10 Best Opening Title Sequences of All Time
Summary
TLDREste video explora las secuencias de títulos de película que han convertido un simple requisito en una forma de arte. Se destacan las mejores 10 secuencias de títulos de la historia, incluyendo obras de diseñadores icónicos como Maurice Binder y Saul Bass. Las secuencias son analizadas por su capacidad para establecer el tono, preparar al público para la película, y a veces incluso revelar pistas sobre la trama. La lista incluye títulos desde la clásica 'Dr. No' hasta la moderna 'Enter the Void', mostrando la evolución y el impacto de estas secuencias en la experiencia cinematográfica.
Takeaways
- 🎬 Los títulos de las películas han evolucionado desde una simple necesidad de informar al público que la película comienza hasta convertirse en una forma de arte.
- 🏆 Se destacan los títulos de 'Enter the Void' de Gasper Noé por su modernización del concepto de títulos, utilizando estilos eclécticos y personales.
- 🔍 En 'Goldfinger', los títulos de James Bond establecen el tono de sexo, misterio y peligro que caracteriza a la saga, utilizando una combinación de movimiento y diseño gráfico.
- 🎭 'Catch Me If You Can' utiliza la animación para crear una tensión dramática, narrando una versión en miniatura de la caza entre el gato y el ratón que es la trama de la película.
- 🎨 La transición de los títulos estáticos a la introducción de imágenes filmadas y animaciones ha enriquecido la experiencia de los espectadores.
- 🚀 'Dr. No' de Maurice Binder es considerado el padre de los títulos de James Bond, con un diseño gráfico que captura la esencia del personaje de Bond.
- 🌆 'El toque del mal' de Orson Welles utiliza una toma larga que establece el tono y la atmósfera de la película, mostrando la habilidad de Welles con la dirección de actores y la narrativa.
- 💡 'Fight Club' utiliza su secuencia de títulos para prever el giro del argumento, utilizando imágenes que sugieren la tensión y el conflicto mental de la trama.
- 🔫 'Lord of War' utiliza la vida de una bala para contextualizar la historia, mostrando las consecuencias de la industria de armas.
- 🚖 'Taxi Driver' introduce al espectador en el mundo viscoso y sucio de la noche de Nueva York, estableciendo el tono para la historia de Travis Bickle.
- 📚 'Lolita' de Stanley Kubrick utiliza una secuencia de títulos que captura la tensión y el tabú de la relación entre los personajes, preparando al espectador para la trama.
- 🏆 Saul Bass es aclamado como uno de los mejores diseñadores de títulos de la historia del cine, con una habilidad excepcional para establecer el tono emocional de una película.
Q & A
¿Qué es una secuencia de títulos de película?
-Una secuencia de títulos de película es una introducción que suele aparecer al comienzo de una película, que puede incluir el nombre del filme, los créditos de los actores y el personal de producción, y a menudo ha evolucionado para convertirse en una forma de arte en sí misma.
¿Cuál es la función de una secuencia de títulos en una película?
-Las secuencias de títulos sirven para informar al público que la película está comenzando, pero también pueden establecer el tono, el estilo y la atmósfera de la película, y en algunos casos, proporcionar información relevante para la trama.
¿Cuál es la secuencia de títulos número 10 en la lista mencionada en el guion?
-La secuencia de títulos número 10 es la de la película 'Enter the Void' de Gasper Noé, que se destaca por su uso de estilos visuales audaces y personales que evocan a cada personaje o miembro del equipo.
¿Qué innovaciones se mencionan en las secuencias de títulos tempranas?
-Se mencionan innovaciones como la introducción de imágenes filmadas, como en 'Persona', 'Do the Right Thing' y 'The Big Sleep', y la combinación de imágenes con texto proyectado sobre el cuerpo humano, como en 'From Russia With Love'.
¿Por qué se destaca la secuencia de títulos de 'Goldfinger' en el guion?
