2009

My latest edition of THE FORGOTTEN is up at THE AUTEURS’ NOTEBOOK.

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Please leave your comments over there, they appreciate it.

Since I’m writing about title sequences mainly this week, it’s nice to feature a Richard Williams job. His amazing design and animation enlivened many a ’60s farrago, and a few good films too. This is undoubtedly of the farrago school, but although it’s, if  anything, more self-indulgent than Charles Feldman’s CASINO ROYALE or Jack Cardiff’s THE LIQUIDATOR, it’s also more artistically ambitious, and a lot more “entertaining”.

8 Responses to “2009”

  1. Hey David,
    Happy New Year to you, Fiona, Roddy, and everyone else in God’s Creation. I took you up on your suggestion and left a comment Over There. Looking forward to more inspired lunacy in the year ahead.

  2. There should be plenty of fun stuff ahead — it’s Hitchcock Year on Shadowplay, for no reason at all. Happy New Year to you and all Shadowplayers.

  3. After you through with title sequences you might try end credits — of which THIS is the greatest of them all.

  4. It’s a very nice one. Elaborate end credits are an interesting phenomenon because they’re so gratuitous — if the audience wants to leave as the credits roll, why try to stop them? The idea of spending money on keeping them in their seats is agreeably eccentric.

  5. And in this instance the production designer is Marlene Dietrich’s grandson.

  6. But did you find it “yeasty”?

    http://uk.youtube.com/watch?v=VdTAYk9f1_g

    Happy New Year, DC.

  7. Plenty of yeast, but perhaps it fails to rise.

    Happy New Year!

  8. Thanks to Simon Kane for the YouTube link. “Ribald [pronounced ribbled] and Yeasty”, I can’t believe they actually state in the trailer that it took Playboy magazine”ten pages to show it all”. It’s one thing to speculate about such a thing, but to have it actually confirmed in the trailer! Said trailer’s a bit of a letdown, all text and no imagery. That sort of teaser could go either way, potential filmgoers could either dismiss it because of no visuals, or rush to attend the film because of all the blaring textual enticement. Can’t say which side of the fence I’d’ve been on back then, since I was 14 at the time and living in the middle of nowhere.

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