comedies such as 'Breakfast at Tiffany's', 'She's out of my League' and 'The Love Guru'. Though this film company has distributed and produce many films, most of the films seem to be horror/thriller or children's movies.
Working Tile Films is a British film production company, based in London The company was founded in 1983 by Tim Bevan and Sarah Radclyffe. Working Titles has produced a Number Of British Romantic Comedies such as 'Four Weddings and a Funeral', 'Love Actually' , 'Notting Hill' and 'Bridget Jones Diary'. Making this institution well know for making British Romantic comedies. This Would be an excellent choice to distribute/ produce our film as it is a well know British company, which has produced excellent romantic comedies.
Analysis of Contemporary titles/Openings vs older titles/openings
For my analysis of contemporary titles/openings vs older, I have chosen two romantic comedy films which relate to our chosen genre. I have chosen 'Breakfast at Tiffany's' produced in 1961 starring Audrey Hepburn, and 'The Proposal' produced in 2009 starring Sandra Bullock.
Breakfast at Tiffany's starts out with soft music Non-diegetic, which relates the quietness of new York in the early hours of the morning while portraying a sense of sophistication towards the main character , then a shot of a street in new York, with a taxi pulling up which gives a sense of location to the audience. Then a young well dressed woman getting out at Tiffany & co, walking up to the window and then begins to eat a pastry and drink coffee. Then shows her walking away.
Even though the shots and mise-en-scene are quite simplistic, you do get a lot of detail about the character. Especially on her behaviour, she is a well of and she has a high place in society which is shown by the clothes she wears.
In contrast to to Breakfast at Tiffany's the Proposal uses a lot of different shots to show the comparisons of the two protagonists lives. How they are different, behaviour, life style and personality wise, which brings to mind the quote 'opposites attract'.
The Male protagonists is shown in this opening title sequence in comparison to Breakfast at Tiffany's, where Audrey Hepburn is the only character shown, however he is portrayed differently to the female protagonist who is organised and collected, where as the male protagonist is walking up late and running around New York city. Also the non-diegetic sound of the music is different to that used in Breakfast at Tiffany's, which is more upbeat and relates to the hustle and bustle of New York City.
The typography used in Breakfast at Tiffany's is large and sophisticated in a gold colour again could represent the fact she is well off and is in high society. In comparison small bold text is used which is in white, could again relate to the busyness of New York and the fact that it is a large city.
Breakfast at Tiffany's starts out with soft music Non-diegetic, which relates the quietness of new York in the early hours of the morning while portraying a sense of sophistication towards the main character , then a shot of a street in new York, with a taxi pulling up which gives a sense of location to the audience. Then a young well dressed woman getting out at Tiffany & co, walking up to the window and then begins to eat a pastry and drink coffee. Then shows her walking away.
Even though the shots and mise-en-scene are quite simplistic, you do get a lot of detail about the character. Especially on her behaviour, she is a well of and she has a high place in society which is shown by the clothes she wears.
In contrast to to Breakfast at Tiffany's the Proposal uses a lot of different shots to show the comparisons of the two protagonists lives. How they are different, behaviour, life style and personality wise, which brings to mind the quote 'opposites attract'.
The Male protagonists is shown in this opening title sequence in comparison to Breakfast at Tiffany's, where Audrey Hepburn is the only character shown, however he is portrayed differently to the female protagonist who is organised and collected, where as the male protagonist is walking up late and running around New York city. Also the non-diegetic sound of the music is different to that used in Breakfast at Tiffany's, which is more upbeat and relates to the hustle and bustle of New York City.
The typography used in Breakfast at Tiffany's is large and sophisticated in a gold colour again could represent the fact she is well off and is in high society. In comparison small bold text is used which is in white, could again relate to the busyness of New York and the fact that it is a large city.
Crime Thriller Genre Research Case Study 2
Crime films focus on actions of criminals, particularly bank robbery, confidence trickery, Murder and theft.
Crime films often highlight the crime figure, victims or the law enforcement and follow the story methodical and the main character or characters, trying to escape or capture the criminal.
