Jack White steadily builds with an upholsterers touch in prelude to the opening title sequence in Davis Guggenheim's "It Might Get Loud." It is a turning out of battered axes and the men who wield them, their names embossed or tracking in the grain with the promise of one last caress like some tough poetry.

leftchannel's opening title sequence for Reto Caduff's "The Visual Language of Herbert Matter," establishes the circulation of a documentary profiling the remarkable creative variance in design, photography and film of the titular AIGA Medalist bringing an almost forgotten genius back into focus. It is a remix of Matter's remarkable creative variance that smartly retains the clarity of each medium giving the uninitiated a budding sense of the artist unbound.

The works include Matter's iconic Swiss travel posters, pavilion designs for the New York World’s Fair 1939, photographs for Condé Nast publications, corporate image programs for Knoll furniture and the New Haven Railroad, designs for the Museum of Modern Art and the Guggenheim Museum, covers for the legendary Arts & Architecture Magazine and imagery from his lesser known work in film, the prime example being a film on the works of Alexander Calder.

The hypnotic magnificence of Duncan Jones' "Moon" is the setting of a kind of space-drawn samhain built to support the machines, here harvesters of Helium-3, the latest source of our terrestrial dependency.

Affecting documentary -all of it stock footage- is unveiled as something corporate and cankerous, shortly giving way to the inviting lightness of Clint Mansell's score. The title card features an impressive use of perspective. Placement and persistence of type domineers the narrative as something akin to Kevin Spacey's lilt which plays like HAL 9000 but follows its own heart.

The 2010 Emmy nominations for "Outstanding Main Title Design" have just been announced and feature an excellent selection of work from studios both large and small.

Imaginary Forces has three sequences in the running this year - "Human Target" (creative direction by Karin Fong), "Nurse Jackie" (Steve Fuller & Mark Gardner) and the recently featured "The Pacific" (Steve Fuller & Ahmet Ahmet).

From Shine, and creative director Michael Riley, comes the title sequence (as well as additional animation work) for HBO Film's "Temple Grandin" which also received an "Outstanding Lead Actress" nomination for Claire Danes.

Congratulations everyone.

The inspired plot-and-character impulses of Upasana Nattoji Roy’s title design for Director Indrajit Nattoji’s “Aagey Se Right” are a stamped and stitched lot of subjective fabulism in blinkingly bright rubbery Gothic impressions. We are jolted and whisked into a lickerish dervish where M.I.A., Nina Paley and/or Gogol Bordello could be your partners in menace.

Baptismal and greasy war-streaked faces of mothers’ sons were rendered by Steve Fuller -then in his eighth year at Imaginary Forces, this his final project- and continued by Ahmet Ahmet, using charcoal on tracing paper then scanned and overlaid back into the provided original footage. Hans Zimmer’s score plays with a dignity that is on par with To Kill A Mockingbird (and it’s own legendary opening).

The visuals, profound; the sky-soiling blood sun, a singular helmet strap that seems to drain from the man, from his horrors, the variations of charcoal dust analogical to the volcanic sand of the Pacific islands -all blending and fueling the notion that life runs from our sons and the sons of our enemies then as now.

The opening sequence to Leo McCarey’s “Make Way for Tomorrow” reminds us to bridge generational “canyons” by honoring thy mother and thy father. Happy Mother’s Day!