-La secuencia de títulos de 'Goldfinger' se destaca porque establece el tono perfecto de sexo, misterio y peligro que encarna la marca Bond, y es considerada una obra de arte independiente valiosa.
¿Qué tipo de secuencias de títulos utilizan la animación para crear una transición al mundo de la película?
-Las secuencias de títulos que utilizan la animación para crear una transición incluyen 'The Pink Panther', 'How to Stuff a Wild Bikini', 'Robin Hood', 'A Series of Unfortunate Events', 'Grease' y 'The Parent Trap'.
¿Cuál es la secuencia de títulos número 8 en la lista y qué la hace destacar?
-La secuencia de títulos número 8 es 'Catch Me If You Can', que combina la animación con un estilo de los años 60 para crear una tensión y drama que anticipan la trama del filme.
¿Qué es lo que distingue a la secuencia de títulos de 'Dr. No' en la lista?
-La secuencia de títulos de 'Dr. No' es destacada por ser el comienzo de la serie de títulos de Bond y por su diseño gráfico minimalista y simbólico que captura la esencia del personaje de Bond.
¿Cómo contribuye la secuencia de títulos de 'Touch of Evil' a la trama de la película?
-La secuencia de títulos de 'Touch of Evil' establece el tono y la atmósfera de la película con una toma larga que representa la cohesión de un pueblo fronterizo que se ve interrumpida por una explosión, paralelamente a la trama.
¿Qué tipo de secuencias de títulos son capaces de prever los eventos de la película?
-Las secuencias de títulos que son capaces de prever eventos de la película son aquellas que utilizan la预示, como en 'Gattaca', 'The Fall', 'The Palm Beach Story' y 'Lawrence of Arabia'.
¿Cómo establece la secuencia de títulos de 'Lord of War' el contexto de la historia?
-La secuencia de títulos de 'Lord of War' establece el contexto de la historia mostrando la vida de una bala desde la fábrica hasta su destino final, sirviendo como recordatorio de las consecuencias del comercio de armas.
¿Qué papel desempeñan las secuencias de títulos en la presentación del mundo de la película?
-Las secuencias de títulos presentan el mundo de la película familiarizando al espectador con el escenario y la atmósfera en el que se desarrollará la trama, como en 'Zombieland', 'Nashville', 'Superman' y '2001: A Space Odyssey'.
¿Cuál es la secuencia de títulos número 2 en la lista y por qué es destacada?
-La secuencia de títulos número 2 es la de 'Lolita', destacada por su habilidad para presentar el personaje titular de una manera que evoca el tabú y la tensión sexual de la historia, sin caer en lo pornográfico.
¿Quién es Saul Bass y qué contribución tiene en el diseño de títulos de película?
-Saul Bass fue un diseñador gráfico y director de cine conocido por revolucionar el diseño de títulos de película, creando secuencias que capturan la esencia de una película con diseños simples y ejecuciones claras.
¿Por qué no se elige una única secuencia de títulos de Saul Bass como número 1 en la lista?
-No se elige una única secuencia de títulos de Saul Bass como número 1 porque su trabajo es considerado de tal calidad y variedad que sería imposible elegir una sobre otra, lo que lleva a darle el reconocimiento a su conjunto de trabajo.
Outlines
🎬 Mejores secuencias de títulos de película
El primer párrafo aborda la evolución de los títulos de película desde una simple necesidad para informar al público de que la película está comenzando, hasta convertirse en una forma de arte. Se destacan las secuencias de títulos de películas como 'King Kong', 'Dr. Strangelove', 'Alien', 'Spring Breakers', 'Star Wars', 'Panic Room', 'A Clockwork Orange', 'Enter the Void' y 'Gasper Noah'. Se menciona que la secuencia de títulos de 'Enter the Void' es un ejemplo moderno que mejora el concepto con títulos diseñados cuidadosamente y personales que evocan a cada personaje o miembro del equipo. Además, se habla de cómo algunas secuencias de títulos han evolucionado para incluir imágenes filmadas y cómo 'Goldfinger' establece el tono perfecto para la franquicia de Bond con su combinación de movimiento, sexo, misterio y peligro.
