Work on 'Skyfall' credits sequence begins

http://www.mi6-hq.com/news/index.php?itemid=10209

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Work on the credits sequence to the upcoming James Bond film "Skyfall" is underway.

British model Charlotte Edwards tweeted that her friend and fellow model Natasha was shooting the credits sequence to "Skyfall".


Traditionally featuring sexy silhouetted girls, the titles for Daniel Craig's first two outings were a little different: rotoscoped vector animation for "Casino Royale", and three dimensional girls with CGI effects for "Quantum of Solace".

With director Sam Mendes promising the return of classic Bond elements, will fans see a traditional credits sequence?

There is no confirmation yet on who is creating the titles, or if Daniel Kleinman is back to work more of his magic.

Her?

http://bigmustard.co.uk/models/view/charlotte-edwards/87/page:1

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British model Charlotte Edwards tweeted that her friend and fellow model Natasha was shooting the credits sequence to "Skyfall".

I imagine these broads will look good as silhouettes.

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British model Charlotte Edwards tweeted that her friend and fellow model Natasha was shooting the credits sequence to "Skyfall".

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There is no confirmation yet on who is creating the titles, or if Daniel Kleinman is back to work more of his magic.

Now we know why Ambler's had his hands full. Baker Street's back in business.

But what are they using to do their moves to? Unless there's an early version of the Bond theme.

I always thought the slowly gyrating girls looked stupid, at least when Kleinman did it.

As long as they get someone good, I'm fine with Kleinman being out. They should get a real artist to do them.

The White Tuxedo wrote:

I always thought the slowly gyrating girls looked stupid, at least when Kleinman did it.

As long as they get someone good, I'm fine with Kleinman being out. They should get a real artist to do them.

Agreed, it was at its worst in TND, TWINE and DAD. It's better when he focuses on his stronger suits like the symbolism/plot foreshadowing. TND has a lot of that but then there's a bunch of women trying to move seductively but it looks tacky. Better to let the girls do something interesting like hammering Soviet statues, the Janus lady, ect.

The White Tuxedo wrote:

As long as they get someone good, I'm fine with Kleinman being out. They should get a real artist to do them.

How about Tim Miller, the guy who did the titles for THE GIRL WITH THE DRAGON TATTOO?

Prisoner Monkeys wrote:

How about Tim Miller, the guy who did the titles for THE GIRL WITH THE DRAGON TATTOO?

I actually liked those and thought of Bond when I first saw these titles in the movie.

I think the real beauty of Miller's titles is the way the pacing of the images matches up with the tempo of the song. Like in the very opening, where the camera cuts in time with the beats; the way the tar starts flowing qucikly as Karen O starts signing; the phoenix takes off when the second verse begins; the images are less intense during the softer verses; and so on and so forth.

But in order to do that for SKYFALL, Miller - or whoever did the title sequence - would need a song first.

The White Tuxedo wrote:

I always thought the slowly gyrating girls looked stupid, at least when Kleinman did it.

No, I liked them. I think I prefer them to much of Binder's, to be honest.

Yeah, Binder could be pretty derivative at times, if not downright poor (i.e. THE MAN WITH THE GOLDEN GUN and LICENSE TO KILL), but his problems were the same as Kleinman's. Too much going on.

I think Binder's main problem was a lack of fresh ideas. Many of his Bond credits were much of a muchness.

Perilagu Khan wrote:

I think Binder's main problem was a lack of fresh ideas. Many of his Bond credits were much of a muchness.

I think he needed a solid theme to build from, the sub marine environment of TB, the Japanese ornamentation and volcanoes of YOLT, the Voodoo culture for LALD all offered a base he could build on. However as the films became less focussed he just began tossing everything at the screen and it turned a bit messy.

lachesis wrote:

Perilagu Khan wrote:

I think Binder's main problem was a lack of fresh ideas. Many of his Bond credits were much of a muchness.

I think he needed a solid theme to build from, the sub marine environment of TB, the Japanese ornamentation and volcanoes of YOLT, the Voodoo culture for LALD all offered a base he could build on. However as the films became less focussed he just began tossing everything at the screen and it turned a bit messy.

