"How’d you do it Frank? How did you cheat on the bar exam in Louisiana?" - Carl Hanratty

A gifted young grifter scamps and stamps across the screen, his fugitive flights aided by doctored documents and lying lawyers. The scurrying swindler dares viewers to keep up with his caper, but this race is now a chase with a “top man” on his case. Flowing type, smooth lines and cool jazz are a playground for this pursuit, snaking and sneaking across the colorful jet-set world of our confidence man’s creation, slowly fading to reveal the darkened truth.

Kuntzel + Deygas stylistically transpose the handmade design of Saul Bass using decidedly modern means. Accompanied by John Williams’ unexpectedly unctuous score, the duo’s title sequence for Steven Spielberg’s Catch Me If You Can is simply outta sight.

“The challenge with the title sequence was to bridge the gap between the opening scene in 19th Century Italy (where we establish Fraccini for the first time), and the beginning of the rest of the film in present day London. Iconic scenes from the film were chosen and adapted to construct a light-hearted, graphic narrative throughout which a central character would travel. The intention was to have a sequence with no cuts, where each scene transitioned seamlessly into the next. The styling was a deliberate homage to Saul Bass, but with the focus of creating something unique and contemporary.

Seemingly on the run throughout the various scenes, the silhouetted figure encounters (and escapes) a number of different situations before finally being caught at the end of the sequence, where he’s forcibly thrown into the rest of the film.

The sequence was nominated in both the Rushes Soho Shorts Festival and British Animation Awards.”

Nautilus rockets, McCarthyism in an Atomic Age, moonlit-framed rooftop chases, lightning bolts that echo Saul Bass and a symphonic score by Kevin Manthei punctuate director and title designer David Bullock's opening to Justice League: The New Frontier.

Director David Bullock: