#TITLE SEQUENCE IN SCRIPT MOVIE#

Yeah, hopefully it's a little more abstract than that though. You seem to use the idea of a prologue a lot: Se7en is a prologue, The Game is a prologue. It was oddly problematic, you just needed a sense of what these guys were up against. We also lacked the feeling of John Doe, the villain, who just appeared 90 minutes into the movie.

He was making his way back to the unnamed city from the unnamed suburban sprawl, and that's where the title was supposed to be – “insert title sequence here” – but we didn't have the money to do that. The sequence for Se7en did very important non-narrative things in the original script there was a title sequence that had Morgan Freeman buying a house out in the middle of nowhere and then travelling back on a train. That’s when they stand out.Īnd that’s informed your own approach to titles, obviously.ĭefinitely.

#TITLE SEQUENCE IN SCRIPT MOVIE#

Yeah, I can’t think of many great title sequences to movies that I dislike, so it’s as much about it being a good title sequence as it is about it being a movie that I enjoyed.

So it’s less about the sequence and more about your experience with the film overall? The film was such a revolution in terms of thinking about the Western and in terms of buddy movies! I look at that movie and its title sequence and I think, “That was a scene in the film – that was written in the script – but it was used in a completely different way.” They decided maybe it was too dour or negative, that maybe the ending would be more provocative without teeing up the events. It’s a beautiful idea for a scene and it also made for an amazing title sequence because it set up the idea of the Western as something we’ve come to know through the movies. It featured Katharine Ross, Redford, and Newman in Bolivia, where they see a film about their own exploits. You know, Butch Cassidy & the Sundance Kid has an amazing title sequence that was originally a sequence in the movie. I wasn’t so much aware of the people that worked on North by Northwestor their importance as much as I was like, “That’s a really interesting way to present something.” I looked at it as part of the entertainment form.ĭirector David Fincher on location for The Girl with the Dragon Tattoo Your films are known to feature interesting title sequences – would you say that you're a fan of titles in general?Ībsolutely! Obviously, all the Saul Bass stuff is really inspiring to me. A viewer might glimpse it amongst the grim ephemera of John Doe’s lair, read it in the semi-cryptic lettering of Zodiac’s title cards, or hear it in Karen O’s discordant howl, but it’s always there, teeing up the audience for what is to come.Īn extended discussion with Director DAVID FINCHER, expanding beyond our first interview for The Girl with the Dragon Tattoo. Sometimes it’s lurking just below the surface, other times it’s an inescapable barrage, hammering into your skull. There’s always a familiar rhythm at work, a recognizable but elusive metre in the mix. Throughout the many disparate worlds and settings of his films, Fincher’s audiovisual prosody remains unmistakable.

The filmmaker’s work inarguably helped kickstart the title design renaissance of the 1990s, a revival that the medium still enjoys to this day.įrom the slumberous doom of Alien³ and the meticulous grotesquery of Se7en to the dreadful reminiscence of The Game, the electrical inner workings of Fight Club, and the majestic imposition of Panic Room, the director’s title sequences are as distinct from one another as they are distinctly the works of Fincher. Perhaps no other living director has done as much for the art of the title sequence as David Fincher.

Title sequence in script