Sunday 4 October 2015

RESEARCH - My favourite films title sequence

My favourite films title sequence

500 Days of Summer: title credits begin at 1.06 (1.46 mins all together)


1.06 - (upbeat speedy piano and singing white text on black background) FOX SEARCHLIGHT PICTURES PRESENT
1.09 - (continued) A WATERMARK PRODUCTION
1.11 - (Half JGL younger face/eye) JOSEPH GORDON-LEVITT
1.17 - (Half ZD younger face/eye) ZOOEY DESCHANEL
1.23 - (both old videos of them as kids) GEOFFREY AREND
1.25 - (continued) CHLOE GRACE MORETZ
1.27 - (continued) MATTHEW GRAY GUBLER
1.33 - (JGL younger video) CLARK GREGG
1.38 - (both JGL and ZD younger videos) RACHEL BOSTON, MINKA KELLY
1.44 - (contuned) CASTING BY EYDE BELASCO, CSA
1.49 - (JGL younger video) COSTUME DESIGNER HOPE HANAFIN
1.55 - (both younger videos) MUSIC BY MYCHAEL DANNA & ROB SIMONSEN
2.00 - (contuned) MUSIC SUPERVISOR ANDREA VON FOERSTER
2.04 - (continued) FILM EDITOR ALAN EDWARD BELL 
2.09 - (continued) PRODUCTION DESIGNER LAURA FOX
2.14 - (continued) DIRECTOR OF PHOTOGRAPHY ERIC STEELBERG
2.29 - (JGL younger video) PRODUCED BY JESSIC TUCHINSKY, MARK WATERS, MASON NOVICK, STEVEN J. WOLFE
2.37 - (ZD younger videeo) WRITTEN BY SCOTT NEUSTADTER & MICHAEL H. WEBER
2.48 - (JGL younger video) DIRECTED BY MARC WEBB 

500 Days of Summer uses a styled title sequence but it follows a simple approach of having the title credits white on a black background. Despite this simplicity (which could seem boring) it is brought to life by having moving images in the background with jolly, upbeat music. The images in the back are videos of the characters when they're young which could spark some memories with the audience. This is effective as it gets the audience thinking and create some sort of emotion, whether its happy or sad. As you can see from above, the production companies are stated first followed by the actors and the rest of the team with the director last. During the whole opening credits the film name is not seen which is quite unusual (maybe it is stated later or earlier).





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