🎭 Innovaciones en secuencias de títulos
El segundo párrafo explora cómo algunas secuencias de títulos han innovado al combinar texto con imágenes filmadas y animaciones para establecer el tono y la atmósfera de la película. Se mencionan títulos como 'Pink Panther', 'How to Stuff a Wild Bikini', 'Robin Hood', 'A Series of Unfortunate Events', 'Catch Me If You Can' y 'The Parent Trap'. Se destaca que 'Catch Me If You Can' utiliza la animación para crear tensión y drama, mientras que 'Dr. No' de Maurice Binder, quien diseñó 14 títulos para la saga de Bond, es considerado un pionero en el estilo de los títulos de Bond, capturando la esencia del personaje con un diseño minimalista y llamativo.
🌆 Secuencias de títulos que establecen el tono
El tercer párrafo enfatiza la importancia de las secuencias de títulos en establecer el tono emocional de la película. Se discute cómo 'Taxi Driver', 'Lolita' y 'Vertigo' utilizan sus títulos para presentar el mundo y los personajes de la historia. Se menciona que 'Taxi Driver' nos sumerge en el mundo viscoso y sombrío de Nueva York, mientras que 'Lolita' nos presenta al personaje titular de una manera que evoca el tabú y la percepción sexual. Finalmente, se argumenta que una gran secuencia de títulos debe establecer el tono de la película, citando a Saul Bass como un maestro en la creación de títulos que capturan la esencia de una película.
📺 Más sobre secuencias de títulos
El cuarto párrafo es un llamado a la acción para suscriptores, animándolos a suscribirse para obtener más listas de películas de Center Fix.
Mindmap
Keywords
💡Títulos de película
💡Secuencia de títulos
💡Animación en títulos
💡Diseño gráfico
💡Estilo de los años 60
💡Toma larga
💡Presagio en títulos
💡Contexto en títulos
💡Establecimiento del mundo
💡Introducción de personajes
💡Tono emocional
Highlights
Movie title sequences have evolved into an art form from a simple requirement of informing the audience that the film is starting.
Title sequences often retain text as a core element, with iconic examples from movies like King Kong, Dr. Strangelove, and Alien.
Enter the Void by Gaspar Noé is praised for its modern, eclectic, and personal approach to title design, using bold styles and strobe effects to create a visceral experience.
Goldfinger's title sequence, directed by Brown John, is iconic in setting the tone for the James Bond franchise, blending sex, mystery, and danger.
Catch Me If You Can’s hand-animated title sequence draws influence from 1960s design and tells a microcosm story reflecting the movie's cat-and-mouse theme.
Maurice Binder’s innovative title sequence for Dr. No, including the famous gun barrel introduction, helped set a precedent for modern credit sequences.
Title sequences can act as integral parts of storytelling, as seen in films like Godzilla, Watchmen, and Serenity, where they contribute directly to the plot.
Orson Welles’ Touch of Evil opening is considered one of the best long takes in cinema, creating tension with its seamless three-and-a-half-minute sequence.
Fight Club's title sequence, designed to mirror the brain’s internal struggle, foreshadows the film's psychological twist and inner conflict.
Lord of War’s title sequence, following the life cycle of a bullet, contextualizes the human cost of the arms trade, despite its imperfect CGI.
Taxi Driver’s title sequence transports viewers into the distorted, gritty world of Travis Bickle, using the grimy streets of New York as a backdrop.
Stanley Kubrick’s Lolita uses a simple but powerful shot in its title sequence to reflect the film’s transgressive themes of innocence and taboo.
Title sequences are key in setting the tone of a film, with iconic examples like Natural Born Killers, Reservoir Dogs, and The Umbrellas of Cherbourg.
