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Meanwhile other shows, like Vince Gilligan’s Breaking Bad spin-off Better Call Saul foregoes a sequence entirely, providing a minimalist title with a guitar lick, with imagery alternating each episode.
#TITLE SEQUENCES SERIES#
The original opening credits of HBO’s The Leftovers suggested something religious was behind the disappearance of two percent of the world’s population, but being a Damon Lindelof ( Lost) series though, there are no easy answers and by season two the opening sequence had changed completely in style, tone and even meaning. Lynch's approach of providing an intro that tonally give you hints about the show you're about to see, without forfeiting too much as to what it will actually be about, is done well by many series nowadays, from True Detective and Bosch to shows like Trapped, which forces us to draw parallels between humans and the landscapes we inhabit through microscope imagery of a dead body, and birds-eye landscape shots of Iceland.Īn interesting side affect of audiences’ willingness to sit through cryptic sequences over and over is the almost red-herring type opening credits, sequences that push the envelope in terms of its links to the show. The pair have since created further striking title sequences for AMC’s Halt and Catch Fire, which plays with the idea of impregnation and applies it to the personal computer revolution, and The Man in the High Castle for which they created a haunting sequence depicting a merging of Nazi, Japanese and American imagery to reflect the alternate universe wherein the Allies lost World War 2.
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Clair and Marks then produced a concept to reflect that idea, with “portraits where the actor’s faces were broken up by oil refineries, flames, sea creatures.
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In an interview with Smith Journal, Clair spoke of his first conversation with the show’s creator Nic Pizzolatto, Clair picking up on Pizzolatto’s idea of using “broken and exploited landscapes as a metaphor for broken and exploited people”. Just ask Australians Patrick Clair and Raoul Marks who created the stunning opening credits for True Detective. What has changed is how exposition is approached, and the willingness of networks like HBO to outsource the creation of these sequences, and get something a little edgier in return. Exposition is still important, after all credits are our entry point, and like film trailers can turn an audience on (or off), we can usually tell from a show’s title sequences whether we’re sold on the ride we’re about to embark on. In some sense, titles haven’t changed that much. The 80s and 90s too had a predilection for jamming us much action and imagery into their title sequences, along with the obligatory hero shots of the show’s stars, like those of Baywatch, or Dr Quinn Medicine Woman. Exposition was big in title sequences, either through song, or cartoon caricature ( I Dream of Genie) or straight-up narration like that in Star Trek or The A-Team. After all, even in the 90s comedies like The Nanny and The Fresh Prince of Bel-Air used the same technique. Just as enduring too, was the approach of offering audiences heavy-handed exposition through song. “Here’s the story, of a man named Brady.” The opening title sequence of The Brady Bunch is perhaps one of television’s most iconic. But as the quality of television series has grown, so too has the artistic intent and calibre of its opening title credits, many of which not only complement the themes and tone of the series they represent, but often stand alone as pieces of visual art.
#TITLE SEQUENCES TV#
Before cable television and streaming services came along, TV title sequences largely served a straightforward purpose: to set up the tone and backstory of a series, and or reveal the show’s stars.