Archive for April, 2011

Thoughts on this year’s D&AD

A bit of time has passed since this year’s D&AD and my first impressions formulated after an interesting day viewing and judging the TV & Cinema Communications section have faded away. I have now reflected once again on the somewhat surprising conclusions I reached initially…namely, the lack of “ideas” on show and “software overload”.

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Judging at the D&AD Awards 2011 – update

An update to my earlier post:

Last week I was involved in judging at D&AD. The jury included Karin Fong (Imaginary Forces),  Sophie Lutman (Lambie-Nairn), Darius Ghanai (Lichtrausch), Olivier Schaack (Canal+), Matt Scarff (BSkyB) and Adam Jenns (Mainframe).

I spent a very interesting day viewing entries for the  TV & Cinema Advertising Section and will share my thoughts shortly. See some event photos below:

Richard Morrison and Darius Ghanai

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Title sequences as a must

Richard Morrison

Richard Morrison

Film credits have always intrigued me. A motion picture is such a complex cooperative undertaking that it is only in recent years that I have understood what all those designations really mean.

It is generally recognised that the film-going public is interested mainly in the leading actors and a very few well-known technicians. However, in spite of all efforts to control the situation, the list of credits on film grows longer each year.

Since trade requirements understandably demand these extensive credits it seemed desirable that this usually rather dull interlude should be converted into a positive introduction to the film.

Normally, the running of the main title sequence is a period during which the audience take their seats, tuck in to their popcorn, make small-talk with their neighbours or simply explore their seat for range comfort. So when the film itself begins there is usually an initial “cold” period. However, titles can be sufficiently provocative and entertaining to induce the audience to sit down and look – because something is really happening on screen.

I believe at this moment it is possible to project a symbolic foretaste of what is to come, and create a receptive atmosphere that will enable the film to begin on a higher level of audience rapport.

As I happen to have created more than 150 title sequences during the course of my career as a title designer, I thought it would be a good idea to regularly share my work here and, whenever possible, feature it with often insightful behind-the-scenes anecdotes and stories.

I trust you will enjoy it!

Categories: Film title sequences
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