Crime thrillers also use suspense, tension, and excitement to keep the audience on "edge of their seats" as the plot gets closer to the climax.
Tension rises when the character is placed in a menacing/dangerous situation such as escaping or confronting the cops/criminal, life is threatened.
Crime thrillers most of the time take place in ordinary suburbs or cities, which makes the film seem more realistic and makes the audience relate to the location and characters more.
Example of Crime Thrillers are Lock, Stock and Two Smoking Barrels and Se7en. Each are set in ordinary cities. Lock Stock however take the narrative point of view of the criminal while in comparison Se7en narrative takes the point from the law enforcement side. Lock, Stock also takes a slight comical sub-genre, while Se7en is a very serious crime thriller.
Crime films often highlight the crime figure, victims or the law enforcement and follow the story methodical and the main character or characters, trying to escape or capture the criminal.
Crime thrillers also use suspense, tension, and excitement to keep the audience on "edge of their seats" as the plot gets closer to the climax.
Tension rises when the character is placed in a menacing/dangerous situation such as escaping or confronting the cops/criminal, life is threatened.
Crime thrillers most of the time take place in ordinary suburbs or cities, which makes the film seem more realistic and makes the audience relate to the location and characters more.
Example of Crime Thrillers are Lock, Stock and Two Smoking Barrels and Se7en. Each are set in ordinary cities. Lock Stock however take the narrative point of view of the criminal while in comparison Se7en narrative takes the point from the law enforcement side. Lock, Stock also takes a slight comical sub-genre, while Se7en is a very serious crime thriller.
Genre Mind Maps: Evidence Of Planning
Mind Maps of the genres we considered for our media coursework.
Romantic Comedy: Genre Research Case Study 1
Romantic comedies are sometimes know as 'rom coms' or chick flicks. Romantic comedies are a sub genre of comedy. Romantic comedies are based around the ideas of romance, and the quote 'true love conquers all'. Romantic comedies however put a spin on this, when humorous plot lines come into the equation.
The basic plot line for a romantic comedies is that there are two protagonists, usually a man and a women,who meet, then have to overcome obstacles, this is where the comedy is portrayed, then they reunite together. Leading ultimately to a happy ending, the protagonists don't always have to marry each other but they must have a 'happily ever after', to meat the expectations of a romantic comedy.
For example of this genre I have chosen the trailers from Valentines Day, Leap Year and Four Weddings and a Funeral.
Hugh Grant stereotypical stars mostly in romantic comedies, he has starred in Notting Hill, Music and Lyrics, Love Actually and 4 Weddings and a Funeral. Therefore he has become a very iconic image for the romantic comedy genre.
The basic plot line for a romantic comedies is that there are two protagonists, usually a man and a women,who meet, then have to overcome obstacles, this is where the comedy is portrayed, then they reunite together. Leading ultimately to a happy ending, the protagonists don't always have to marry each other but they must have a 'happily ever after', to meat the expectations of a romantic comedy.
For example of this genre I have chosen the trailers from Valentines Day, Leap Year and Four Weddings and a Funeral.
Hugh Grant stereotypical stars mostly in romantic comedies, he has starred in Notting Hill, Music and Lyrics, Love Actually and 4 Weddings and a Funeral. Therefore he has become a very iconic image for the romantic comedy genre.
General Research Into Title Sequences
The Opening credit of a title sequences are important as they tell us the genre, to form the expectations of the audience.
The opening credits give fundamental amount of detail, they introduce the main/key characters to the audience, their personality how they act, how they behave, their ideologies, principles, etc all through the opening titles. The setting and era are also shown in the opening titles to give the audience a sense of time and place.
Again the opening credits also sets up an expectation or a mood. The mood of the film relates to the genre, for example a horror film like 'Sorority Row'. Which portrays a certain atmosphere through the use of mise-en-scene, diegetic sound, and the contrast between the very beginning part of the opening credits, where the atmosphere its eerie and oppressive, compared to the party sequence, where its almost like the calm before the storm, as they are having a good time. Yet hand-held camera is used to create the image that someone is walking round the house, to keep the eerie atmosphere in place.
