For our first post in 2010 we revisit the “How We Built Britain” titles with an interview with their creator Gareth Edwards. This was requested by some readers, facilitated by others and now available to all and feels like the perfect way to begin this new decade. Edwards, a truly multi-talented designer/visual effects artist/director has worked for the BBC on numerous productions including “Seven Wonders of the Industrial World” and “Attila the Hun,” this year completes his first feature film, “Monsters.”

A tangle of utility in both architecture and typography offers a fascinatingly structured title sequence for the BBC’s “How We Built Britain” that bespeaks an acquisitive England. The artificial monuments of type seem proportionally sound, the final title card an achievement of engineering.

With brassy nationalism and radioactive gaga the opening to director Sam Liu’s Superman/Batman: Public Enemies offers powerful equanimity of oppressed superpowers in this thinly veiled allegory of the republic for which it stands.

Erin Sarofsky, Founder and Creative Director of Sarofsky Corp.:

“We created the feature main title for the new animated movie “Superman/Batman: Public Enemies” for Warner Video and DC Animation that tips the hat to Saul Bass. The project is a 2:17 long animated piece that captures the spirit of classic 1960’s film titles. Bold and slightly abstract, the animated twists and turns are geometric references to the power of comic heroes as pop culture icons and a playful lead-in for the graphic novel-style drama to unfold.”

“Be careful what you wish for.”

With a descending doll all expectation is set aside at the start of author Neil Gaiman and director Henry Selick’s Coraline. Her punch-and-cut deconstruction is distressing; at her inversion you may feel a gastric tug. You may also dream of submissive needlepoint only to awake with new eyes.

To paraphrase the film’s series of alphabet posters, “‘C’ is for Coraline – brave little girl. Who unlocks the door to a whole different world.”

“I had to set up the movie studio and wanted to set up the characters that we were going to be dealing with and I wanted to get the audience’s attention, to tell them that they had to pay attention. And I actually built a scale model of the set with a crane to see where I could go. Then we choreographed all the positions. We introduced this [film] in one reel, which was nine minutes.

All of the various things that happen were all planned pretty well, but none of the dialog was. It was all improvised…We did about 15 takes, with 11 microphones. We rehearsed it for a day, we lit it and came back the next day, which was a Sunday, and we shot it in half a day. It turned out to be a very efficient way to get ten minutes of film. And you save your editor’s fee. It’s a very conceited thing, this shot with no cuts, it draws attention; it’s of the mode of people who make pictures. It is showing off. It sets the picture up…it’s like music [in that] it tells you what kind of deal you’re in. It’s a satire on the way people behave in these movie studios.

There was such a fuss about it. People were afraid I was going to do this or that. The more afraid they got, the more ideas they gave me. Looking back on this picture, it is a pretty tame satire. This is no big indictment. Things are much, much worse than this picture seems to say. The truth of the matter is I cannot make the kind of movies [Hollywood] wants to make. The kind of movies that I like to make, and can make, and make are not the kind of films they know how to distribute. So we basically aren’t in the same business. There’s no point in calling me to make a pair of gloves for you when I make shoes.”

“Welcome to the 1958 release cut of “Touch of Evil.” This little egg timer is set for precisely three and a half minutes. Tick, tick, tick we’re embarking on a combination thrill-ride morality tale bursting with the energy of its co-star, writer and director Orson Welles. I love the fast-running shadow along the wall. Of the three versions that exist of Touch of Evil this is the fastest-paced, the most energetic. It’s missing about six minutes of material Welles would have preferred to include. In harmony with our ticking timer and our deadly bomb this astonishingly complex master shot is going to unfold across precisely three and a half minutes. Shadows are like a Greek chorus commenting on the action in Welles-O-Vision, so is this airborne camera moving like a winged serpent over these rooftops and streets.

We are in the mythical U.S./Mexico border town of Los Robles. Connoisseurs of L.A. architecture will recognize the looped arches and fanciful galleries of Venice, California [which was] built in the 1920s by Abbot Kinney, a developer with a mad crush on Venice, Italy. These magical facades were ideal for Welles’ purposes as storyteller. They anchor us in a place apart from either the U.S. or Mexico. We can think of it as a geographic Twilight Zone.

