Comments on: Bullitt http://www.artofthetitle.com/2008/04/04/bullitt/ Tue, 07 Feb 2012 21:00:00 +0000 hourly 1 http://wordpress.org/?v= By: Allen http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-5416 Allen Sun, 12 Jun 2011 05:23:00 +0000 http://www.artofthetitle.com/?p=42#comment-5416 This conversation was dealing with the title sequence created by Pablo Ferro, who is recognized for his innovative talent as an art director and special effects genius. Again, this was done on film, not AVID or some 3-D program. But your point is extremely valid. Lalo's music was scored for the trailer (I want to check on this one more time, but I think that's what Lalo told me  himself). No, not in the least overlooked. Lalo's music is a prime component to the whole show. Remember, this was Steve's baby. He was more understated as a producer and boy, was he ever sharp in his ability to put together prime talent in the most harmonious way possible. Steve made sure that he had his team in place, and Lalo was not going to be replaced by anyone else for Bullitt. Pablo is a visual artist, who is also and editor, who relies on music to work his miracles. Just look at the trailer that he made for Stanley on A Clockwork Orange. Mandel's work on Being There was what drove the trailer campaign. the Rolling Stones Movie he co-directed and cut with Hal Ashby... No, Pablo Loves Lalo, and we love Lalo; his brilliance as an intuitive composer, who makes the score for the movie punctuate the moments of the scene. His genius for producing the sound in such a way that it seems almost part of the "source" although he knew exactly what he wanted to exemplify in any given scene. Lalo Schiffrin, along with Pablo Ferro and about ten other prime members of the team were all awarded honors by the city of Los angeles, during a screening in Hollywood late last year (2010) promoted by Steve's son and mother. This conversation was dealing with the title sequence created by Pablo Ferro, who is recognized for his innovative talent as an art director and special effects genius. Again, this was done on film, not AVID or some 3-D program.

But your point is extremely valid. Lalo’s music was scored for the trailer (I want to check on this one more time, but I think that’s what Lalo told me  himself).

No, not in the least overlooked. Lalo’s music is a prime component to the whole show.

Remember, this was Steve’s baby. He was more understated as a producer and boy, was he ever sharp in his ability to put together prime talent in the most harmonious way possible. Steve made sure that he had his team in place, and Lalo was not going to be replaced by anyone else for Bullitt.

Pablo is a visual artist, who is also and editor, who relies on music to work his miracles. Just look at the trailer that he made for Stanley on A Clockwork Orange. Mandel’s work on Being There was what drove the trailer campaign. the Rolling Stones Movie he co-directed and cut with Hal Ashby… No, Pablo Loves Lalo, and we love Lalo; his brilliance as an intuitive composer, who makes the score for the movie punctuate the moments of the scene. His genius for producing the sound in such a way that it seems almost part of the “source” although he knew exactly what he wanted to exemplify in any given scene.

Lalo Schiffrin, along with Pablo Ferro and about ten other prime members of the team were all awarded honors by the city of Los angeles, during a screening in Hollywood late last year (2010) promoted by Steve’s son and mother.

]]> By: Stanley Tatum http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-5415 Stanley Tatum Sun, 12 Jun 2011 01:01:00 +0000 http://www.artofthetitle.com/?p=42#comment-5415 I love this sequence. What I think that's overlooked in this conversation is how Lalo Schiffrin's music compliments the titles. It just makes everything about this sequence, "cooler." Sometimes I think the musical element is often missing from most discussions about title sequences.  I love this sequence. What I think that’s overlooked in this conversation is how Lalo Schiffrin’s music compliments the titles. It just makes everything about this sequence, “cooler.”

Sometimes I think the musical element is often missing from most discussions about title sequences. 

