My aims this week are to compile a comprehensive list of Kyle Cooper’s work with clear referencing. Review the work of Kyle Cooper, look at title sequences and analyse the brief and the successes of the outcomes. Both Prologue films and Imaginary Forces are areas of research for this following weeks intensive research.
For example with the title sequence for the film entitled The Number 23, the visual narrative implies that typewriters are being used however, a typewriter is not seen. How has this been represented? Consider how this way of thinking can be applied
to your own practice.
http://www.imaginaryforces.com/archive/alphabetical/371#still_6
Compiled a list of title sequences I plan to look at this week include the following;
The Reaping, Dawn of the Dead, Eurotrip, Gattaca, Unforseen, Freedomland
Seven pounds, Firewall, House of Wax, Scarface, Zathura, The Number 23
Key titles are The Reaping, Zathura and The Number 23 (this was created by Imaginary forces).
Kyle Cooper
Broadcast design and animation company Primal Screen sponsors an evening with Kyle Cooper, hosted by AIGA Atlanta.
Kyle Cooper has directed over 150 film title sequences, and has been credited with "almost single-handedly revitalizing the main-title sequence as an art form". He is the founder of two internationally recognized film design companies, Imaginary Forces and Prologue Films.
Cooper earned a M.F.A. in Graphic Design from the Yale School of Art, where he studied independently with Paul Rand. Cooper is a member of the Alliance Graphique Internationale and holds the honorary title of Royal Designer for Industry from the Royal Society of Arts in London.
Past work includes title design for Seven, Dawn of the Dead, Braveheart, Superman Returns, Mission: Impossible, The Painted Veil, Donnie Brasco, The Island of Dr. Moreau, Mimic, Wild Wild West, Titus, Zathura, and Spider-Man 1,2, and 3.
http://designtaxi.com/news.jsp?id=7692&monthview=1&month=3&year=2007
http://uk.youtube.com/watch?v=Jln0jyiEz7o&feature=related
http://uk.youtube.com/watch?v=IVevD2jMyTA&feature=related
Looking at the title sequences linking into Spiderman, I noticed that the typeface is very understated and uncomplicated. The stringy web drips down to create one letterform once in a while, the sequence is slow. In the background, more is going on in terms of atmosphere, blue, green and black silhouettes dance and morph, the shapes created are similar to lights when you travel in a car at night.
Clips for Se7en title sequence
http://uk.youtube.com/watch?v=SEZK7mJoPLY&feature=related
Prologue montage
http://uk.youtube.com/watch?v=geJjMR9tbF4
Kyle Cooper and Garrick Hamm: Part1
http://uk.youtube.com/watch?v=y1PMvDTxy2c&feature=related
Kyle Cooper and Garrick Hamm: Part2
http://uk.youtube.com/watch?v=Ih4qrXOpgCQ&feature=related
Review of sequence ‘Number 23’
http://www.imaginaryforces.com/archive/alphabetical/371
The sequence works closely with the tones of music, starting of at a calm, slow pace becoming frenetic and harsh towards the end. Visually the noise of the piece also builds up with the music. A small amount of typewritten lettering appears, followed by quick edits and text appearing range right then left, repetition of letterforms and red ‘blood’ seeping onto the page. Typewriters are implied in two ways, firstly by the choice of lettering, secondly by the movement of the sequence, the actor’s names scroll up in a jerky return as they would if rendered on a typewriter. As the title ‘number 23’ appears and the audio indicates that also paper appears to have been pulled sharply. A few characters alter from letters to numerals, this creates a subtle effect for the viewer. Danger, death and cryptic messages are implied through the use of the lettering, movement of the animation and the red stains. I will refer to the way in which the lettering animation as behavior-implication method.
The main titles set the tone and context of the film – namely, the hidden power and prevalence of the number 23. The sequence uses erratic typewriter movements, seeping blood and ink blotches to suggest a haunting and dark narrative. A sheet of paper is peppered with the number 23 as related facts woven throughout the sequence appear via bleeding red and black stains. The Knights Templar had 23 Grand Masters, and King Charles I was beheaded on January 30th, 1649 – with the numbers in the date adding up to 23 and so forth. ‘IF’ artists worked closely with Director Joel Schumacher to finesse the aesthetic and graphical representations in the main titles. Blood is an important element in the film as the novel read by Jim Carrey's character is a chilling murder mystery. The blood also serves as a metaphor for the book, which has a red cover.
Review of sequence ‘Zathura’
This sequence is an excellent example of a mixed media approach. There are 3d live elements such as the ‘go’ button, some obvious 2d comic hero references, which have been adapted into After Effects animations. Another aspect of the animation shows real time numerals working on a countdown dial carefully photographed with shadows to enhance its hyper reality next to a flat 2d sticker of an on/off lever. This gives the impression of childlike play, fun and invention.
There are also subtle softer ‘explosions’ that meld the 2d and 3d elements together. The result becomes visually exciting for the viewer, plenty of drama and yet retains subtle qualities.
The colour palette is based on 1950’s comic print, secondary colours, and texture of paper is alluded to. “Zathura” emerges by flying onto the screen, escorted by a rocket! The secondary type is set in bold sans serif and the text animates as if it were flying in space, quite slow and not detracting from the imagery/scene setting.
Overall there are lots of close ups and shots are cropped off the screen, this gives a sense that the space we are looking at is so large it cannot be contained. Camera angles and meteors and dynamic spins with the camera give an impression of space travel and movement. The old science fiction toy model provides a strong platform and focal point to the animation in terms of visual language, zeitgeist and styling.
Review of sequence ‘The Reaping’
An edgy close up fast edited sequence with superb high quality shots throughout. The widely tracked red letters appear on screen as dispersed seeds, this is implied by the use of outsized cropped off details of leaf photographs and small red cells appearing alongside. Leaves float down, getting smaller as out of focus research slides are put under the microscope (again this is not shown, it is implied by behaviour of the animation movements and clues you are given with objects appearing in and out of focus).
Large detailed biological images of butterflies/insects bleed off screen in synchronization with louder music. There is an uncomfortable pause whereby an insect or eyelashes appear on screen, this makes the viewer question if the film is about insects or people. Other materials used include, blood, water, oil and liquids being filmed dropping into other liquids. Large details of insect eyes are shown with relevant ‘buzzing’ audio. The typeface appears to float and dissolve as if in liquid or ether.
A simple font has been used a recessed typewriter font in capitals only, heavily letter-spaced. The synchronization of image to audio is phenomenal in this sequence.
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