Saul Bass

Saul Bass is known for being one of the first people to incorporate graphic design into traditional opening sequences. Bass designed the title sequence for psycho (1960), the sequence itself was hugely innovated for its time, Bass creates a stylised, fragmented world that moves like animation however looks like graphic design. The movement of the credits and use of the skips and fragments represent the workings of the main character Norman Bates, this shows how the credits alone can be used to establish character as well as narrative.

The title design for Casino (1995) is extremely visual however, unlike Bass' previous work the typography does not have as extensive meaning. The typography does not play a main role in the visual, it remains central but does not contribute to the narrative that is being told in the title sequence. However the credits allow a theme to be explored and give a timeframe for the film through the vintage style of text, this reflects the time period, setting, narrative and characters very well. Like most of Bass' work the soundtrack is orchestral and parallel with the visual. The use of vibrant colours reflects the character and film, it suggests energy, flashiness and money, the choice of enticing colours and patterns makes the trailer look desirable and visually reflects casinos through the bright colours.

Saul Bass also created the title sequence for one of his best know pieces Cape Fear (1991). You can see from the still below that Bass still incorporates basic graphic design into his sequences even when technology has adapted. Like most of his title designs there is an ambiguous theme running through the narrative which is represented through the choice of props and the connotations towards them. Each scene represents a central theme within the narrative, the use of the colour red is a metaphorical representation of sacrifice and anger and the liquid represents the setting but also has ambiguous interpretations. The scenes have a cross-fade transition, with the typography being the main focus and remaining central throughout the sequence, similar to Bass' other work.