Here are the two great romantic leads, the two greats of their time, Charlton Heston and Janet Leigh as Mike Vargas and Susie.

Henry Mancini’s music here is sensational. He organized a latin-style band using talent from outside Universal Studio. It’s a perfect counterpoint to the sensuous muscularity of the camerawork and the very precise criss-crossing of all the people; an enormous operation. Welles originally intended that the music blasting from the cantinas would create a surf of sound and atmosphere (for that see the 1998 Restoration cut where those intentions are scrupulously honored). But I have to say, as a life-long fan of the film, I find Mancini’s magnificent overture indispensable to the power of this opening, I even prefer it, with all due respect to Welles.

Small wonder there is an explosion when these two kiss. The blast plunges us into another world altogether. We are free of the elaborate crane and we are running with the characters [the camera is] handheld.”

James Naremore: “This is the second version of “Touch of Evil.”"

Jonathan Rosenbaum: “[This] was found in the mid 70′s and it 15 minutes longer, but we should emphasize right now that there is no such thing as a director’s cut, nor could there be. This is another version that was found that has more material by Welles but also more material not by Welles.”

JN: “One of the things we are seeing that he didn’t originally plan is the credits are playing over this sequence that [Welles] wanted without the credits…the photographer for this film is Russell Metty, a contract photographer at Universal and he was well known for his use of crane shots.”

JR: “This is the most famous shot of the film, but Welles himself was much prouder of a couple of other shots he did later in the film because this is the kind of thing that calls attention to itself whereas he thought that the most effective virtuoso work was the kind that wasn’t noticed by the audience.”

JN: “This shot is not simply a flamboyant tracking shot, it also has to do with the theme of the film. The film is very much about the ambiguous border between the U.S. and Mexico…the two leading characters are representatives of either side of the boarder and there is a kind of racial/ethnic theme running through the film. It’s almost as though the kiss between the Mexican character and the woman from Philadelphia sets off racial tensions. The timing of the kiss is important in relation to the explosion.”

JR: “This has got to be Orson Welles most politically incorrect movie, which is one of its strengths.”

JN: “Yes, and it is very much a political movie…with the explosion, the film shatters into montage. We might want to keep in mind that this film was shot not too long after the Supreme Court desegregation decision of 1954, the integration of Little Rock high school had taken place, the Civil Rights Movement had begun, and Welles had a long history of being involved with activities of that sort. And, in this case, he had completely transformed the novel that this film is based on (Badge of Evil by Whit Masterson) and made it into, I think, an indirect commentary on racial tensions in the United States.”

Pure sugarcane, Yellowshed’s end credits to “Cloudy with a Chance of Meatballs” take 2D to the land of Pez and Skittles… and doesn’t let up. There are candied orange slices and pinwheel lollies! And as we race from savory to spray paint it is raining sunshine on this rainbow highway. There’s even a pasted hand-powered pie in nod to Terry Gilliam’s stop-motion animation for Monty Python. Disasters are remedied and through child’s eyes. Whoa.

The opening sequence and credits to Don Siegel's "Dirty Harry" plays long, mean...and breathless? Cream-pie cool Clint Eastwood susses death and a devil atop skyscrapers to a tough Lalo Schifrin score. The soaring set piece sets your teeth on edge, the soft howl of wind an uncomfortable music, the framing tight and majestic. As the camera teeters on the executive producer credit you put your left arm around someone a little too tightly.

The titular tome spreads its pages to typography set illustrative; the text embroiders the imagery as shapes and labels. With what sounds like the jingle of loose change, the type scatters and lays as lovely a refuse as turned tree leaves. It is Curious Pictures' title design for HBO’s “Bored to Death” by Creator/Protagonist/Writer/Executive Producer Jonathan Ames.

Art of the Title: How did you become involved with the project? How did the idea of animating the type come about?

Tom Barham: We were approached by HBO to pitch the series titles. I was familiar with Jonathan Ames' work. When I found out that the series was semi-autobiographical — the story about a writer who hires himself out as a PI - it made sense that the entire world should be a fictional one created from the text of his imagination. We used the original copy from the short story in McSweeney's for the characters as well as all of the backgrounds.

