Do you ever wonder how different aspects of a film are created and assembled into a two hour timeline? Probably not. I've always considered different directorial choices that construct the film itself, but have I ever thought about the smaller, technical features such as the title sequence? I'm ashamed to say I haven't.
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Contained within the thread is an image album of various initial samples in mind for the film Iron Man 3. Each one is detailed and visually brilliant, backed by strong and consistent design concepts, progressing towards the direction the final title sequence aligning with the film's director Shane Black's vision. What we are given is a glimpse into the complex process of vision, creation and execution of an often overlooked faucet of film.
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| The initial presentation- described as "very rigid and technically ambitious" |
"Stark Legacy" designed by Ilya Abulhanov and Danny Yount
Probably my favourite of the different concepts, this one incorporates very sci-fi 'high tech' elements filled with tremendous detail. The incorporation of organic elements, not only in shape but the biological subject matter, contrast with Tony Stark's industrialised, geometric developments. Although there is variation with the contrasting elements, a visibly streamlined colour scheme adds to the cohesiveness of the design. The fragmented and recurring particle decorum is reminiscent of Tron: Legacy or the opening sequence to Naughty Dog's The Last of Us. A great structural blend of technology/science/humans, and that is probably why I like this one best. Unfortunate that this didn't eventuate as it is a shame to know such a great design was discarded.
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| semi abstract representation of the suit |
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| immaculate detail |
Extremis (Bio-Electric) by Ahmet Ahmet
The second design concept showcased by u/prologuefilms is a sleek, clean geometric offering by Ahmet Ahmet. It is simple, minimalistic but also shiny and masculine with the use of a neutral palette. It reminds me of a car advert or a mens cologne editorial. The limited colour scheme does rather dehumanise the characters though.
"In this concept, facets of mechanical prototype segments expand and contract into different arrays. These facets illustrate the advances in Tony's research and metaphor his ability to control his suit. The interaction and choreography of these facets form segments of letterforms, as introductions to the Main on End credits. In counterpoint to this mechanical movement, molecular diagnostics, cellular virus simulations, and nano-structure display the Extremis research. These simulations expose the aggressive nature of the virus as it destroys to re-create a bio-electric anatomy."
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| de-rezzed captions over a sleek arc reactor |
Synapses by Lisa Bolan
"In this approach we are showing the process of Tony's body coming back to life and the Nanotechnology in his body communicating with the suit as he is revived by it. Color in this concept provides a way to delineate between man, machine, and energy.
A beat of black is interrupted by brief, crimson flickers of light that fly in from behind camera. The pulses of light trace tree-like synapses in the brain. There is an echo of blued data behind them. Then black again and then a few, violent pulses of red light, backlit tissues in the nervous system, arteries, then heart. The chest apparatus illuminates- jolting the heart into action. What ensues is a light show of the body reviving and the suit communicating with its organic biotechnology. Glitchy reveals of the suit, Tony Stark inside it, and the wireframe hologram of the suit traces back and forth until he is fully charged. Cut to a wide shot of his body is space, first motionless, then powered up and soaring, wiping the screen to white."
This approach is definitely more abstract/ artistic than the rest. It is the most organic in design, and bears some similarities to 'Stark Legacy'. This concept depicts the technology as an organic feature of Iron Man, its rather subtle. I can see how this might not bring in the immediate bangfactor a film like this needs. I quite like this option as it has strong narrative elements that guide the sequences better than others. But it is indeed quite 'unique' and very much a preferred style.
Nanoscape by Monica Perez
"We open on a dramatic rim-lit macro section of the suit, eventually panning to the arc reactor. A series of abstract landscapes intercut between photocell panning shots of Tony in the suit. These nano-structures configured from various experiments in the making of Tony's technology, takes a visual journey through scans of electron microscopes. These nano- landscapes closely intertwine science and art in laboratory samples. Micro and macro relations begin to resemble our own familiar world and possibly give us a window into what the Extremis virus may look like in Tony's mind."
Nanoscape is a breathtaking imagining of microscopic proportions. Every particle is illuminated in this muted concept and the zoom and dramatic lighting makes for one hell of an introduction to Iron Man. I feel as if there was slightly too much focus on the technology for a character oriented action film but nevertheless, very creative and aesthetically pleasing.
Retrospective by Monica Perez and Lisa Bolan
'Retrospective' is the closest to the final design- it's filled with warm hues and exudes a retro-comic vibe. I think that although this option is the least creative of the lot, it does suit the tone of the Iron Man franchise more so than the others.
'Retrospective' is the closest to the final design- it's filled with warm hues and exudes a retro-comic vibe. I think that although this option is the least creative of the lot, it does suit the tone of the Iron Man franchise more so than the others.
"This concept was included in our second round of presentations for the Main Titles and it makes a distinct departure from our earlier more technical designs. Director Shane Black wanted more of a retro film title feel- screen wipes and split screens lend an overall 70s feel that really comes across the in the final Main Title. This is where it all began!"
the sequences are constructed with moving panels changing between characters and scenes. The basic setup is filtered through grids and masks that create audience engagement and a lighthearted vibe in comparison to the other, more ambitious proposals.
So those were the design stages of the firm Prologue in creating the main title sequence for Iron Man 3! How do you feel about the different concepts? I liked the more ambitious designs but I can see why they went with a 'safer' choice and the reasons why.