]]> By: Allen Ferro http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-5408 Allen Ferro Tue, 07 Jun 2011 18:56:00 +0000 http://www.artofthetitle.com/?p=42#comment-5408 IMHO, The setup of Ross being given a pass by his brother is what was asked for by Steve M. The title sequence delivered provided exactly that. Not in the least "disjointed" if one actually follows the storyline. The art of how it was done on 35 film is apparent. Look at Thomas Crown Affair M.T. another 35mm multi-pass optical (with the internal sequences) conceived and executed rather well. I do find it interesting that many creatives (these days), forget about the process of making a film to include credits, or that the concept is nothing but an after thought. If the sequence is not that important, use white lettering over black like Woody Alan; a valid approach. The goal of "Reel One" is to capture and trap the audience into the story, period. If the first ten minutes of the movie is interrupted by the credits, then you have a problem, especially if their is crucial story and character development relied upon. Yes, it must be entertaining and these days, my head spins with all the over produced CGI used in M.T. sequences. Recently, one that I thought was very well produced and seemless in the construct of the story, was "Zombieland". That's how you make a sequence tie into a story using special effects. The point? The story required it. IMHO, The setup of Ross being given a pass by his brother is what was asked for by Steve M. The title sequence delivered provided exactly that. Not in the least “disjointed” if one actually follows the storyline. The art of how it was done on 35 film is apparent. Look at Thomas Crown Affair M.T. another 35mm multi-pass optical (with the internal sequences) conceived and executed rather well. I do find it interesting that many creatives (these days), forget about the process of making a film to include credits, or that the concept is nothing but an after thought. If the sequence is not that important, use white lettering over black like Woody Alan; a valid approach. The goal of “Reel One” is to capture and trap the audience into the story, period. If the first ten minutes of the movie is interrupted by the credits, then you have a problem, especially if their is crucial story and character development relied upon. Yes, it must be entertaining and these days, my head spins with all the over produced CGI used in M.T. sequences. Recently, one that I thought was very well produced and seemless in the construct of the story, was “Zombieland”. That’s how you make a sequence tie into a story using special effects. The point? The story required it.

]]> By: Allen Ferro http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-5409 Allen Ferro Tue, 07 Jun 2011 18:56:00 +0000 http://www.artofthetitle.com/?p=42#comment-5409 IMHO, The setup of Ross being given a pass by his brother is what was asked for by Steve M. The title sequence delivered provided exactly that. Not in the least "disjointed" if one actually follows the storyline. The art of how it was done on 35 film is apparent. Look at Thomas Crown Affair M.T. another 35mm multi-pass optical (with the internal sequences) conceived and executed rather well. I do find it interesting that many creatives (these days), forget about the process of making a film to include credits, or that the concept is nothing but an after thought. If the sequence is not that important, use white lettering over black like Woody Alan; a valid approach. The goal of "Reel One" is to capture and trap the audience into the story, period. If the first ten minutes of the movie is interrupted by the credits, then you have a problem, especially if their is crucial story and character development relied upon. Yes, it must be entertaining and these days, my head spins with all the over produced CGI used in M.T. sequences. Recently, one that I thought was very well produced and seemless in the construct of the story, was "Zombieland". That's how you make a sequence tie into a story using special effects. The point? The story required it. IMHO, The setup of Ross being given a pass by his brother is what was asked for by Steve M. The title sequence delivered provided exactly that. Not in the least “disjointed” if one actually follows the storyline. The art of how it was done on 35 film is apparent. Look at Thomas Crown Affair M.T. another 35mm multi-pass optical (with the internal sequences) conceived and executed rather well. I do find it interesting that many creatives (these days), forget about the process of making a film to include credits, or that the concept is nothing but an after thought. If the sequence is not that important, use white lettering over black like Woody Alan; a valid approach. The goal of “Reel One” is to capture and trap the audience into the story, period. If the first ten minutes of the movie is interrupted by the credits, then you have a problem, especially if their is crucial story and character development relied upon. Yes, it must be entertaining and these days, my head spins with all the over produced CGI used in M.T. sequences. Recently, one that I thought was very well produced and seemless in the construct of the story, was “Zombieland”. That’s how you make a sequence tie into a story using special effects. The point? The story required it.

]]> By: Jkali http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-5228 Jkali Thu, 17 Mar 2011 22:18:00 +0000 http://www.artofthetitle.com/?p=42#comment-5228 iPod/iPhone link goes to an incorrect film... iPod/iPhone link goes to an incorrect film…

]]> By: Final Project Pitch | It's all about Motion fall2010 http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-4350 Final Project Pitch | It's all about Motion fall2010 Mon, 01 Nov 2010 15:56:02 +0000 http://www.artofthetitle.com/?p=42#comment-4350 [...] The design of this title sequence/ trailer will include live and still footage, motion typography, combined with scene transitions [...] [...] The design of this title sequence/ trailer will include live and still footage, motion typography, combined with scene transitions [...]

