With Otto Preminger’s 1959 film Anatomy of a Murder, film critic Leo Goldsmith — a contributor to Reverse Shot and The Village Voice — describes part of the stark opening sequence: “Echoing the deliberate manner in which the film dissects the circumstances of a murder case, the credits also provide some witty juxtapositions of titles and images: James Stewart naturally gets the head; Lee Remmick a leg; Duke an arm; and Preminger’s credit comes once a disembodied hand seems to cover the lens.” Goldsmith elaborates on an inspiring tribute site for Saul Bass at NotComing.com, featuring stills and overviews of his title design collaborations.
Bass, who passed away in 1996, wasin Communication Arts magazine, who spoke with director Martin Scorsese about his designs. “Bass fashioned title sequences into an art, creating in some cases, like Vertigo, a mini-film within a film. His graphic compositions in movement function as a prologue to the movie–setting the tone, providing the mood and foreshadowing the action.” Bass did the opening titles for Scorsese’s Goodfellas, Cape Fear and Casino.
There are also manyon .
A retrospective on Bass just ended at the Skirball Cultural Center in Los Angeles. Some images are on Flickr.
Upcoming April 11, in the world of opening film titles, Kyle Cooper (Se7en, Dawn of the Dead, Spider-Man series) will be often compared, but take the introductions in very different directions, as elaborated in Jon M. Gibson’s article for Wired Magazine. He was interviewed last week by Curt Holman at CreativeLoafing.com.. Cooper and Bass are