Title Sequence Presentation
Essay Preview: Title Sequence Presentation
Report this essay
The opening title sequence for the movie catch me if you can, designed by Olivier Kuntzel and Florence Deygas, establishes the era, style and tone of the movies narrative by its use of 60s retro inspired graphics, flowing type, smooth lines and cool jazz.
The whole opening sequence is an animation, which foreshadows the plot. The sequence features a series of silhouetted designs within a brightly colored geometric plane. Silhouettes of the two main characters move fluidly across the two-dimensional screen and recreate the extended chase motif that takes place as part of the films narrative. As the sequence moves from one location to the next, the colour scheme changes. As the characters travel through these spaces, one disguises himself and shifts identities; starting with a pilot. The chase sequence ends with two the two characters sharing the same frame. However, the story remains open-ended in order to maintain the suspense of the actual film.
Released in December 2002, Steven Speilburgs “Catch Me If You Can” is based on the true story of Frank Abagnale, a master of deception. Based in the 1960s, he poses as a doctor, lawyer and co-pilot of a major airline, using his forgery skills to steal millions of dollars. Until, FBI agent, Carl Hanratty tries to bring him to justice.
The titles, like the film, are reminiscent of the period. Whilst reminding the audience that despite its retro aesthetic this is a contemporary film bringing the mischievous movies of the sixties to a modern audience. The handmade visual style of “Catch Me If You Can” shows many influences from Saul Bass, a designer in the 60s.
Bass states, ” Making a main title was like making a poster. Youre condensing the event into this one concept, this one metaphoric back-story that needs to be told or a character that needs to be introduced”
Critics of the title sequence drew comparisons to the visual imagery, the playful narrative and memorable music to that of the 1963 Pink Panther, which evokes memories of the tongue-in-cheek humour of the crime comedies of that era. Kuntzel recalls the director, Steven Speilburg, instructing them to give the titles a sixties feel, “back then, film openers had a graphic look. Speilburg wanted the sequence to place the audience in that period while introducing the story to them.”
In order for Kuntzel and Deygas to achieve an authentic 60s style they worked in the same conditions that artists worked in that era. This therefore resulted in this “handmade” effect in the title sequence. For them to capture the spirit of the protaginist they used the creative process that did not resort to the use of high technology.
They stated “We used the same techniques as the films protagonist, by imaginig the characters in the stamp form, made from