Title research case studies!!

1. TITLE SEQUENCES

2. PANIC ROOM (2002)
The discrete opening title sequence for the 2002
physiological thriller film “Panic Room” is unique
because it manages to integrate the titles into the
actual city rather than just being a projection or
overlay. The credits are put in a 3D bold
capitalized metallic style font and the edit makes
it seems as if they are hovering within the city of
New York as huge looming blocks of text symbolic
to the impending threat that changes daily life
represented in the film itself. You can sometimes
see the other credits looming in the background
of shots making the illusion that the names are
floating over the city, even stronger. In addition
to this the integrated text is extremely realistic as
editors have made the words react with the
elements for example when they catch light,
create shadows or react with glare of buildings
making the final result spectacular. The
typography paired with Howard Shores score
creates an incredible title sequence where the
credits them self seem foreboding and all
powerful giving the city an eerie atmosphere.
The sequence opens with an establishing shot of the
city automatically locating the entire film. The slight
slow zoom introduces the fact that the titles are
actually “in” the city itself rather than a projection. The
buildings are slightly green toned emphasizing the
urbanization and some metaphorical sense of disrepair.

3. The pan back over Forest Whitakers name emphasizes the edits attention to detail as the shadows on the
letters change as the camera pans across revealing the smoky built up city behind. A similar technique is
used when panning to reveal Jared Leto’s name which floats in front of a built up stone dull colored building.
The pan starts with a harsh angle from the right slowly bringing the name into more view further reinforcing
the titles fixed positions within the city itself.
PANIC ROOM (2002)
The tilt down on Arthur Max’s name and the ped up over the film editors name both show the grandeur
and power of the city because they accentuate the size of both the credits and the buildings around it.
Paired with the intense incidental music this gives the opening sequence a foreboding and haunting
atmosphere and introduces a sense of unnerve before the film has even begun.

4. PANIC ROOM (2002)
Furthermore David Fincher has taken advantage of the location of the city to subliminally include messages
of the film in the opening sequence. Slogans such as “face your fears” and “very real power” pop up
momentarily giving the viewers a brief insight into the film concepts but also subconsciously spurring fear.
Obviously the sheer scale of this Computer
Café production would be extremely difficult
to emulate in our own set of opening credits
however the idea of integrating the titles so
that they move with the scene rather than
being an overlay is something we can mimic.
As we have already planned our opening
narrative to introduce the plot integrating
credits into the background would be a
discrete way of not disrupting the
introduction of characters.

5. SNATCH (2000)
The opening title sequence to the 2000 crime comedy
“Snatch” uses a neo noir style and unique of the time
stylized freeze-frames to introduce actors. The credits begin
as white bordered projections, on top of the moody
chiaroscuro lit mid shots, but as the fight scene accentuates,
and the fast motion editing begins, the text changes into a
more old school font, which is custom designed for each
character. The change in text highlights the shift in genres
showing both crime and over the top comedy elements. In
addition the over the top slapstick style fast motion jumpy
editing isolates the opening sequence as it contains
unrealistic elements for example when the camera follows
behind one object into a completely new scene. This is
reinforced by the melodically up-tempo looped incidental
music, juxtaposing the tension you would usually expect
with such a heist, with humor. Furthermore the
concentrated use of typical gangster iconography, for
example wads of money alcohol and guns portrays vividly
the main concepts of the film just in the exposition which is
key for maintaining and audiences interest whilst the credits
role. Whereas some opening credits, such as in “Panic
Room”, keep it simple, discrete and slow Stuart Hilton and
Ian Cross have tried to fit as much action into there opening
as possible and pushed everything to the limit to try and
express an exaggerated stereotypical mob atmosphere .
The very first shot of the opening title
sequence involves a lot of noir elements;
chiaroscuro lighting, over the shoulder shot,
shadow and voiceover. The simple capitalized
font stays central as the camera peds up over
the back of the subjects head and voiceover
continues. It is clear and easy to read as the
white and black, from the actual shot, contrast
each other bitonally.

6. SNATCH (2000)
The opening in my opinion is split into 4 parts, the voiceover,
the security footage the fight scene and then the posturized
freeze-frames. In the fight scene un naturalistic editing is used
as the credits flash up in box’s alongside important images for
example the gun (left); canted/Dutch angles, spinout of frame
and fast motion all helps to create a sense of urgency and
unease which completely juxtaposes the freeze frames,
showing the credits, making them more noticeable and
memorable. Stuart Hilton and Ian Cross have used pans
behind particular iconic gangster objects for example the safe
or boxing punch bag to create smooth transitions between
each different scene but also to portray how all the characters
are linked by the mob culture.

7. SNATCH (2000)
In the final segment of the opening sequence Stuart Hilton
and Ian Cross decided to introduce each of the main actors
through caricature freeze frames placing their bitonal image
on a pale coloured background. Each set of preceding shots
gives us an insight into their status and character and then for
a brief moment the camera zooms to reveal their names. This
was a unique of the time style of titles and inspired a
stereotype for crime titles in years to come. The block white
font is capitalized and surrounded by different slightly
western style motifs which enhances the theme of wanted
criminals. Furthermore by flashing up their gang names on
the screen his introduces us to he gang society and
importance of their image in the diegesis.
The opening credits to Snatch would be a much more realistic
inspiration for our own set of opening credits than panic room
because it shows us how we can combine titles through
dialogue and voiceover, elements which we have already
scripted. We too wanted an intense fight scene to play out and
therefore the idea of freezing motion to introduce each
individual would fit into our storyline well.