In the opening credit Institutional information is given, such as director, produce, studio etc. Sometimes the audience can tell what the genre of the film might be by the director, since he/she might have produced films of the same genre as before.
Also Opening credits grabs the audience, so but doesn't give the story away. The opening credits give hints to what the narrative might include, for example Se7en does this, through the use of mise-en-scene, like the photographs, the colour desaturation, the crossed out faces. Yet it doesn't give the plot away to the audiences and keeps them in suspense by leaving questions on their minds.
The opening credits give fundamental amount of detail, they introduce the main/key characters to the audience, their personality how they act, how they behave, their ideologies, principles, etc all through the opening titles. The setting and era are also shown in the opening titles to give the audience a sense of time and place.
Again the opening credits also sets up an expectation or a mood. The mood of the film relates to the genre, for example a horror film like 'Sorority Row'. Which portrays a certain atmosphere through the use of mise-en-scene, diegetic sound, and the contrast between the very beginning part of the opening credits, where the atmosphere its eerie and oppressive, compared to the party sequence, where its almost like the calm before the storm, as they are having a good time. Yet hand-held camera is used to create the image that someone is walking round the house, to keep the eerie atmosphere in place.
In the opening credit Institutional information is given, such as director, produce, studio etc. Sometimes the audience can tell what the genre of the film might be by the director, since he/she might have produced films of the same genre as before.
Also Opening credits grabs the audience, so but doesn't give the story away. The opening credits give hints to what the narrative might include, for example Se7en does this, through the use of mise-en-scene, like the photographs, the colour desaturation, the crossed out faces. Yet it doesn't give the plot away to the audiences and keeps them in suspense by leaving questions on their minds.
Wednesday, 24 November 2010
Se7en: Title Sequence Analysis
Se7en is a 1995 American film directed by David Fincher. The opening titles were designed by Kyle Cooper.
At the very beginning of the opening sequence we are give a look in to the character of Detective Lt. William Somerset who is played by Morgan Freeman through the use of representation and mis-en-scene. Detective Somerset is shown in the kitchen facing the sink, cleaning up coffee, wearing a white shirt and his surroundings mostly white. This could represent the image of justice as he is a detective but also purity. When you look at the window the light seems a blue in colour which in contrast with the white surrounding could represent the coldness of the world outside his apartment.
In the corner of the screen there is a chess set which could connote that he is a strategic thinker who is a step ahead, he is intelligent or could refer to the film being like a game of chess, him against the serial killer.
The tilt up of the character face, as he is tying his tie, revels the main character and how his behaviour will be, and the mood of the film will be due to his serious expression.
A close up of the table shows his badge, his pocket knife, his pen, etc. All lined up in a row, shows that he is a methodical persons. The shot of him flick the dust of his jacket represents he is observant, which is reinforced when he is walking around the crime scene, talking to the other detective at the scene.
Somerset is also portrayed as a person that care which is represent when he is asking question like if the child saw the murder take place, where the other detective reacts asking what kind of question is that. This again could also represent Somerset's attention to detail and observation.
The audience are also then introduced to Detective David Mills played by Brad Pitt, who is chewing gum, which could represent him as a cocky character, which is reinforced when Somerset and Mills step out side, after the body has been bagged, with Mills ignoring Somerset about going to a bar and continuing on about transferring and being dumper on a case in the morning of his arrival.
Somerset then asks Mills why him why he transferred, to which Mills replays cocky. To which Somerset puts him in his place, by saying that the previous work with homicides is different to where he has transferred to, to which replays he understands that. Somerset then mentions a key point, about how for the next 7 days he will remember that. This is a key point about the plot as the murders occurs over a period of 7 days, 1 per day.
The shot then jumps to Somerset reading in bed, again which represents him being intellectual. For a brief period as Somerset takes of his glasses, you can hear an argument and the street and dogs barking, which represents and conveys the image that the town is dangerous somewhat.
