Graduating with an MFA in Graphic Design from Yale, he was influenced heavily by title designers of the 1960s such as Stephen Frankfurt and undoubtedly Saul Bass. Born in 1962, he has been dubbed the revitalization of the title sequence. Saul Bass’s legacy lives on, especially so in Kyle Cooper. At one point, the lines are like cross-hairs of a gun, foreshadowing the danger that is to come. His early titles are characterized by animated paper cut outs and moving lines, many underscored by the talented composer Bernard Herrmann.įor North by Northwest, the titles are worked into grid-like lines seen at an angle. Instructions were put on the film cans: “Projectionists-pull curtain before film titles.” This intro worked so well that Saul Bass had invented a new art form, and before his death in 1996 he would make over 50 more, for great directors like Alfred Hitchcock, Stanley Kubrick, Otto Preminger and Martin Scorsese. This arm, he knew, was a powerful image meant to be shown to the audience. Saul Bass created a stop-motion paper cut-out animated sequence that turned into the image of a heroin addict’s arm. The film centered on a jazz musician addicted to heroin. He had the opportunity of influencing the narrative with his contribution, saying “I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”īass really changed things with his title sequence for The Man with the Golden Arm. In Hollywood, Bass found himself doing print ads for films until he got the chance to create a title sequence for Carmen Jones. Painting classes by age 15, and later studied at Brooklyn College and the Modernist School of Design.īass’ professional work began in advertising agencies in New York until he moved to Los Angeles in 1948. Saul Bassįirst, some history on Saul Bass. If you thought nobody in the audience pays attention to who makes films today, imagine in a time before DVDs and IMDB as reference, when the credits weren’t even bothered to be shown in the theater. Projectionists only pulled the theaterĬurtains after the credits in the beginning of the film had passed. Before the 50s, credits were not always on display.
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