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
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.
Interpretation
A title can evoke emotions and set the tone for a film's story.
Saul Bass emphasizes the significant role of a title in filmmaking, suggesting that it goes beyond mere nomenclature; it acts as a conditioning tool that prepares the audience emotionally for the experience they are about to have. By using metaphorical language, a title can encapsulate the essence of the story and create an initial emotional connection, enriching the viewer's engagement once the film starts.
In practice
In a film studies class when discussing the importance of effective titles.
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.
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.
When I provided the disembodied arm as the logo for 'The Man With the Golden Arm,' it was the first time an advertising-publicity campaign was based on a single symbol. Until then film companies used a variety of symbols and photographs to cover all bets. The concept of using one logo was mine and Otto Preminger's.
I truly believe that the job of an actor and the drive of an actor is simulating the internal journey in life which is to get deeper and deeper into our understanding of who we are.
The bartenders are the regular band of Jack, and the heavenly drummer who looks up to the sky with blue eyes, with a beard, is wailing beer-caps of bottles and jamming on the cash register and everything is going to the beat - It's the beat generation, its béat, it's the beat to keep, it's the beat of the heart, it's being beat and down in the world and like oldtime lowdown.
In difficult times, people just like to hear music. They like to be moved by what they hear. And music speaks different languages.
Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
A street is a story in asphalt - so it's a paradox that the streets are the one place where the movies play fast and loose with continuity, something to which L.A. streets lend themselves as naturally as does the city's psyche.
For me the initial delight is in the surprise of remembering something I didn't know I knew. I have never started a poem yet whose end I knew.
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