Somerset then reaches over to the start metronome, which ticking emphasizes the silence and the ominous atmosphere, also the dolly moving towards Somerset's face could emphasise the killer/murder coming in closer.
The scene then jumps to the title sequence which shows a close up of an empty book and a shadowy/ blurry had flicking the pages. The typography is distorted and sketchy, which could represent the murders state of mind and the the sound of the rewinding tape, could represent the killers mind replaying the same thing over in his head. The lack of colour in the opening sequence also represents the killers state of mind, dark and unfocused on reality.
The attempting scarring of the finder prints and the crossing out of a man's face could suggest he is trying to erase himself, or trying to hide who he really is.
The book the killer is compiling could suggest he is planning something, by complying photos of dead people and negatives. There are references in the opening sequence to surgery methods, such as the stitching of the book and using the scalpel and tweezers to remove the word god. The word cutting out of the word god is also symbolic suggests that he is religious and suggests the killings and religion are related. This is backed up as the killings might bring the killer 'closer to god', which is a voice over at the end of the sequence.
In the corner of the screen there is a chess set which could connote that he is a strategic thinker who is a step ahead, he is intelligent or could refer to the film being like a game of chess, him against the serial killer.
The tilt up of the character face, as he is tying his tie, revels the main character and how his behaviour will be, and the mood of the film will be due to his serious expression.
A close up of the table shows his badge, his pocket knife, his pen, etc. All lined up in a row, shows that he is a methodical persons. The shot of him flick the dust of his jacket represents he is observant, which is reinforced when he is walking around the crime scene, talking to the other detective at the scene.
Somerset is also portrayed as a person that care which is represent when he is asking question like if the child saw the murder take place, where the other detective reacts asking what kind of question is that. This again could also represent Somerset's attention to detail and observation.
The audience are also then introduced to Detective David Mills played by Brad Pitt, who is chewing gum, which could represent him as a cocky character, which is reinforced when Somerset and Mills step out side, after the body has been bagged, with Mills ignoring Somerset about going to a bar and continuing on about transferring and being dumper on a case in the morning of his arrival.
Somerset then asks Mills why him why he transferred, to which Mills replays cocky. To which Somerset puts him in his place, by saying that the previous work with homicides is different to where he has transferred to, to which replays he understands that. Somerset then mentions a key point, about how for the next 7 days he will remember that. This is a key point about the plot as the murders occurs over a period of 7 days, 1 per day.
The shot then jumps to Somerset reading in bed, again which represents him being intellectual. For a brief period as Somerset takes of his glasses, you can hear an argument and the street and dogs barking, which represents and conveys the image that the town is dangerous somewhat.
Somerset then reaches over to the start metronome, which ticking emphasizes the silence and the ominous atmosphere, also the dolly moving towards Somerset's face could emphasise the killer/murder coming in closer.
The scene then jumps to the title sequence which shows a close up of an empty book and a shadowy/ blurry had flicking the pages. The typography is distorted and sketchy, which could represent the murders state of mind and the the sound of the rewinding tape, could represent the killers mind replaying the same thing over in his head. The lack of colour in the opening sequence also represents the killers state of mind, dark and unfocused on reality.
The attempting scarring of the finder prints and the crossing out of a man's face could suggest he is trying to erase himself, or trying to hide who he really is.
The book the killer is compiling could suggest he is planning something, by complying photos of dead people and negatives. There are references in the opening sequence to surgery methods, such as the stitching of the book and using the scalpel and tweezers to remove the word god. The word cutting out of the word god is also symbolic suggests that he is religious and suggests the killings and religion are related. This is backed up as the killings might bring the killer 'closer to god', which is a voice over at the end of the sequence.
Smashing Magazine: The Art Of Film Title Design Throughout Cinema History
http://www.smashingmagazine.com/2010/10/04/the-art-of-the-film-title-throughout-cinema-history/
1. Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. Distinct from these inter-titles was the film’s main title, a vehicle of particular concern to film producers because of the legal, copyright and marketing information this footage had to bear.