ATS: Including elements of noir or neo-noir seems an obvious choice. What lead you away from that?

TB: Exactly that — it was too easy. We did include a few noir-esque touches like the book cover and general lighting of the pages.

ATS: What was your approach to directing the opening credit sequence?

TB: I wanted to do a combination character and flip-book animation to move the Jonathan character from location to location in a book format. Additionally, since the characters were made from text contained within the book where they exist they needed to move and interact with each other as if they were emitting or leaking letter forms and words.

ATS: What were the first questions you had and how were the answers arrived at?

TB: What’s the idea here? How can we create a sequence that is organic to the subject matter and that communicates both the intent of the show and the intent of the author?

ATS: What was the process for working with the artist Dean Haspiel?

TB: Dean had worked with Jonathan on his novel "The Alcoholic" and done some drawings for the show.

ATS: Do you have any interesting stories related the development of this sequence?

TB: What was most unique was working with Jonathan Ames. It’s unusual for the author of the story to be so intimately involved with the production of the title sequence. He provided a great deal of insight about the characters.

ATS: Can you give us an example of something you took away from this collaborative project? Which gives you a greater satisfaction, collaboration or a project that is entirely your own?

C&A: Both have their merits. For the most part though, I think collaborations provide the greatest opportunity for personal growth. The challenges are more numerous and involve a greater levels of understanding of people and their points of view versus your own personal take on things. The best ventures are usually those that tap into other people’s talents as well as your own.

Art of the Title: Your petite reproductions of classic and cult titles are beautiful. Tell us about your love for title sequences.

Chic & Artistic: Attaching great importance to the graphical aspect of films in which we’ve already seen, we are always very sensitive to their title sequences. No matter what level of quality a film has, title sequences always give us an impression of the film and its spirit, an essential taste that plunges the viewer into a movie.

ATS: What gave you the idea for the video?

C&A: “Symphonies,” the song, is a mix of Dan Black, between a Rihanna beat and the musical theme of the 1980′s film “Starman.” The spirit of Black’s composition and lyrics are very cinematographic, so it seemed logical to link it to cinema. This brought us to the idea of a video clip in which Dan Black, in a series of title sequences, pays tribute to the legendary 7th art. The song’s subject is the desire for a less ordinary life, and the music and film titles share something magical, an introduction which keeps us in suspense. We loved the idea of a movie that never starts, passing from one title sequence to another, without the film in the middle, as if the title sequences in themselves were enough to tell a story without the film. The idea of using the title sequences also allows for an immediate recognition of the film genre.

ATS: How did you arrive at the specific title sequences used in the video?

C&A: The title sequence selections we made is a combination of our artistic preferences and those of Dan Black, in order to develop a story in which he goes from adventure to adventure, universe to universe. To make our selection, we set a main objective of integrating all time periods and all film genres, from the 1930s to today, drawing from horror films to those of cartoons. From the outset we wanted to mix the chronological order, so that we could maintain a great level of surprise throughout the video clip.

We wanted to give the impression that Dan travels through a large diversity of films, time periods, and locations, but it was also important that it was a type of film that was consistent with the world of Dan and his inspirations. We could not use a title sequence in which he would feel uncomfortable. There are so many legendary cinematic sequences, that it was sometimes difficult to make choices.

ATS: Tell us a little bit about how you were able to emulate the essence of each title sequence.

C&A: We viewed a large number of title sequences by genre and time period. The Art of the Title website was incidentally very useful for us! We needed to reproduce the image and original graphic design through lighting, film grain, color grading, costume design, accessories, as well as typographical choices. We didn’t have a lot of time; one day of shooting and 3 weeks post production, with little preparation. The difficulty was not being able to use the same cameras that were used for each time period. It was therefore necessary to find tricks to emulate the essence of the original image.

For example, at the beginning of the video clip, the convertible in the black and white title sequence is deliberately poorly integrated into the landscape; we can see the cinematic tricks, as if it was made in the 1950s. The title sequence in tribute to Tron reflects an 80s image with somewhat runny to washed out colors. The differences are quite visible from the beginning to the end of the video clip, so that we have a distinct impression of going from one universe to another.

