Art Of The Title

This opening sequence really captures what the films messages are all about. Without inputting too much heart into this opening sequence it manages to only relay the harsh realities of war in the most simplistic and heartless way.
This opening shows all aspects of the transportation of firearms around the world and how easy it is to put audiences in the position of an inanimate object and still make them go on a rollercoaster ride of a journey.
All of the characters shown throughout this clim seem to show gourmless faces withut emotion or responisibility about what they are doing. Especially the child getting shot at the end of the clip; he seems to show a lack of pro-activeness to escaping the firefight. This may show how people (even children) see war as commonplace and a part of everyday life.
Throughout this scene the names of the producers, director and actors appear; in that order. The use of the box the bullet is in being put into blackness allows for these names to be shown more clearly.

Art Of The Title - Iron Man

 

 Throughout this opening it really reflects back on the overal theme of the film, technology. The film being based around a highly technologicaly advanced suit.  

The use of having the short clip in the begining of the film with him saying "I am Iron Man", obvioously this is from the timeline of later on in the film, but the way it sets into the opening titles having him turn into an "electroinc" outline of Iron Man poses an enigma for the audience, making them wonder what put him in that situation.

The way in which the camera moves around the pieces of the Iron Man suit with different attributers names appearing kind of disorinate's the viewer but also has them follow the camera making them feel like they are actually moving through and around the suit.

Finally, as the suit progresses from mere pieces into the full suit it shows the progression involvement, for example it starts with people who probably nobody knows, but as the suits becomes recognisable more recognisable names start to appear, such as main characters and directors.

Spencer.

Zombieland art of the title

throughout this opening sequence we see the chaos being shown and what the film is about.....ZOMBIES all the names that are placed in this title sequence happen as a new image comes up or for example when the window is smashed the name appears where the initial break point was.

Art of the Title

If we are going to make an opening based around a thriller/crime genre it would be best to look at similar film openings, this opening is of Dirty Harry a 1971 crime thriller starting Clint Eastwood.

This is a good opening to link to as we decided to have a police officer looking at a crime on a roof, and in Dirty Harry its similar.
This sequence is slow paced and shows a man aiming a rifle at a woman in a swimming pool across two buildings. The music is very eerie, but goes well under the circumstances, as he them shoots the women. Then the scene changes to Inspector Harry Callahan walking up some stairs and inspecting the scene, he then notices the building where the shooter could possibly be, he then walks around that roof top of the other building (during this the camera tracks and pans around showing us all of San Francisco), all while this is happening the credits are being shown to us in simple yellow and black writing.
The music in this scene is very effective as it represents the two characters very well, the eerie music is playing while we see the shooter, and then the cool-calm music is playing when we see Clint Eastwood, whose character is cool and calm for most of the movie.
We could use this technique in our sequence, when showing the inspector we could play either calm music, heroic music, or empathising music, and a creepy dangerous score when showing the villain.

During this sequence the credits appear in this order;


• Warner Bros, a Kinney Company
• Clint Eastwood
• In a Malpaso Company Production
• Dirty Harry
• Co-Starring Harry Guardino Reni Santoi
• Andy Robinson John Larch
• Featuring John Mitchum Lyn Edgington Mae Mercer Ruth Kobart Woodrow Parfrey
• Josef Sommer Maurice S. Argent William Paterson Jo De Winter James Nolan Graig G. Kelly
• And John Vernon as “The Mayor”
• Director of Photography Bruce Surtees
• Art Direction Dale Hennesy Film Editor Carl Pingitore Sound By William Randall Set Decorator Robert DeVestel
• Assistant to the Producer George Fargo Unit Production Manager Jim Henderling Dialogue Supervisor Scott Hale Make Up Supervisor Gordon Bau S.M.A Supervising Hair Stylist Jean Burt Reily C.H.S
• Assistant Director Robert Rubin Wardrobe Glenn Wright
• Filmed In Panavision Technicolor
• Music Lalo Schifrin
• Associate Producer Carl Pingitore
• Executive Producer Robert Daley
• Screenplay by Harry Julian Fink & R.M. Fink and Dean Riesner Story by Harry Julian Fink & R.M. Fink
• Produced and Directed by Don Siegel

As we have a much smaller production team, we will not use as many titles like this one, but we will include the main ones, like the comapany, production, film title, actors and actresses, writers, music, and the director.