Visual Effects: Title Sequence
“For the average audience, the credits tell them there’s only three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren’t interested in. I aim to set up the audience for what’s coming; make them expectant.” Saul Bass (GranneBlog, 2011)
Saul Bass’ aim from the start was to change the way the audience viewed the title sequence. His unique approach to making the title sequence the “movie within the movie” has earned him high recognition in the film industry to the point where he has been referred to as the “master of title sequences” (Pulver, 2013)
Saul Bass was born on the 8th of May 1920 in Bronx, New York. He started out in Hollywood in the 1940s by designing print advertisements. He was discovered by Otto Preminger, the director of The Moon Is Blue (1953), when he did the advertising designs for the film. He then collaborated with him for designing the poster for Carmen Jones, Preminger’s movie in 1954. Preminger was so impressed with Bass' work that he asked him to design the title sequence as well. Saul Bass took this opportunity to change the way the audience viewed the opening sequence and instead enhance the viewing experience while also creating the mood and theme of the film.
Bass had a …show more content…
The lines multiply and strike at awkward, unsettling angles. The title of the film is consists mainly of these four lines, suggesting the many forces hemming in Sinatra’s Frankie from all sides. Finally, appearing along with Preminger’s name credit, the “golden arm” (which actually refers to Frankie’s prowess as a card dealer and not the location of his track-marks) appears as a bent and tortured appendage, reaching out for either redemption or a fix. (Goldsmith,
“For the average audience, the credits tell them there’s only three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren’t interested in. I aim to set up the audience for what’s coming; make them expectant.” Saul Bass (GranneBlog, 2011)
Saul Bass’ aim from the start was to change the way the audience viewed the title sequence. His unique approach to making the title sequence the “movie within the movie” has earned him high recognition in the film industry to the point where he has been referred to as the “master of title sequences” (Pulver, 2013)
Saul Bass was born on the 8th of May 1920 in Bronx, New York. He started out in Hollywood in the 1940s by designing print advertisements. He was discovered by Otto Preminger, the director of The Moon Is Blue (1953), when he did the advertising designs for the film. He then collaborated with him for designing the poster for Carmen Jones, Preminger’s movie in 1954. Preminger was so impressed with Bass' work that he asked him to design the title sequence as well. Saul Bass took this opportunity to change the way the audience viewed the opening sequence and instead enhance the viewing experience while also creating the mood and theme of the film.
Bass had a …show more content…
The lines multiply and strike at awkward, unsettling angles. The title of the film is consists mainly of these four lines, suggesting the many forces hemming in Sinatra’s Frankie from all sides. Finally, appearing along with Preminger’s name credit, the “golden arm” (which actually refers to Frankie’s prowess as a card dealer and not the location of his track-marks) appears as a bent and tortured appendage, reaching out for either redemption or a fix. (Goldsmith,