"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic."
- Jim Jarmusch
Bringing fresh energy to motion comics -animating panels as vibrantly dead as any Romero classic- Daniel Kanemoto's fan-made title sequence for AMC's new series "The Walking Dead" gives new form and perspective to the work of an impressive string of creatives. The original comic was given life by writer Robert Kirkman and artist Tony Moore, and Charlie Adlard from issue #7. "The Walking Dead" debuts on All Hallows Eve with Frank Darabont as writer/director. The infinite regress found in the hunt of our ghoulish selves found in source material this good should allow for deeper exploration into the allure of the walking dead.
Happy Halloween.
The type isn't rising. We're sinking.
The seduction of Bassian lines generating in linear suffocation also gives structure to Jorge Calvo's opening title sequence for Rodrigo Cortés' "Buried" as the universality of death and Saul Bass wriggle anxiety from the vine. Bracketed pictorials offer more for us to trace while hastening toward interment.
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“It's adventure time,
C'mon, grab your friends,
We'll go to very distant lands
With Jake the Dog,
And Finn the Human,
The fun will never end,
It's Adventure Time!”
Through wood and wasteland penguins cuddle at the outset of the wonderful Land of Ooo. Pendleton Ward's cartwheel of an opening sequence to his Adventure Time series sports all the warm-and-fuzzies of a My Little Pony rainbow and Conan The Destroyer's Atlantean Sword. The unaffected acoustic theme, which Pen also sings, establishes the fever dream folktales that follow. This is a silly smart world punctuated with noodle-armed pounds and a few scares by dint of (what else) adventure.
A blood valentine to the fucking madness, the opening title sequence for Showtime's "Dexter" is a veritable annunciation of an unholy but likable embodiment of the common rage we can root for. It is a sociopath's ability to focus on the little things.
While stabilizing sources suggest Dexter's episodic beginning was carefully designed, it is also enjoyable to view it as slick Grand Guignol, relatable and savage. Here is a killer consumed by the pursuit of an unattainable satiety, all jaw and maw, whetting this morning-time macabre in florid, ratcheting fashion. With a twisted lick of piano wire/dental floss, a favored mosquito going red, and food gone wild, we are able to refine and contextualize the shape, scream and vision of one Dexter Morgan. The butter of all that blood, shaving to bleed and the tang of hot sauce pyrotechnics, plays toward our tendencies of psychiatrist and sidekick.
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A somewhat unexpected historical document, Director of Photography Rodrigo Prieto's compositions in duality give voice to Spike Lee's singular vision to begin his "25th Hour" with a quieting magnitude that exists in perfect service.
“You know, like nunchuck skills, bow hunting skills, computer hacking skills... Girls only want boyfriends who have great skills.” – Napoleon
Saucy credits garnish high school foodstuff alongside screamingly mundane high school ephemera serving as cringe-worthy currency all the while inducing smile after smile. Aaron Ruell, who also plays Kipland "Kip" Ronald Dynamite, designed the opening credit sequence for Jared and Jerusha Hess' "Napoleon Dynamite" with the White Stripes' "We're Going to be Friends" easing in childlike qualities.
We had an opportunity to speak with Hess about the unique openings to his films. This week follows on from "Gentlemen Broncos," with a discussion on the genesis of the Napoleon title sequence.
“Cyclops there. Cyclops there. Cyclops there... Oh, my holy crap! Surveillance doe's. I hate those.” – Brutus
'Classic' science fiction illustrations repurposed as faux forgotten novels, exhibited on sentimental backgrounds, color each credit for the opening title sequence of Jared Hess' very funny "Gentlemen Broncos."
We had an opportunity to speak with Hess about his films, and their unique openings. Our interview continues next week with musings on his feature film debut, "Napoleon Dynamite."