ATS: Dan Black’s song has a comforting depth to it. It is complex, accessible and fun. Did you take any cues from the quality of Black’s lyrics?

C&A: Yes, completely. “Gimme, gimme more than life I see…” is one of the lyrical highlights that had much inspired us during our reflection, the idea that Dan searches for another life, one elsewhere, in a world of fiction. The lyrics are very present in the clip, as they often become movie titles. Furthermore, it was amusing to keep only part of a phrase and transform the meaning, to give a new connotation to the lyrics.

ATS: Did you learn any tricks from designing a “cut and pasted” aesthetic?

C&A: It was a very interesting experience, a little like scientists trying to reproduce experiments, adding new things to it, and using it as inspiration to make them evolve. These experiences have already given us ideas for other videos. For us, the general tribute that we wanted to give to the movie title sequences needed to flow as if all the sequences, edited piece by piece, made up a fluid partition all together. To do this, we tried to work particularly on the transition of each sequence so that the changes of time period flowed harmoniously, transporting Dan Black with the rhythm of the song.

ATS: Do you have any interesting stories related the development of this sequence?

C&A: Since each title sequence in this video clip is different, we could say that each title sequence holds a story in our eyes. And it’s true, without revealing all of our production secrets; we think they all have something special. For example, in the tribute to 2001: A Space Odyssey, the background of the inside of the vessel is actually an image of the inside of a washing machine. We filmed the images of the title sequence “New Wave” without authorization, camera on shoulder, as did directors from that time period.

Something that was interesting about this clip was to work one day on a science fiction, another on a silent movie, moving from a cartoon to a western. Concerning Dan, we decided that he should not be too “active” in the title sequences, so that his presence wouldn’t be ridiculous or overplayed, but in tune with each universe, in perfect harmony.

In speaking about harmony, it may not necessarily be obvious at first sight, but Dan is dressed the same throughout the entire video clip, even when his image is changed graphically into an animation or to a marionette in the spirit of Thunderbirds. However, sometimes he wears accessories like a Sheriff’s star, or a pair of glasses, to help him blend into the title sequence better.

ATS: Did any part of the process take you by surprise?

C&A: The order of certain title sequences seemed somewhat improbable on the storyboard. Nevertheless, the final result seemed generally fairly homogeneous despite the challenge of trying to coincide title sequences, which were very different from each other.

ATS: Did Dan take part in the conceptualization of the video?

C&A: As with all of the videos we have done for him, Dan is always very involved, from the idea to the realization of it. For this video, he was particularly involved in the selection at the outset, because it was necessary that each type of film corresponded to him. Since the beginning of his new album “((un))” (we also worked on the graphics and photos for the album) he wanted to do something cinematographic. By the way, he owns a book on film title sequences.

ATS: Would you give us a few of your favorite elements of this sequence and tell us why they are special to you?

C&A: There are some that we love because they pay direct homage, and we hope to have succeeded in recreating these legendary title sequences, like those of Saul Bass, Goldfinger or that of Se7en. There are others that we also love because they have less obvious references and raise doubt about their original models. That fact is that they were all interesting to work on. We find it interesting that, until this video, we have never done a title sequence in a film. We would love to make a real one now, so if a film director reads this, don’t hesitate!

ATS: Is there a modern artist whose work inspires you?

C&A: There isn’t one; there are evidently a 1,000 varied artists whose work inspires us: writers, filmmakers, musicians, artists… from Bret Easton Ellis to David Lynch, Radiohead, or Mattew Barney… we like all existing media. That said, the director Michel Gondry is an irrefutable model for us, by the proliferation of his ideas over the years, from video clips to cinema, and by his notable willpower to give meaning to graphical concepts, as otherwise seen in director Sean Ellis’s film Cashback.

The creative multi-talented Kuntzel & Deygas duo inspire us a lot as well, through their ability to create very eclectic things in the field of graphics or design, in a multitude of projects, to the point of being contacted by Steven Spielberg in person for the title sequence of Catch Me If You Can. We are also waiting for Steven to call!

Reminds Art of the Title of another music video’s ode to another era’s visual art: Justice’s “DVNO.” Funny, this song also grooves and thrusts and clacks its teeth.