So this was the beginning of typography, and how it was used to explain a narrative, similar to how text is used to give the audience expectation about the genre in the opening credits.
2. A great draftsman and visual storyteller, Saul Bass ran the gamut of techniques for his title sequences: montage, live action, cut-out paper animation, typography in motion, to name a few. Whatever technique he used, Bass summarized the film as a metaphor that often shone with creativity.
Similar to how Richard Morrison and Kyle Copper, create a vision or tell a story via the opening credits to give the audience some insight to what they are about to watch, through the use of theses techniques.
3. Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do.
Changed the way titles are created by embracing the new technology of computers and graphics, Kyle Cooper wasn't the only one to do this, Richard Morrison also embraced it over his 30-40 year career span.
4. Throughout the history of cinema, film titles has evolved with the film industry, as well as with social trends and fashion movements. But the measure of a title design’s quality is the same now as it was in the silent era. Whatever function they perform, titles remain an essential part of film
So as technology and times have changed, opening title sequences have changed to accommodate it to appeal to the audiences to give the audience expectation of the genre and to reveal small parts of the narrative. However it still plays an important role in any film and that is the same way through out history.
5. The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.
So through typography and digital graphics, designers such as Susan Bradley produce metaphoric imagery to tell and exciting story through their opening sequences by using a manner of different tools and approaches. Which has evolved from the typography used in silent movies.
1. Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. Distinct from these inter-titles was the film’s main title, a vehicle of particular concern to film producers because of the legal, copyright and marketing information this footage had to bear.
So this was the beginning of typography, and how it was used to explain a narrative, similar to how text is used to give the audience expectation about the genre in the opening credits.
2. A great draftsman and visual storyteller, Saul Bass ran the gamut of techniques for his title sequences: montage, live action, cut-out paper animation, typography in motion, to name a few. Whatever technique he used, Bass summarized the film as a metaphor that often shone with creativity.
Similar to how Richard Morrison and Kyle Copper, create a vision or tell a story via the opening credits to give the audience some insight to what they are about to watch, through the use of theses techniques.
3. Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do.
Changed the way titles are created by embracing the new technology of computers and graphics, Kyle Cooper wasn't the only one to do this, Richard Morrison also embraced it over his 30-40 year career span.
4. Throughout the history of cinema, film titles has evolved with the film industry, as well as with social trends and fashion movements. But the measure of a title design’s quality is the same now as it was in the silent era. Whatever function they perform, titles remain an essential part of film
So as technology and times have changed, opening title sequences have changed to accommodate it to appeal to the audiences to give the audience expectation of the genre and to reveal small parts of the narrative. However it still plays an important role in any film and that is the same way through out history.
5. The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.
So through typography and digital graphics, designers such as Susan Bradley produce metaphoric imagery to tell and exciting story through their opening sequences by using a manner of different tools and approaches. Which has evolved from the typography used in silent movies.
Richard Morrison: Title sequence designer
Richard Morrison is and iconic title sequence designer, who's career spans over 30 years, with more than 100 feature film title sequences created.
Morrison started his carreer working at a production studio where he ran into Maurice Binder. He assisted Binder with the production of the main title sequence of one of the Bond movies, this led him to pursue movie title design.
He got his first break in 1979, when director Franc Roddam asked him to design the main title for Quadrophenia.
Morrison's has also worked with notable directors include Tim Burton, Terry Gilliam, Jean-Jacques Annaud, David Lean, Stephen Frears, Kenneth Branagh, Ridley Scott, and Nicolas Roeg.
After having run the design and production company 'Plume' for more than twenty years, Morrison founded Fig Productions in 1998.
In 2007, he joined the animation and mixed media production company Th1ng in London.
One of the character traits that defines Morrison as a designer is his ability to connect to people, he also intuitively understands what a project needs. He is not just a designer, but a storyteller aswell.
