Post-War Prosperity

Alvin Lustig

Bradbury Thompson

Corporate Identity

Olivetti and Giovanni Pintori

William Golden

Paul Rand

Film Titles

Saul Bass

Pablo Ferro

Kyle Cooper

Title/Credit Design Videos

Today we’ll look at a lot of great title sequences for movies from the 50s to the 2000s. You also can find a great collection of film titles at artofthetitle.com.

Saul Bass – The Man with the Golden Arm (1955)

Saul Bass – Carmen Jones (1954)

This was the title treatment that first made a name for Saul Bass – simple. The titles are designed to enhance the film, instead of showing off Bass’ often playful style. The flame and its relation to the title grid, and hand-lettered type, are restrained and direct.

Saul Bass – Anatomy of a Murder (1959)

Limited animation over a Duke Ellington-produced jazz soundtrack. The film is about murder and betrayal. The graphic body parts, presented in no certain order, are designed not to make sense. Nothing about this film is predictable, nothing is what it seems.

Saul Bass – North by Northwest (1959)

A Mies van der Rohe-designed building works as a “grid” for elevator-inspired typography.

Saul Bass – Psycho (1960)

Stressful?
Intentional.
In addition to the credits, Bass is known informally for directing, shooting and editing the famous shower scene. Bass’ involvement in directing the sequence is controversial, but when asked in 1974 about his involvement, Bass said, “Hitch will never talk to me again, but what the hell, it’s true!”

Maurice Binder – Dr. No (1962)

Maurice Binder designed most of the titles for the James Bond series, starting with Dr. No in 1962 and ending with Licence to Kill in 1989. Binder’s style evolved over the years, making use of new technologies as they were developed.

That’s not Sean Connery at the beginning – walk on actor Bob Simmons appeared in the “gun barrel” in the first three Bond films.

Robert Brownjohn – Goldfinger (1964)

Maurice Binder wasn’t available, so Robert Brownjohn ended up designing the titles for From Russia with Love and Goldfinger. Projected images and type were part of Brownjohn’s repertoire.

DePatie Freeling – A Shot in the Dark (1964)

The second film in Blake Edwards’ Inspector Clouseau/Pink Panther series featured credits from DePatie Freling Associates – owner Fritz Freling began his career at Warner Bros. Animation in the 1930s.

The animated sequences at the beginnings of the films were so popular, a Saturday morning cartoon series (featuring the Pink Panther, the Inspector and other characters) followed.

Pablo Ferro – Dr. Strangelove (1963)

Pablo Ferro’s hand-lettering for the Stanley Kubrick dark comedy. The titles were so involved and time consuming, spelling errors made it into the final film. It would have been too difficult to correct.

Pablo Ferro – Bullitt (1968)

In the sixties, San Francisco had Frank Bullitt – a cool cop, cool movie, and one of the coolest car chases ever filmed. Of course, the credits had to be cool too.

R/Greenberg Associates – The Untouchables (1987)

The opening titles for The Untouchables were created using traditional frame-by-frame animation and studio photography. The sequence was created without the use of a computer; it took several weeks to shoot.

Pablo Ferro – Beetlejuice (1988)

The Beetlejuice title approach was the forerunner of Ferro’s sequences for the Men in Black movies.

Elane and Saul Bass – Casino (1995)

Bass’ work evolved over the years (and included titles for films such as Alien, Big, War of the Roses, Goodfellas and Doc Hollywood). The Bass style is intact – type in motion relating to the lights of the Las Vegas strip.

Bass continued his print and film work up to the time of his death (from Hodgkin’s lymphoma) in 1996. Casino’s titles was his final sequence.

Daniel Kleinman – The World is Not Enough (1999)

After the death of Maurice Binder in 1991, video director Daniel Kleinman took over as title sequence designer for the James Bond films.

Overall, Kleinman’s titles are an homage to Binder’s earlier title work, but Kleinman continues to evolve the style with the release of each new film.

Kyle Cooper – Se7en (1995)

Kyle Cooper’s landmark title design – disturbing imagery for a disturbing film.

Kyle Cooper – Mimic (1997)

P. Scott Makela – Fight Club (1999)

Computercafe – Panic Room (2002)

Recalling Saul Bass’ elevator titles for North by Northwest.

Kuntzel + Deygas – Catch Me If You Can (2002)

Laundry Design – The Interview (2014)

View at The Art of the Title.