Saul Bass revolutionized movie titles by making them an integral part of the cinematic experience, notably in films like Psycho and Vertigo.
Saul Bass’ work is widely regarded as some of the best in film title design, making him a legendary figure whose influence persists across many genres.
Transcripts
before the film comes the titles born of
a simple requirement let the audience
know the movies starting titles have
developed into an art form in their own
right these are our picks for the top 10
movie title sequences of all time
[Music]
one thing title sequence is almost all
have in common the oldest holdover from
the very start is text we love the type
of King Kong and dr. Strangelove and
alien and spring breakers into star wars
count we love panic room and a Clockwork
Orange unless souffle and especially the
forbidden room and femme femme is an
incredible runner-up but for our number
10 pick we think that Gasper know is
modern updating really improves upon the
concept and Enter the Void
Gasper Noah is a filmmaker known for his
visceral often shocking work he is known
for the extreme and so it's fitting that
his best title sequence comes with his
own health warning the styles are bold
bright eclectic even tacky and cliche
they're also carefully thought-out and
deeply personal with each individual
title designed to evoke its character or
crew member combining LFOs pounding
track a flickering strobe
electrophotography english french and
japanese with an assault of pop art
typography this sequence is a force
eventually generic title cards gave way
to other innovations and very early on
these involved filmed imagery from
montages like personas seconds and do
the right things
moody footage teases like saboteurs or
The Big Sleep and we love dearly
how designer Brown John combined footage
with type by projecting it over the
human body in From Russia With Love but
it's his second effort that gets this
spot with Goldfinger
[Music]
James Bond titles are an absolute
institution and this is probably one of
our favorites legend has it Brown John a
famous UK graphic designer and socialite
pitched his original idea for
Goldfinger's prequel by turning down the
lights firing up a projector and taking
off his shirt to gyrate for the
executives declaring it'll be just like
this
except we'll use a pretty girl but
Goldfinger's titles are more than just
gyration and a pretty girl
they set the perfect tone of sex mystery
and danger that embodies the Bond brand
while simultaneously evoking the theme
characters and overall plot of the film
and going down as a worthwhile piece of
stand-alone art in the process the
cameras aren't the only way to get some
movement on the screen some iconic title
sequences ease the transition from the
real world of outside the cinema to the
fantasy space on its screen with a
halfway stop at animation these are
credit sequences like the Pink Panther
how to stuff a wild bikini Robin Hood a
series of unfortunate events those
magnificent men in their flying machines
grease and The Parent Trap however for
our number eight pick we think that
catch me if you can takes the old with
the new in the best possible way
in the same way the pink Panther's title
sequence mine's a chase for comedic
effect catch me if you can does so for
tension and drama telling a microcosm
animated story version of the
cat-and-mouse pursuit that makes up the
film but what's even more special than
the content of this animation is the
style dripping with 60s flair and color
it was actually hand animated with
hand-carved stamps on paper and then
composited onto a computerised design of
the symbolic landscape it harkens back
to an older more classical style of
title design one that lies at the heart
of the art form and as we proceed
through our lists pay attention to some
of our older entries to see if you can
spot some of the visual influences that
color this look and speaking of visual
influences for our number seven
somewhere between typography and
animation lies graphic design brilliant
simple iconic expressive and symbolic it
was the advent of the bold graphic
design title that had Otto Preminger
write a letter to the projectionists
instructing them to pull curtain before
titles assuring in a new era of
relevance where before they might not
have faked Auntie Mame Fahrenheit 451
boys night out thank you for smoking the
good the bad and the ugly the Thomas
Crown Affair women on the verge of a
nervous breakdown in its ancestor funny
face but for this slot we're giving it
to probably the second most important
title designer of all time maurice
binder and while we love the mouse that
roared damn yankees and charade we're
going back to the bond sequence that
started it all with dr. know
[Music]
