![]() It’s the difference between a timeless title and one that people will watch 5 years from now.” Alan filming for the opening titles for HBO’s “Vinyl.” Image courtesy Imaginary Forces. It would be easier, and far more comfortable, but if it doesn’t perfectly align with the show’s vision then it’s wrong. “If my comfort zone is 3D, using Cinema 4D and photorealistic renders in Octane, I should never try and force the vision of that show through that very narrow pipeline simply because it’s what I’m good at. ![]() ![]() He says the key job of any filmmaker is to draw the audience in, and make them forget they’re watching a TV show or movie.Ī crucial means of achieving that is always serving the project, not yourself. “As a director, one of the greatest compliments you can give me is ‘I had no idea you did these titles,” Alan told us. The best opening TV titles have one important thing in common: the creative directors and teams who make them happen often don’t want you to think about how they were made, or who made them. With that in mind, we took a look at nine iconic modern TV titles to consider what they accomplish, how they do it, and what you can learn from them. But all look to capture something essential about the show they’re guiding us into. Some do it by conveying a show’s theme, concept, characters, tone, and more. “It’s really just giving people a chance to transition back into that world or-if it’s episode one-into that world for the first time by setting a mood and a tone for them that fits with the world and that speaks to the world.” Photo by Jane Allen (courtesy of Patrick Clair)ĭifferent main titles do that in different ways. Patrick Clair accepting Creative Arts Emmy for “True Detective” title sequence. One such designer is Patrick Clair, the creative director behind the openings of American Gods, The Man in the High Castle, The Crown, and True Detective (for which he won an Emmy). We had an opportunity to speak directly with Alan and a number of the leading title designers in the world. “It gets you out of reality and pulls you into the eyes of the storyteller.” “One of its primary functions should be to prepare you - a curtains-rising-and-lights-dimming type of moment - to be told a story.” says Alan Williams, a creative director at Imaginary Forces who created titles for Jessica Jones, Boardwalk Empire and more. When done well, titles serve a fundamental purpose. Whether it’s Six Feet Under, Mad Men, Game of Thrones or Westworld, modern TV titles are more than just visual feasts. We’ve now reached the point where we expect nothing less from a new prestige drama. And with each new show we tackle, we’re treated with a welcome side product of our era of great television: conceptually and visually brilliant opening titles. As soon as we’re done with one, there’s another just waiting for us. We live in a Golden Age of television, ripe with a never-ending bounty of exceptional dramas.
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