Showing posts with label title sequence. Show all posts
Showing posts with label title sequence. Show all posts
Monday, February 16, 2009
What Community? #82: Springfield
Title Sequence #11
I'm not even the biggest Simpsons dude, as Carlton and Bill will attest, but this is big. --RWK [via KK + Carlton in group chats]
Sunday, June 29, 2008
Title sequences #10: Paranoia Agent
Satoshi Kon is the man. I wish I'd been in NYC this week. Also, in lieu of the DVD, I recently rewatched Millennium Actress on YouTube. --RWK
Thursday, May 1, 2008
Title sequences #9: Vertigo
It's just gonna turn into a series on Saul Bass if I keep this up. But this one really is great. As is the Bernard Hermann score. No fronting: I would listen to that right now instead of Glenn Gould. --RWK
Wednesday, April 30, 2008
Title sequences #8: INLAND EMPIRE
What Community? #29
Fuck it: I'm giving away the screen shot below. This is seriously one of the great things. Too bad it's best when big and loud and crisp not small and tinny and blurry. Oh well. That's life. --RWK
Tuesday, April 29, 2008
Title sequences #7: He Got Game
What Community? #28
Aaron Copeland never sounded so right. I feel like I should own this movie. Spike Lee's definitely into the kind of America I'm into. --RWK
Monday, April 21, 2008
Title sequences #6: Panic Room
Another Fincher, I know. Seemed fitting, though, given the sequence posted below. Fincher always ups the ante on his heroes. [Sequence by The Picture Mill] --RWK
Title sequences #5: North by Northwest
Blam! One of the most iconic sequences ever. Tell me you aren't ready for some wow after that! [Sequence by Saul Bass] --RWK
Title sequences #4: Catch Me If You Can
Clearly an homage to the guy I've used twice before in #1 and #2. When this started up that first time I saw the picture, I knew it would be a fun, good movie. As Cuy said yesterday, Leo really can carry a film. But, yeah, this sequence does what a lot of the Bass/Hitchcock sequences do, as well as the Pink Panther sequences, which kind of tell you about what Spielberg is after from the get go. Viewed with such inheritances in mind, the picture is even better, I think, since it kind of negates all those silly psycho-biographizing reads. Or, at least, tempers such an impulse. [Sequence by Kuntzel, Deygas, Add-A-Dog Studios and Nexus Productions] --RWK
Title sequences #3: Alien
This one is maybe the best so far. But why? Why is subtlety so much more attractive than flash? Maybe it's just I prefer this kind of insinuation-horror to the plain ugly horror of Se7en. I don't know. The horror genre is still an odd thing for me. All I know is this music is scary, too. Way scarier than Trent Reznor. [Sequence by Saul Bass even though I'm sure Ridley Scott's ad man mind played a part in its design.] --RWK
Title sequences #2: Se7en
This was a favorite movie of mine in middle school and early high school. Now I'm afraid of it. But I still think I'm going to watch the entire David Fincher ouevre in May, and maybe chronicle the adventure, too. Dude has an eye, that's for certain. [Sequence by Kyle Cooper] --RWK
Title sequences #1: Casino
My memory is foggy but it tells me this is the best thing about this movie. However, I think I may like this picture more a second time, if only because I would be more generous. And cuz I'm into the idea of it as an argument for the operatics of cinema. It would be great to see real big and loud in The Nestrick Room. Or, you know, The Castro. [Sequence by Saul and Elaine Bass] --RWK
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