I’ve just written a piece on title sequences for The Believer magazine, so this kind of thing is on my mind:
Simply amazing title sequence for… well, it tells you what it’s for. I must get around to watching this movie, especially since I saw MADEMOISELLE, Tony Richardson’s other Jeanne Moreau flop (the two films, made back-to-back, almost killed his career). Far from being the disaster of legend, MADEMOISELLE is fascinating and staggeringly beautiful.
I’ve had a slowly decaying VHS copy of this one for YEARS, and all I’ve looked at is the titles. Which are simply amazing.
Designed by Alan Aldridge, who also designed THIS —
Which was produced by my old friend Lawrie Knight, in Holland. He’d been working in commercials, and somehow got mixed up in this, despite not knowing who the Pink Floyd were. He noted with amusement that the management of the very respectable Dutch hotel they stayed at were mortified when the band came down to breakfast in tattered T-shirts.
He also saw them getting paid: from a suitcase full of cash. Wads were distributed.
And he also listened to many many complaints from the animators, saying that Aldridge’s designs were exactly the kind of thing that is most labour-intensive and impractical to do in animation. (Nowadays, with CGI, the situation has reversed — lots of identical things and patterns moving in space = incredibly easy.) Lawrie, knowing nothing about animation, just told them to get on with it.