Work on 'Skyfall' credits sequence begins

Largo's Shark wrote:

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?

You ever have a blacklight as a kid? That puts out ultraviolet light. Same thing. Far as I know that is how he did those, it certainly looks like it.

Gravity's Silhouette wrote:

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.

AVTAK's titles are some of my favorites. One of the film's few real highlights, actually.

TMWTGG was Binder's first really lazy title sequence, IMO. Spy and FYEO from there on felt good, but the rest were uniformly mediocre.

lachesis wrote:

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.

More like he began tossing nothing at the screen. Some water ripples here, some fog there, perhaps another recycled silhouette. Just a bunch of bullshit really. His attempts at thematic stuff got pretty pathetic. One of the first images of TLD's sequence (the shot of a headlight behind rain) references a song lyric, but it seems like Binder just gave up after the first ten seconds. LTK has a lot of camera- and photography-related images, but at that point it was too little too late. Not to mention the fact that a camera is used in one of the movie's worst moments (the x-ray laser).

trevanian wrote:

Probably should have changed up when Dalton came in rather than waiting for Broz.

Yup. I've always felt that everyone but Binder had a sort of rejuvenation when Dalton came on. It would've been entirely appropriate for him to change his tune with TLD. Or for him to be replaced. But then, Cubby was a bit too fond of the Bond family - Glen should've been booted, too (as he'd given all he could to Bond with his work on OHMSS & FYEO, imo). I would have liked Kleinman to do the Dalton films (his work on the Gladys Knight music video is what got him the job on GE).

Louis Armstrong wrote:

TMWTGG was Binder's first really lazy title sequence, IMO. Spy and FYEO from there on felt good, but the rest were uniformly mediocre.

AVTAK beats all of the post-LALD titles for sheer uniqueness.

Louis Armstrong wrote:

I would have liked Kleinman to do the Dalton films (his work on the Gladys Knight music video is what got him the job on GE).

Would have been interesting to see a title sequence made by Kleinman pre-CGI.



Yeah, it's definitely Kleinman's. Even has the women doing those cheesy moves that looks more tacky than sexy.

As said, Danny's girls are best when they've got something to, whether it's swinging hammers or just plain walking. Not that interpretive dance shit.

I see no reason why they can't have a properly choreographed dance without it being interpretive.

And I suppose a lot of it comes down to context. If they're just pointlessly swaying around, yeah - it's fairly useless. But at the same time, I liked the way MK12 had the girls lounging around in the sand, and then shifting the dunes in time with their movements.

Largo's Shark wrote:

Louis Armstrong wrote:

TMWTGG was Binder's first really lazy title sequence, IMO. Spy and FYEO from there on felt good, but the rest were uniformly mediocre.

AVTAK beats all of the post-LALD titles for sheer uniqueness.

This. And I have to oppose LA by saying that I think his first lazy title sequence was OHMSS.

FieldsMan wrote:

And I have to oppose LA by saying that I think his first lazy title sequence was OHMSS.

I don't think the sequence's re-purposing of images from previous films is inherently lazy.

I wouldn't call it lazy but it is pretty undercooked. He could have chose better clips to utilize and present them besides using the hourglass motif. I do like that bit with Bond hanging for his life on the clock hands.

Louis Armstrong wrote:

FieldsMan wrote:

And I have to oppose LA by saying that I think his first lazy title sequence was OHMSS.

I don't think the sequence's re-purposing of images from previous films is inherently lazy.

It certainly wasn't necessary. What was so important about OHMSS that meant the title sequence needed to recap the previous films?

Prisoner Monkeys wrote:

Louis Armstrong wrote:

FieldsMan wrote:

And I have to oppose LA by saying that I think his first lazy title sequence was OHMSS.

I don't think the sequence's re-purposing of images from previous films is inherently lazy.

It certainly wasn't necessary. What was so important about OHMSS that meant the title sequence needed to recap the previous films?

There's a new Bond? It's a way of establishing a kind of continuity with Sean (like the shtick with the gadget souvenirs).

Largo's Shark wrote:

Prisoner Monkeys wrote:

Louis Armstrong wrote:

FieldsMan wrote:

And I have to oppose LA by saying that I think his first lazy title sequence was OHMSS.

I don't think the sequence's re-purposing of images from previous films is inherently lazy.

It certainly wasn't necessary. What was so important about OHMSS that meant the title sequence needed to recap the previous films?

There's a new Bond? It's a way of establishing a kind of continuity with Sean (like the shtick with the gadget souvenirs).

Yes, that's exactly why it was done. As for the selection of clips, well, you couldn't pick any clips with Connery in them. So that left you with villains (Dr. No, Goldfinger and Largo show up), Bond women and an action scene or two. You couldn't show Blofeld from YOLT because the role had been recast for Majesty's.

I hope they do a better job this time.

The title sequence and title song for Quantum of Solace were awful.

Heck, even this is better than QoS'!!

Actual opening sequence with the credits text removed (music by Bill Conti).