Auntie Mame (1. 95. Art of the Title. With Auntie Mame, we present to you, our readers, the art of the title sequins. Auntie Mame, a bon vivant expertly captured in a tour- de- force performance by Rosalind Russell, revels in the beauty of her time through her eccentric parties, extravagant decorating, and endless travels, bringing disparate characters together in light and love, and so her title sequence must follow suit. First, the Warner Bros. Lucille Ball, in her final feature film appearance, plays Auntie Mame, loving life and living it to the hilt with her nephew and assorted eccentrics in tow. Auntie Mame pictures, plot summary, trivia, quotes, news, reviews, cast, crew. Auntie Mame photos, posters, stills and award nominations. Download Auntie Mame (1958) torrents and select free movies from direct links to movie pages. Overview of Auntie Mame, 1958, directed by Morton DaCosta, with Rosalind Russell, Forrest Tucker, Coral Browne, at Turner Classic Movies. Auntie Mame (1958) Official Trailer - Rosalind Russell. Official Trailer - Rosalind Russell, Forrest Tucker Movie HD Subscribe to CLASSIC TRAILERS. With Auntie Mame, we present to you, our readers, the art of the title sequins. Auntie Mame, a bon vivant expertly captured in a tour-de-force performance by Rosalind. The red velvet hands, the cigarette holder, and that little cylinder, all decked in jewels, coming together to introduce a vortex of color. The kaleidoscope envelops us in a swirl of vibrant, shifting shards of painted glass as a piece from Bronislau Kaper. Unabashedly ostentatious and delightfully unusual, it remains to this day a vivid and joyful piece of title design. Auntie Mame would expect nothing less. Main title designer WAYNE FITZGERALD discusses the creation of the Auntie Mame opening title sequence and revisits his time at Pacific Title and Art. What was it like, designing titles in the late . Studios in Hollywood, Los Angeles, California. Warner's career spanned some 4. Hollywood studio moguls. Read more about Jack Warner. In general, it was still a studio time, when the studio heads ran all the details, whereas later, and now, you basically work with the director and the editor and so on. But in those days, you worked with the head of the studio. So the Auntie Mame titles reflect something of the personality of Jack Warner, which was not all great, but not all bad. It's a very early, very different title, though. Titles had pretty much become by rote and were not very creative in a lot of ways. And part of that was because whoever was running the studio had their taste and Jack Warner had his. Auntie Mame (1958) Official Trailer - Rosalind Russell, Forrest Tucker Movie HD - Duration: 3:09. Movieclips Trailer Vault 22,585 views.
I was relatively new at the business. I had been in it since about '5. Just shop boys, we were. I was ultimately trying to change the way titles were done and bring some creativity to it. We were still limited by the taste of those in charge and the technology. I did the Lucille Ball one too and I know that's much later. So, for Auntie Mame, I remember it because it was out of the ordinary and we shot something on the stage. I was shown the movie and it was decided that it really needed something colorful up in the beginning . That's the best we could do in this sort of abstract form . And so it was a matter of how to do it. I can't remember exactly how we came up with the cigarette holder but the point was to get it to the kaleidoscope. I thought on them, then I went to show them to Warner. He OKs it or he doesn't OK it. If he OKs it, then it's good as gold . The concept worked out fine, you know, the hands and the cigarette holder and the kaleidoscope to set up some elegance. View 4 images. Kaleidoscope background plate examples. That concept . But you had to clear everything through him . Other than the type size and color, I was happy with the idea. It worked conceptually and in those days we put all the titles on the head end. Auntie Mame title card. Originally, in the '4. But by the '5. 0s, they were beginning to get up to 2. Things were beginning to change but it took a while. So, how many people would work on a sequence like Auntie Mame? At the time, there were probably about 3. Pacific Title. Of that, I think half of them were title artists, since everything was hand- lettered. Was Auntie Mame. They could introduce color by shooting black and white units and putting the color in optically. Mostly the artists were lettering it . Then there were people who did illustration and background. But everybody did a little bit of everything. Then it went to the camera department. Then to the optical department to be composited. Unless it was shot original . I suspect this type was shot and optically put on, not on glass. Hand lettering example. So something like the changing kaleidoscope backgrounds, was that animated on an animation stand, frame by frame? A lathe bed is similar to an animation stand, which is a device assembled for the filming of any kind of animation that is placed on a flat surface, including cel animation, graphic animation, clay animation, and silhouette animation. Yeah. Well, we shot that on a lathe bed. But basically, it was shot at Pacific Title one way or another and then optically composited. Let. The sequins came down and formed ! And his comment was, ! So the title sequence works, as far as I'm concerned, but it's got this disastrous lettering. I'm talking about the type style itself and the size and the readability of it. It's very frustrating to look at it even today. Every time I look at that title, I cringe because of the color and the unreadability of it. If it's going to be there, you might as well be able to read it! But that's the way it was, generally speaking. You had to work through that, work around it. SUPPLEMENTAL: End title card. View the credits for this sequence. Title Designer: Wayne Fitzgerald. Production Studio: Pacific Title and Art Studio.
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