"Tell me how I should be. Just tell me. I'll do it." —Dean

Jim Helton and Charles Christopher Rubino's end credits for Derek Cianfrance's Blue Valentine is a last look of what was and what will not be.

In a managed duality of the intimate and the expansive, a hypnotic racked bokeh of celestial colors spreads across the night sky with Grizzly Bear's "Alligator" conducting the atmospherics, elevating the experience of the film to something glorious.

The title sequence taken with the trailer (below for your viewing pleasure) reminds us of this following scene from one of the greatest films of all time, "A Thousand Clowns."

"Never say you know the last word about any human heart." - Henry James

Huge Designs' opening title sequence for the UK's Channel 4 television adaptation of William Boyd's novel Any Human Heart casts widening threads of light and shadow to frame an Everyman's journey through infinite sadness and celebrity.

"We are Sex Bob-omb and we are here to make you think about death and get sad and stuff!" - Scott Pilgrim

The reductionist 8-bit rendering of the Universal logo is the amuse-bouche to Edgar Wright's Scott Pilgrim Vs. the World based on the graphic novel series by Bryan Lee O'Malley.

The manga/mumblecore modulation of the film first seethes here on pseudo strips of scratched celluloid scored to Beck's/Sex Bob-omb's artful cheetah-like strains of something akin to Black Flag ("Wasted") locking horns with Iggy Pop ("Search and Destroy").

The visual napalm, conjured by Shynola, is traced and painted upon rather than a result of exposure to light.

Director Edgar Wright, concept designer and head storyboard artist Oscar Wright, and main title designer Richard Kenworthy from Shynola discuss the creation of the opening sequence with us.

"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.

“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.

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.

Quick and affordable 3D printing technology applied to classic stop-motion opens Dutch science program “Het Klokhuis” (The Apple Core) which is Holland’s oldest youth television show, covering everything from the history of dinosaurs to how an iPhone is made. It is a hybrid of hand crafted frame-by-frame animation and cleanly rendered apples with sprouting science experiments encapsulated like the seed of an idea about to be discovered.