Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
Saul BassRead
When I provided the disembodied arm as the logo for 'The Man With the Golden Arm,' it was the first time an advertising-publicity campaign was based on a single symbol. Until then film companies used a variety of symbols and photographs to cover all bets. The concept of using one logo was mine and Otto Preminger's.
Interpretation
Saul Bass highlights the importance of using a single, powerful symbol for branding in advertising and film.
In this quote, Saul Bass reflects on his innovative approach to design in film advertising by using a single, distinctive logo for 'The Man With the Golden Arm.' This approach marked a departure from the convention of using multiple symbols and images, emphasizing the power of simplicity and strong visual identity in branding.
In practice
In a marketing presentation about creating memorable brand logos.
Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
In the course of our daily lives, we're bombarded with a barrage of visual messages, some blatantly aggressive, some subtle. The trick is to find a way to break through without adding to the clutter and the ugliness. We have to be responsible about that.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
I want to make beautiful things, even if nobody cares.
Logos are a graphic extension of the internal realities of a company.
My work on titles was a marvelous opportunity to learn about filmmaking. I think I touched on just about every aspect of the process, both creative and technical. And I worked with many wonderful people.
The truth is, the difference between a studio photographer and a photojournalist is the same as the difference between a political cartoonist and an abstract painter; the only thing the two have in common is the blank page. The jobs entail different talents and different desires.
The beautiful is as useful as the useful." He added after a momentβs silence, "Perhaps more so.
I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with other.
IN ANSWER TO THE QUESTION: WHAT SCENES ONE WOULD LIKE TO HAVE FILMED Shakespeare in the part of the King's Ghost. The beheading of Louis the Sixteenth, the drums drowning his speech on the scaffold. Herman Melville at breakfast, feeling a sardine to his cat. Poe's wedding. Lewis Carroll's picnics. The Russians leaving Alaska, delighted with the deal. Shot of a seal applauding.
I'm very glad people love 'Breaking Bad,' but the harder character to write is the good character that's as interesting and as engaging as the bad guy.
My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.
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