And now I present you, the final cut that officially finished the film:
(fullscreen advised!)
All I have to say is that the amount of work that went into simply finalising a design for such a short sequence is unbelievable. I cannot imagine the time and effort spent on actually creating it. To think that these detailed pieces could have been possibly developed further and animated blows my mind. Most of them are cut and never see the light of day, and if you can imagine how many films go through similar processes, it's easier to understand how large scale the film industry is.
The progression of 'modern art' in our world has led to its application in the everyday. Software and technology has advanced and expanded what was an exclusive viewership and limited production, to mass production and a widespread accessibility to imagery and art in general. Although many see this as the downfall of 'fine art', it could be understood that digital art is the future.
I know seeing the different stages of design that are involved in title sequences has given me a new found respect for digital art. Creators must collaborate and incorporate the ideas and visions of others, and in this case it is film studios and the media. Undoubtedly, they exert their influence over artistic creation to monetise their ventures. I can't imagine doing all the work involved and having to abandon a design for one that a movie studio exec prefers. It must take a great amount of separation between personal opinion to be able to do that. And I really respect Kyle Cooper, the creator of Prologue Films, and his works for their high quality and unique style.
'Kyle Cooper attained worldwide recognition in 1995 with the main title sequence for Se7en: a small, self-contained movie on its own that opened a door into the mind of a serial killer and set the tone for the whole feature. He has contributed to over 100 films such as Flubber, Mission: Impossible, Zathura, True Lies, The Horse Whisperer, The New World, Dawn of the Dead and Braveheart.
The art of Kyle Cooper, well known to film enthusiasts and to all professionals as the creator of the best main title sequences of the last two decades, is sophisticated and elusive, and it strikes with more force as it comes unexpectedly. Live-action director, graphic designer, animator-Kyle employs any technique, any materials to attain his goal: to capture the attention of the audience, take it hostage and manipulate its emotions and expectations in order to plunge it in the mood of the motion picture that is going to be shown on the screen.'
Unbeknownst to me, I had already seen (and greatly enjoyed) his work on other shows and films. One that particularly stood out to me was the opening sequence for CBS' American take on the classic Sherlock tale, Elementary.
theartofthetitle describes the sequence as a 'reflect[ion] the show’s contemporary take on a classic character. A Rube Goldberg contraption represent[s] the manic detective’s unorthodox, sometimes convoluted and often aggressive approach to crime solving.
A large, transparent marble finds itself in an elaborate apparatus, setting off a chain reaction of increasingly violent events that culminate in the caging of a helpless figurine.
Like the mind of the great detective, the invention works at a dizzying pace, with only parts of it revealed while others remain a mystery.
A steadily intensifying score composed by Sean Callery adds a sense of impending danger and urgency to the marble’s iconoclastic course.
Just as one can’t make an omelette without breaking a few eggs, this sequence illustrates that you can’t always catch a criminal without subverting a few idols.'
I can't take my eyes off the chain of events in this thirty second sequence. It is one of the few opening sequences of a television series that I make sure not to skip over every episode. It never gets old, and with each viewing, I am able to see more, notice more and most of all become filled with anticipation once again for what is about to take place. It is a perfect representation of what a Sherlock mystery ought to be.
Another great contribution to film by Prologue is probably something everyone would easily love to hate. It is the transformation scene of Bella Swan in Breaking Dawn I. My thoughts on this film aside (that is another story...) the one moment I actually enjoyed was this exact scene.
As a past fan of the twilight saga, the final book's plot cannot be described in any other way but cringeworthy and ridiculous. With that being said, I found this scene very beautiful, touching even and it sure did let me reminisce of a time before twilight was a laughable movie franchise. The intensely crisp biology of her turning is fascinating, creepy even but sure enough aesthetically flawless. Combining it with a montage of touching moments in the backdrop of a great score, it left me feeling very fulfilled which I thought was next to impossible for this film.
It felt so much more than a nonsensical teenage romance. This clip was about life itself, change. The blood, veins and cells were just a beautiful physical representation of that. I thought it was a perfect ending and I haven't mustered up the courage to watch part II, and I don't think I will feel the need to with this as the ending of part I.
In summary, title sequences are masterful works of art in themselves. They're condensed ideas of the what follow before and after, and what we often don't pay attention to. I myself know that I overlook the first minute or so of whatever I'm watching, and that is often the opening sequence itself. Not to mention how most people leave immediately as the credits roll. The title sequence is what really opens and closes a film/tv show/game. It is what immediately attracts the viewer and creates anticipation for what's to come and what lingers after a film has concluded. It must accurately represent the main content and that can make or break a movie in terms of being initially invested. I know it has worked wonders on me with Elementary as I'm left in anticipation every single week.
The work that goes into designing something unique and creative that also aligns with the director's vision must be a tremendous effort and I'm only realising this now. It's strange because I myself have experienced the process of studio production, and the stress of constant dedication to work you must have to complete anything worth presenting. I guess that is exactly what Prologue does so well.
Haven't heard enough about Prologue? I urge you to have a look at their 2012 montage video. You'll be blown away.
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To find out more, visit the official Prologue Films website
You can find his post on reddit here
If you're interested on the topic of title sequences, check out the incredibly intricate and unique process of creating the 'stop motion' opening sequence for 2007 film Juno by smithleedesign here.
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