I think you're right. But regardless of how diffuse any given Bond film may have been, it was his responsibility to tease out an arresting theme and build his credits around it. Many times he failed in this responsibility.

Indeed. He could have gone with circuses, octopi, or Indian exoticism in OP, but he did some generic stuff with lasers. Same goes for LTK. Cameras, casino tables and Asian girls. What the hell? Talk about taking inspiration from minor parts of the film.

Brownjohn/Kleinmann > Binder

I have nothing against Binder and his contribution of the gunbarrel was great but those two were just much better.

Yeah Binder got really repetitive in the 80s. FYEO only stands out because of the inclusion of Sheena Eaton and underwateer motif looked great. But the rest of the 80s main titles are pretty lazy, TLD rehashing several of his earlier works. AVTAK is odd. I'm not sure what the hell he was going for on that one.

FYEO, AVTAK and TLD were great IMO - much better than TSWLM, MR and OHMSS.

Don't you think Binder had gone as far as he could with SPY? I mean, he'd done all the cool dramatic things you could do with silhouettes by then, so his work on SPY, which has credits that play like a Bond parody (just like the movie), is pretty much the point where everything starts looking the same. The effects work he did on DRACULA and FINAL COUNTDOWN was totally identifiable as Binder, but nothing special.

I think he ran with any new gimmick, like UV, to ring in the new to freshen things up, but there wasn't anything else in his oeuvre.And considering how stale Bond was in the Moore era, that was appropriate. Probably should have changed up when Dalton came in rather than waiting for Broz.

What's UV?

Control wrote:

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I imagine these broads will look good as silhouettes.

No silhouette is better looking than I am.

Largo's Shark wrote:

What's UV?

UltraViolet light. He did a lot of that for VIEW, I think. UV lips and such.

A company called Wildfire was making units that threw huge amounts of UV 60 feet about a quarter-century back. It's the stuff Meyer used to make the alien glow in TREK 6 when Kirk kicked him in his knee-balls, and they used it on a bad Geordi show on TNG.

trevanian wrote:

Largo's Shark wrote:

What's UV?

UltraViolet light. He did a lot of that for VIEW, I think. UV lips and such.

I thought that was just glow in the dark paint?

trevanian wrote:

Don't you think Binder had gone as far as he could with SPY? I mean, he'd done all the cool dramatic things you could do with silhouettes by then, so his work on SPY, which has credits that play like a Bond parody (just like the movie), is pretty much the point where everything starts looking the same. The effects work he did on DRACULA and FINAL COUNTDOWN was totally identifiable as Binder, but nothing special.

I think he ran with any new gimmick, like UV, to ring in the new to freshen things up, but there wasn't anything else in his oeuvre.And considering how stale Bond was in the Moore era, that was appropriate. Probably should have changed up when Dalton came in rather than waiting for Broz.

There's enough good material interspersed throughout his work up to 1985 that would make me think he warranted being kept on. For me, it was TLD that seemed to be the real slide into oblivion, and apparently the producers felt the same way, ultimately coming close to firing him after TLD but instead giving him one last chance in 1989. The original idea for LTK's credit sequence was going to involve some sort of wedding album montage, which on its face sounds even more absurd than what Binder eventually produced for LTK. By 1991 his death made any future participation irrelevant.

I'm one of the few who apparently likes AVTAK's credit sequence; it works perfectly with Duran Duran's uptempo song and the trend of using day-glo in videos (Wham and Duran Duran being two examples that come quickly to mind). What's not to like about a woman unzipping her jumpsuit to the sight of the 007 logo branded between her breasts?

The girl in the champagne flute at the end of TLD was a nice touch, but almost everything prior to that was derivative and flat. LTK was even worse.

Binder may have lost his touch. Binder may have run out of ideas. He certainly was known for taking his work right up to the last minute. Maybe he needed an apprentice to help inject some fresh ideas. I think EON showed a lot of loyalty to him, as they did with Moore, at the expense of the series as a whole.