finder is really the godfather of the
bond sequence designing 14 in all from
this first one through license to kill
with only one brief gap for brown johns
to film for it and good lord is dr. know
incredible from the advent of the now
unforgettable gun barrel sequence to the
classic 60s graphic minimalism of the
colored dots bender pioneered a slick
smooth attractive credit styling whose
influence persists to this day and what
we love most is that he seems to have
somehow captured the suave hip calm
goober cool hyper masculine metropolitan
nosov the character of bond with nothing
more than a grid of colorful circles
that's graphic design at its finest
as we continue our journey through
opening titles one of the questions we
have to ask ourselves after what makes a
title sequence look good is what makes a
title sequence work good sure they can
list some names and announce the
beginning but that's a missed
opportunity if that's all that screen
time in space is being used for so for
our number six we're looking at those
credit sequences that wastes no time and
get the story started contributing
themselves to the plot this is Godzilla
the Warriors Watchmen and serenity
sequences that tell the story that
incites the story but for our number six
slot we've got to give it to a title
sequence that sets it all up in a
brilliantly coordinated long take of
epic proportions and no that's not the
player although we love that one too
it's Orson Welles as the touch of evil
[Music]
largely considered one of the best long
takes in the history of cinema
especially by those in the know it's
certainly the most classic it's formally
brilliant the long shot represents a
border town cohesiveness that's
shattered into cuts by an explosion much
like the plot but it's also virtuosic
displaying wells is absolutely
meticulous control over his craft even
in the twilight of his career clocking
in at exactly three and a half minutes
from danger close to soaring wide with
just enough narrative wall to make space
to read the titles yet also an
ever-present ticking time-bomb
tension to keep it interesting this
sequence is pure cinema gold
now sometimes title sequences can pretty
much give the plot away without us even
knowing it this is the foreshadowing
title sequence a filmmaker toying with
us waiting for us to come around on a
second viewing like holy Sh and how
could it be so obvious
this is Gattaca in the fall and the Palm
Beach story and a little bit of Lawrence
of Arabia in a way it's Don Camilo in
Moscow
most recently Deadpool did this
brilliant exploring a frozen moment
alternating between titles that were
funny enough to actually read and
inexplicable slices of time that the
film promised to go back and xsplit but
more than anything it's our number five
pick of Fight Club
people are always asking me if I know
Tyler Durden conceived up by David
Fincher as a 3/4 of a million dollar
tour of fear happening in the brain it's
almost accidental how fittingly it gives
away the twist but in a film about a
conflict that is entirely mental it can
be no coincidence but what we love most
is that it doesn't only hint at the big
macro reveal at the end of the film but
the micro reveal too with glimpses of
sweat and bruising in a strange metal
shape that only hints at a hostage and a
gun we begin to suspect the shape of the
truth before we know its specifics and
that kind of uncertainty is perhaps even
more worthwhile to the viewing
experience than David Fincher thumbing
his nose at the viewer with hints about
what will shortly blow their minds title
sequences can also contextualize a story
conveying actual information that might
otherwise improve the viewing experience
fake the kingdom which spins its title
sequence as an oil industry history
prime or LA Confidential that has Danny
DeVito prologue as down into the seedy
underbelly of the city of angels or
Butch Cassidy and the Sundance Kid Szold
tiny introduction to the bank robbers of
yore however for our number four pick we
think that lord of wars tore through the
life of a bullet is a brilliant if
imperfect source of context something
happen
what it is ain't exactly clear there's a
man with a gun over there from factory
stamped to final destination Lord of
Wars title sequence serves as a reminder
of the vast consequences involved in the
weapons trade truthful or not far from a
sterile object this title sequence
equates bullets with a real potential
for death familiar in perspective -
maurice binders famous gun barrel
opening the tone is entirely its own and
while we wish for slightly more
photo-real cg we admire the scope
ambition and role that this title
sequence serves in feeling the emotional
weight of what it means to sell arms
[Music]
with very little exception title
