Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
Saul BassRead
Dishonesty in trailers is more than a moral issue, it's a practical one. If you don't deliver in the film what you offered in the trailer, you'll get bad word-of-mouth.
Interpretation
Dishonesty in movie trailers can lead to negative reviews and poor audience reception.
Saul Bass emphasizes that misleading trailers not only compromise ethical standards but also practical outcomes in the film industry. When trailers do not accurately represent the film, the audience may feel deceived, leading to poor word-of-mouth and ultimately harming the film's success.
In practice
Using this quote in a discussion about the importance of honest advertising in film marketing.
Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
In the course of our daily lives, we're bombarded with a barrage of visual messages, some blatantly aggressive, some subtle. The trick is to find a way to break through without adding to the clutter and the ugliness. We have to be responsible about that.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. 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.
I want to make beautiful things, even if nobody cares.
Logos are a graphic extension of the internal realities of a company.
My work on titles was a marvelous opportunity to learn about filmmaking. I think I touched on just about every aspect of the process, both creative and technical. And I worked with many wonderful people.
In a long meter hymn, a singer - they call it 'lays out a line.' And then the whole church joins in in repeating that line. And they form a wall of harmony so tight, you can't wedge a pin between it.
My art flatters nobody by imitation; it courts nobody by smoothness, tickles nobody by petiteness... there is no finish in nature.
Dai Vernon, the greatest sleight of hand figure in the history of the art, rarely performed. But he invented magic and had an enormous influence on the whole range of sleight of hand. And so often, the magic he was doing was to fool other magicians.
Whether you like it or not, a child really connects you to that time when everything's new. It's so important - not just for artistic endeavors, but for humanity.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film β you jump out, you think about the surface, and you don't stay in there with the characters and the story.
I'm looking at a dead event and trying to give it new life. In a sense, I'm a taxidermist.
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