Morrison has designed title sequences for: Castaway, Tamara Drewe, Sweeney Todd: The Demon Barber of Fleet Street and Batman (1989)
Richard Morrison quoted: “there is a limitless world of creativity”.
Catalogue of work
Sweeney Todd
Through the use of saturated colours, the blacks and the dark blues of the opening title sequence, gives a dark and omious atmosphere, through the silhouette buildings, the auedience can see this will be set in a city.
High angle shot through the window gives a sense of power over the situation, in almost a god-like fashion, could relates to Sweeney Todd's character having control over peoples deaths.
A splash of blood it highlighted significantly in contrast to the black surrounding, curiosity and the eerie tone music is keeping the audience on their seats.
Blood oozzing of the walls, disfigured silhouette, again contributes to the atmosphere and tone of the films, maybe linking in to the characters disfigured mind.
The process in which sweeney todd uses to get rid of the bodies, showing giving small hints into the plot of the film, keeping the audience on their seat.
Richard Morrison Interview
http://www.watchthetitles.com/articles/00193-Richard_Morrison_interview
Morrison started his carreer working at a production studio where he ran into Maurice Binder. He assisted Binder with the production of the main title sequence of one of the Bond movies, this led him to pursue movie title design.
He got his first break in 1979, when director Franc Roddam asked him to design the main title for Quadrophenia.
Morrison's has also worked with notable directors include Tim Burton, Terry Gilliam, Jean-Jacques Annaud, David Lean, Stephen Frears, Kenneth Branagh, Ridley Scott, and Nicolas Roeg.
After having run the design and production company 'Plume' for more than twenty years, Morrison founded Fig Productions in 1998.
In 2007, he joined the animation and mixed media production company Th1ng in London.
One of the character traits that defines Morrison as a designer is his ability to connect to people, he also intuitively understands what a project needs. He is not just a designer, but a storyteller aswell.
Morrison has designed title sequences for: Castaway, Tamara Drewe, Sweeney Todd: The Demon Barber of Fleet Street and Batman (1989)
Richard Morrison quoted: “there is a limitless world of creativity”.
Catalogue of work
2010 'Tamara Drewe'
2008 Vantage Point
2007 Sweeney Todd: The Demon Barber of Fleet Street
2007 The Golden Compass
2007 Sleuth
2007 Confessions of a Diary Secretary
2006 As You Like It
2006 These Foolish Things
2006 Perfect Creature
2005 A Very Social Secretary
2005 Tideland
2005 The Constant Gardener
2005 Valiant
2004 Seed of Chucky
2004 Oyster Farmer
2004/I Creep
2004 Ella Enchanted
2004 Two Brothers
2003 The Dreamers
2003 Girl with a Pearl Earring
2003 Vacuums
2002 9 Dead Gay Guys
2002 The Magnificent Ambersons
2001 High Heels and Low Lifes
2001 Enemy at the Gates
2001 Je t'aime John Wayne
2001 Sword of Honour
2001 Phoenix Blue
2000 Vertical Limit
2000 The Last of the Blonde Bombshells
2000 Mad About Mambo
2000 Honest
2000 Circus
2000 Nora
2000 High Fidelity
1999 Running Free
1999 Guest House Paradiso
1999 My Life So Far
1999 This Year's Love
1998 Hideous Kinky
1998 Get Real
1997 Spice World
1997 Seven Years in Tibet
1997 Event Horizon
1996 Trojan Eddie
1996 Small Faces
1996 Witness Against Hitler
1995 Copycat
1995 Hackers
1994 War of the Buttons
1994 A Good Man in Africa
1994 Tom & Viv
1994 Golden Gate
1993 The Hour of the Pig
1993 The Innocent
1993 Great Moments in Aviation
1992 The Silent Touch
1992 Wuthering Heights
1992 Dakota Road
1992 The Long Day Closes
1992 City of Joy
1992 Split Second
1992 Blame It on the Bellboy
1992 The Bridge
1991 K2
1991 Twenty-One
1991 Meeting Venus
1991 The Miracle
1991 December Bride
1990 Memphis Belle
1990 Chicago Joe and the Showgirl
1990 Nuns on the Run
1990 The Reflecting Skin
1990 Strike It Rich
1990 Ladder of Swords