]]> By: Imazine : ecommerce – interfaces – webdesign & design » Art of the Title Sequence http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-4189 Imazine : ecommerce – interfaces – webdesign & design » Art of the Title Sequence Sun, 26 Sep 2010 16:30:23 +0000 http://www.artofthetitle.com/?p=42#comment-4189 [...] 1 – Bullit Pour la music de Lalo Schiffrin et ses lents travellings très 70s avec jeux de typos. Lien vers la séquence d’ouverture de Bullit [...] [...] 1 – Bullit Pour la music de Lalo Schiffrin et ses lents travellings très 70s avec jeux de typos. Lien vers la séquence d’ouverture de Bullit [...]

]]> By: A Web Designer’s Inspiration File : My Blog http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-3216 A Web Designer’s Inspiration File : My Blog Sat, 10 Jul 2010 07:51:56 +0000 http://www.artofthetitle.com/?p=42#comment-3216 [...] that. The Art of the Title Sequence (so many memorable ones; I hold a special place in my heart for Bullitt). The Orientalist Gallery, which features paintings of the romantic middle-east of old. My favorite [...] [...] that. The Art of the Title Sequence (so many memorable ones; I hold a special place in my heart for Bullitt). The Orientalist Gallery, which features paintings of the romantic middle-east of old. My favorite [...]

]]> By: Art of the Title Sequence « j337 Video for Online Journalism http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-1757 Art of the Title Sequence « j337 Video for Online Journalism Tue, 02 Feb 2010 23:06:14 +0000 http://www.artofthetitle.com/?p=42#comment-1757 [...] Art of the Title Sequence is an awesome website that analyses and features some of the best Title Sequences from Cinema ever [...] [...] Art of the Title Sequence is an awesome website that analyses and features some of the best Title Sequences from Cinema ever [...]

]]> By: giorlando http://www.artofthetitle.com/2008/04/04/bullitt/comment-page-1/#comment-1407 giorlando Sat, 07 Nov 2009 04:58:34 +0000 http://www.artofthetitle.com/?p=42#comment-1407 I also find the term disjointed peculiarly out of place. This title sequence beautifully sets the stage for two of the most intriguing cinematographic themes in this film, viz., fluidity and transparency/translucency. In virtually every frame of this film Yates' camera is gently slipping away - or the camera is still and the actors are slipping off the frame. Even when the action gets cranked up the frame manages to incorporate a layer of gentle slippage to the motion. As for transparency, just count the number of times scenes are shot through - or significant details are seen through- transparent materials. In the title sequence Ferro has managed to take both of these visual devices to an even higher level by having the typography itself not only constantly slipping and irising but also having it create dynamic compositional seams. Although a great movie, this is another fine example of how the limits of title sequence can be turned into a strength and ultimately provide perhaps a more potent expression of the visual themes or style because of its concentrated succinctness and freer narrative structure. Some of these visual themes are evident in other work by Ferro and I think it would be an interesting study to see how much a primary director may have been influenced by title sequences. I also find the term disjointed peculiarly out of place. This title sequence beautifully sets the stage for two of the most intriguing cinematographic themes in this film, viz., fluidity and transparency/translucency. In virtually every frame of this film Yates’ camera is gently slipping away – or the camera is still and the actors are slipping off the frame. Even when the action gets cranked up the frame manages to incorporate a layer of gentle slippage to the motion.

As for transparency, just count the number of times scenes are shot through – or significant details are seen through- transparent materials. In the title sequence Ferro has managed to take both of these visual devices to an even higher level by having the typography itself not only constantly slipping and irising but also having it create dynamic compositional seams. Although a great movie, this is another fine example of how the limits of title sequence can be turned into a strength and ultimately provide perhaps a more potent expression of the visual themes or style because of its concentrated succinctness and freer narrative structure.

Some of these visual themes are evident in other work by Ferro and I think it would be an interesting study to see how much a primary director may have been influenced by title sequences.

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