For whatever reason, be it a deep-seated desire to act, a lack of a casting budget, or just “if you want something done right, do it yourself”, many directors at some point in their careers have stepped out from behind the camera to act. This is typically in a smaller, cameo role, and often with [...]
Don’t Quit Your Day Job: Directors’ Cameos in Films
April 3rd, 2008 37 Comments
Tags: Akira Kurosawa · Akira Kurosawa's Dreams · Alfred Hitchcock · Apocalypse Now · Bob Balaban · cameo role · Chinatown · Close Encounters of the Third Kind · Dustin Hoffman · Francis Ford Coppola · Francois Truffaut · John Landis · M. Night Shyamalan · Martin Scorsese · Mel Gibson · Oliver Stone · Pulp Fiction · Quentin Tarantino · Robert DeNiro · Roman Polanski · Signs · Steven Spielberg · Sydney Pollack · Taxi Driver · The Blues Brothers · The Doors · Tootsie
The Best Beginnings on Film: The InImitable Style of Saul Bass
March 16th, 2008 2 Comments
The purpose of a movie’s main title sequence is to deliver necessary credit information while thematically and stylistically summarizing the film. A good film’s title sequence should be a metaphorical microcosm of the film itself. In this respect, no main title designer has been as influential on the industry as Saul Bass.
The influence of graphic [...]
Tags: Alfred Hitchcock · Anatomy of a Murder · Around the World in 80 Days · Cape Fear · Casino · Catch Me If You Can · Clockers · credit sequence · Down With Love · Goodfellas · graphic design · It's a Mad Mad Mad Mad World · logos · main title sequence · Martin Scorsese · North By Northwest · Otto Preminger · Psycho · Saul Bass · Star Wars · Steven Spielberg · The Age of Innocence · The Man With the Golden Arm · The Simpsons · titles · Vertigo