Opening Title Sequence Analysis
So you'll notice that every film you watch starts with a list of names right? A swathe of opening sting animations, important people's names and the co-operations between them before we get the film's title have dotted our cinematic pass time since the days of silent movies and the cinematograph. Although superficially a way of indicating to the audience the start and end of the piece, it was also a way of telling the viewer of the production companies, the distribution companies and major figures involved in the creation of what they were about to watch.
Above is the teeth-grinding, nail-biting, effectively tense opening to Dario Argento's 'SUSPIRIA' where in he demonstrates a visually sumptuous approach to his horror-thriller, forcing most viewers to the seat's edge as the wonderfully coy music turns unsettling and the pallet of exotic colors dissipates into a cold sanguine.
Although not as engaging as more modern, in-your-face titles sequences (see below), Argento's slower, tenser opening is pitched perfectly by the rising strings and low, child like chimes, immediately setting up the uneasy and alien tone of the film. I would like to do something similar with 'Synth' especially since music plays such an important in both the film making and the narrative of my OTS. I do however feel that there is a missed opportunity in this sequence to build up the world a little more. For 'Synth', I would like to build up the tension by starting with the cold but familiar rings of a parked car, cut over by heavy breathing with the gaps between the titles showing the static -shot (i.e profile, low angle, close-up) silhouettes of the killer as he prepares for his massacre. The main reason I believe this will be effective is because it will contrast against the shaky but realistic shots of the victim's perspective later on and the hyper-stylized angles of the killer under control, building upon the visual metaphors of the cinematography as well as adding more variety to keep the audience engaged.
Although not as engaging as more modern, in-your-face titles sequences (see below), Argento's slower, tenser opening is pitched perfectly by the rising strings and low, child like chimes, immediately setting up the uneasy and alien tone of the film. I would like to do something similar with 'Synth' especially since music plays such an important in both the film making and the narrative of my OTS. I do however feel that there is a missed opportunity in this sequence to build up the world a little more. For 'Synth', I would like to build up the tension by starting with the cold but familiar rings of a parked car, cut over by heavy breathing with the gaps between the titles showing the static -shot (i.e profile, low angle, close-up) silhouettes of the killer as he prepares for his massacre. The main reason I believe this will be effective is because it will contrast against the shaky but realistic shots of the victim's perspective later on and the hyper-stylized angles of the killer under control, building upon the visual metaphors of the cinematography as well as adding more variety to keep the audience engaged.
order Of Titles
Although not shown in the footage available, this sequence should first have shown the distributor's logo and the production company logo
All of the credits above are accepted as standard as a result of trade union rules which have caused disruption in the production of some movies such as the 1977 incident where Star Wars Director George Lucas was fined by the Directors Guild of America. Independent films are not required to abide by such rules but mainly engage with the practice to add some air of authenticity to their movies as credible cinema going experiences.
Synth Opening title Sequence Credits
DISTRIBUTOR - "Far-Fire Distribution"
PRODUCTION COMPANY Presents - "Lighthouse Rising Presents"
A DIRECTOR Production - "A Matthew J. Stevens Production"
Starring (Main) ACTOR - "Starring Coral Deane"
(Main) ACTOR - "Caitlin Fenton"
Ben Tarrant(Main) ACTOR - "Ben Tarrant"
(Main) ACTOR - "Callum Hunt"
Title - "Synth"
(Supporting) With Actor as character - "With Matthew J. Stevens as Kingston"
(Supporting) And Actor - "And Brandon Hutchinson"
Casting by CASTING DIRECTOR - "Casting by Troy Baker"
Director of Photography CINEMATOGRAPHER - "Director of Photography Joshua Cole"
Production Manager PRODUCTION MANAGER - "Production Manager Ruth Wild"
Original Score by COMPOSER - "Original Score by Matthew Webb"
Music by LICENSED MUSICIANS - "Music by Carpenter Brut and Magic Sword"
Edited by EDITOR - "Edited by Matthew J. Stevens"
Costumer Designer COSTUME DESIGNER - "Costumer Designer Emma Louise Wallace"
Associate Producer PRODUCER - "Associate Producer Callum Hunt"
Executive Producer EX-PRODUCER - "Executive Producer Sally Thomas"
Written by WRITER and WRITER - "Written by Matthew J. Stevens and Joseph Conrad"
Directed by DIRECTOR - "Directed by Matthew J. Stevens"
PRODUCTION COMPANY Presents - "Lighthouse Rising Presents"
A DIRECTOR Production - "A Matthew J. Stevens Production"
Starring (Main) ACTOR - "Starring Coral Deane"
(Main) ACTOR - "Caitlin Fenton"
Ben Tarrant(Main) ACTOR - "Ben Tarrant"
(Main) ACTOR - "Callum Hunt"
Title - "Synth"
(Supporting) With Actor as character - "With Matthew J. Stevens as Kingston"
(Supporting) And Actor - "And Brandon Hutchinson"
Casting by CASTING DIRECTOR - "Casting by Troy Baker"
Director of Photography CINEMATOGRAPHER - "Director of Photography Joshua Cole"
Production Manager PRODUCTION MANAGER - "Production Manager Ruth Wild"
Original Score by COMPOSER - "Original Score by Matthew Webb"
Music by LICENSED MUSICIANS - "Music by Carpenter Brut and Magic Sword"
Edited by EDITOR - "Edited by Matthew J. Stevens"
Costumer Designer COSTUME DESIGNER - "Costumer Designer Emma Louise Wallace"
Associate Producer PRODUCER - "Associate Producer Callum Hunt"
Executive Producer EX-PRODUCER - "Executive Producer Sally Thomas"
Written by WRITER and WRITER - "Written by Matthew J. Stevens and Joseph Conrad"
Directed by DIRECTOR - "Directed by Matthew J. Stevens"