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
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.
Interpretation
A title can evoke emotions and set the tone for a film's story.
Saul Bass emphasizes the significant role of a title in filmmaking, suggesting that it goes beyond mere nomenclature; it acts as a conditioning tool that prepares the audience emotionally for the experience they are about to have. By using metaphorical language, a title can encapsulate the essence of the story and create an initial emotional connection, enriching the viewer's engagement once the film starts.
In practice
In a film studies class when discussing the importance of effective titles.
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.
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.
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.
Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
There is one thing that freezes a musician more than the deadliest physical cold, and that is the spiritual chill of an unresponsive audience!
Give me artificial flowers - porcelain and metal glories - neither fading nor decaying, forms unaging. Flowers of the splendid gardens of another place, where Forms and Styles and Knowledge dwell. I love flowers made of glass or gold, true Art's true gifts, their painted hues more beautiful than nature's, worked in nacre and enamel, with perfect leaves and branches.
Dogmatism of all kinds--scientific, economic, moral, as well as political--are threatened by the creative freedom of the artist. This is necessarily and inevitably so. We cannot escape our anxiety over the fact that the artists together with creative persons of all sorts, are the possible destroyer of our nicely ordered systems. (p. 76)
It is the nature of the artist to mind excessively what is said about him. Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
Music is a gift and a burden I've had since I can remember who I was.
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