With the amount of media we are shown every day, to be willing to sit down for two hours and say to the film makers “alright then, you have 120 minutes of my life” is no small feat. Not to mention that we have conditioned ourselves into jumping from topic to topic, idea to idea, advertisement to advertisement, resulting in diminished attention spans.
So when that 120 minutes starts up, the first three or four might be some of the most important. If the opening credits to a film bore us, we would be forgiven for feeling the whole film will be boring. If they’re exciting and manage to push our cart to the top of an emotional roller-coaster, then there we’ll be, sitting at the edge of our seats, strapped in, waiting to be thrown around.
Ian Albinson and Alex Ulloa are two who enjoy that roller-coaster and have the discussions about the notebooks. The two behind the immensely addictive site The Art of the Title Sequence have a passion for those opening moments and regularly show some of the best to have been created.
They were kind enough to give me a few moments of their time and provide one of those interviews you wish never really ended.
What is it that good title sequences share?
A: They are original in a way that is either daring and challenging, or clever and wonderful. They are always thoughtful; even those with raging adrenaline and nervy force have a thoughtfulness to them.
I: Almost all tell a story, however straightforward or abstract they may be.
It seems like title sequences are to Se7en as branding is to the FedEx logo (and it’s white-space arrow) – why do you think the opening credits to Se7en serve as a suitable gateway drug to explaining the world of title sequences, as the FedEx logo does to explaining branding?
A: Because they were both lucky and smart. Have you seen Man on Wire (note this: much of life relates back to Man on Wire)? When the physicality of Philippe Petit stretches and lays amongst the clouds in actual manifestation of a man realizing-and-soaking-in-and-being-playful-with His Dream we understand—once we’re over the drunken thrill of this incredible moment—that this man was smart, but he was also lucky enough to have existed at a moment in history where twin monuments were being built. So goes the opening title sequence for Se7en (the film itself being the rare example of every collaborative element, which is to say the whole of it, was executed to perfection), this new standard in title sequences equalled the film and the film delivered the brilliant tonal darkness promised in the sequence. That sequence and the classic example you provided in the FedEx logo have a depth and thoughtfulness to the ‘communicative attributes‘ within. Thank you for the question; because of it I revisited a posting I hadn’t thought of in years.
This new standard in title sequences equalled the film