1989 The Wolves of Willoughby Chase
1989 We're No Angels
1989 All Dogs Go to Heaven
1989 Diamond Skulls
1989 Batman
1989 Venus Peter
1989 Joyriders
1989 Resurrected
1989 Killing Dad or How to Love Your Mother
1988 High Spirits
1988 Madame Sousatzka
1988 We Think the World of You
1988 War Party
1988 Distant Voices, Still Lives
1988 Paperhouse
1988 Some Girls
1988 A Fish Called Wanda
1988 A World Apart
1988 Pascali's Island
1988 The Fruit Machine
1988 For Queen & Country
1988 Soursweet
1988 Track 29
1988 Little Dorrit
1988 The Nature of the Beast
1988 Vroom
1987 Someone to Watch Over Me
1987 A Month in the Country
1987 Aria
1987 The Whales of August
1987 Hellraiser
1987 On the Black Hill
1986 Castaway
1986 The Mission
1986 Link
1986 Rita, Sue and Bob Too!
1985 A Chorus Line
1985 The Good Father
1985 Return to Oz
1985 Brazil
1984 A Passage to India
1984 The Killing Fields
1984 Crimes of Passion
1984 Cal
1984/I The Frog Prince
1984 Laughterhouse
1983 Bullshot
1983 Loose Connections
1982 Gandhi
1982 Moonlighting
1979 Quadrophenia
Sweeney Todd
Through the use of saturated colours, the blacks and the dark blues of the opening title sequence, gives a dark and omious atmosphere, through the silhouette buildings, the auedience can see this will be set in a city.
High angle shot through the window gives a sense of power over the situation, in almost a god-like fashion, could relates to Sweeney Todd's character having control over peoples deaths.
A splash of blood it highlighted significantly in contrast to the black surrounding, curiosity and the eerie tone music is keeping the audience on their seats.
Blood oozzing of the walls, disfigured silhouette, again contributes to the atmosphere and tone of the films, maybe linking in to the characters disfigured mind.
The process in which sweeney todd uses to get rid of the bodies, showing giving small hints into the plot of the film, keeping the audience on their seat.
Richard Morrison Interview
http://www.watchthetitles.com/articles/00193-Richard_Morrison_interview
Tuesday, 23 November 2010
Continuity Piece- Gossip
What did you find difficult about this task?
I found using the editing program difficult, since it was a different program to the one I am use to.
What new skills have you acquired or developed?
I gave gained new knowledge about cinematography, and how and why the 180 degree rule is used. Also have gained a very small amount of knowledge on how the program works.
What worked well?
I think working together to try and solves problems that we came across, also the fact that we knew what we were doing when we were filming.
What could you or your team have done better?
We could have been more effective at using the editing software but we overcome that problem.
Monday, 22 November 2010
Media Research: Opening Titles of a Specific Genre
Love actually: http://www.youtube.com/watch?v=B3GWzLpkVdg&feature=related
Bridget Jones's Diary: http://www.youtube.com/watch?v=0D0zfB1l1x0
In media yesterday we were looking at various opening of films, that relate to the genre we wish to use for our coursework piece. My Group decided to chose Romantic-Comedy as the genre for our piece, due to the practicality. The Film Openings I looked at were:
The Proposal
10 Things I hate about you
Bridget Jones's Diary
4 weddings and a funeral
Love Actually
I found that they were all very similar, each started of with a soft soft of song, which gives the audiences the expectation of romance,except for 10 things I hate about you which had a contrast with 'One Week by barenaked ladies' and 'Bad reputation by Joan Jett' to show the divide between students., however the Mise en scène of how the actor portray the character in a comical way for example Bridget Jones's Diary.
Through the Mise en scène, the audience is given the expectation of a comedy, while the music gives an expectation of love, except for 10 things I hate about you.
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