sequences take place either at the very
beginning of the film or after a short
teaser sequence so I are easing the
audience into the seats or
contextualizing the previous snippet in
this way title sequences set the stage
and one of the main ways they do this is
by establishing the world
familiarizing us with the landscape
conveying to us the kind of backdrop
against which the story takes place
consider zombie lands bloody rock opera
Nashville's foe compilation album and
Superman's tour through the universe
there's the setup and Raging Bull
introducing us to each of their
different worlds of boxing moonrise
kingdom the shining 2001 Space Odyssey
Grand Prix and it's modern day
equivalent days of thunder rear window
and delicatessen we love will success
spoil Rock hunter hilarious infomercial
vignettes but for our number three pick
we're actually giving it to a little
movie called taxi driver
[Music]
[Music]
so many films have placed us in New York
and it almost seems like an unwritten
rule that they use their title sequences
to do so from Manhattan to my Man
Godfrey each has presented a slightly
different city in which the film lips a
taxi drivers steamy grimy rain smeared
tour of its nighttime underbelly is
perhaps the most enduring set to the
same brilliant Herrmann jazz score you
might expect of a sequence that
romanticizes NYC taxi driver instead
builds a contrast and right from the
jump were transported into the world of
Travis Bickle peering solitarily through
the distorted lens at the scum with
which we're surrounded living in his
world which is exactly what we're meant
to do and then there's the characters
tidal sequences can prepare us for the
human landscape as well introducing us
to a hero a villain a key character or a
relationship we meet high jinxing
beetles in a hard days night.the
childhood Amelie anomaly a sleepwalking
Benjamin Braddock in the Graduate and
Doc Brown in Back to the Future without
even seeing him we meet all the
Tenenbaums scout from tequila
Mockingbird and the terrifying John Doe
in seven however for our number two pick
we think there's something so wickedly
genius about the way we meet the titular
character from Stanley Kubrick's Lolita
[Music]
it's just this one simple shot there's
nothing more but God does it speak
volumes it invokes the full sense of the
immense taboo without delving into the
pornographic it is simultaneously
utterly innocent and utterly profane it
captures the audience's expectations of
the film perfectly and turns them right
against them in such a way that we're
forced to recognize that the sexuality
is at least partially in how we're
looking and perceiving and in an instant
we understand Lolita hum and there
transgressive ly conflicted relationship
and we're ready to accept the darkest of
plots that comes next and finally
finishing up at number one more than the
characters the world the background
story or the plot of great title
sequence must simply establish one thing
the tone emotionally preparing the
audience for what's to come
the ultimate function of the effective
opening title sequence
and while Natural Born Killers Halloween
Reservoir Dogs the umbrellas of
Cherbourg Napoleon Dynamite and even the
incredibly hilarious runner-up of The
Naked Gun do this with a plum and of
course we haven't forgotten him there is
no one in the world better at this than
Saul Bass this was the man who
revolutionized titling again and again
the man who made Otto Preminger famously
insists that the curtains be drawn that
convinced the world of cinema that
titles were meant to be paid attention
to not discarded and it is perhaps
entirely because of his pitch-perfect
ability to capture the essence of a film
in simple clear design and execution
that he is and always will be one of the
greats so what to honor
- which sequence do we give this top
slot from his earliest Carmen Jones to
his latest casino from his graphic hits
of psycho and Ocean's eleven - his
footage in seconds the cardinal and walk
on the wild side and his animation from
it's a mad mad mad mad world how he
evokes zany comedy from a series of
rectangles with the seven-year itch
tension balance and then serenity with
simple pendulums in st. Joan and entire
plot with spinning spirograph sin
vertigo
no we can't do it we won't pick it's a
50 way tie between everything a top slot
for his entire body of work will leave
you it's a rebel in his titular glory
[Music]
so what do you think do we leave out any
of your favorite titles did you disagree
with any of our picks think that last
one was a cop-out you can read off you
try picking one to solve asses best let
us know in the comments below and be
sure to subscribe for more Center fix
movie lists
5.0 / 5 (0 votes)