Daniel Kleinman's title sequence

How would you say the new title sequence worked out? Among the best or weakest? Does Adele's song compliment the visuals and vice versa? Do the visuals sum up the story and tone perfectly? How would you rank this among the other titles created by Kleinman, and beyond?

Really liked the visuals; hate the song. I can't say the song fits with the story in any way at all, to be honest. And the title sequence would work just as well with a better title song to go with it.

I loved it, the titles were amazing probably only surpassed by Daniel Kleinman's work on CR , the Gothic imagery just worked really well with both the film's plot and the Adele song (great Bond song but not a 'classic'). In fact the only thing I disliked about watching these titles was the sense of loss that QOS didn't benefit from Kleinman's skill and however many titles he does eventually go on to do (hopefully lots) we will always have one less than we could have had thanks to Marc Forster.

Liked it. Probably one of the most inventive, creative sequences there's been. The song was alright, better than the last films but then it hurt that one.

Liked it, though perhaps a bit too many ideas going on. You've got Bond being sucked into a vortex/black hole, knives/tombstones/guns falling to the riverbed, flaming skulls appearing at some of the big crescendos, multicoloured seaweed/weeds/blood vessels branching out, floating cut-outs of Bond as a shooting target, the videogamey/haunted house Skyfall Lodge beneath a red sky, Chinese dragons in the second verse, black & white Rorschach inkblots for the song's bridge (a cross between TWINE's title sequence and Robert Hales's music video for Gnarls Barkley's CRAZY) and the LADY FROM SHANGHAI tribute with Bond firing into the mirrors - capped off with the big zoom into Daniel Craig's left eye.

It's a lot to take in. I deserve a medal for remembering so much.

Largo's Shark wrote:

I deserve a medal for remembering so much.

You sure do, bloody hell. :shock:

I didn't like it. Too much "clarity" for my liking, and nowhere near enough subtlety. I don't agree with Bond being so fully visible so often in film form during the credits, I'd rather he appear in some kind of silhouette or animated form. Craig's Bond is supposed to be "dead" (or at least presumed so) at the point of the PTS, so it makes even less sense for him to be present and active in full film form during the title, especially when him falling to his "death" is actually part of those titles at the beginning. It's distracting. The animation was way too PS3 for my liking, in fact the overall title sequence looked like a videogame. For me, a title sequence should be an artistic whetting of the appetite rather than a full-on, subtle as a sledgehammer whacking over the head of everything that's in the film. Given that the whole Skyfall lodge sequence doesn't turn up until the end of the film, it felt wrong to me for this imagery to dominate the title sequence. Imagine somebody seeing AVTAK for the first time being confronted by a title sequence dominated by blimps and the Golden Gate bridge. They'd wonder WTF it was all about. IMO, a title designer should do more with a title sequence than just read the script, see what's in it then just chuck all of it into the title sequence. I've liked a couple of Kleinman's title sequences in the past, but this one joins TND as just a really unimaginative and way too CG-heavy and unsubtle pile of unimaginative references to stuff in the script, rather than using colours, ideas and visuals which would make the title sequence stand out. Having such a phoned-in and lazy title song didn't help, but this title sequence still felt really rote to me, and I even preferred MK12's much-maligned but IMO underrated QOS titles, which at least had a funkier, more action-packed song to accompany them, as well as a fresh title font. Cutting to a white background in the middle of a dark title sequence is an awful misjudgement as well, one that I'd have thought Kleinman would have learnt from after TND.

Lazenby. wrote:

I didn't like it. Too much "clarity" for my liking, and nowhere near enough subtlety. I don't agree with Bond being so fully visible so often in film form during the credits, I'd rather he appear in some kind of silhouette or animated form. Craig's Bond is supposed to be "dead" (or at least presumed so) at the point of the PTS, so it makes even less sense for him to be present and active in full film form during the title, especially when him falling to his "death" is actually part of those titles at the beginning. It's distracting. The animation was way too PS3 for my liking, in fact the overall title sequence looked like a videogame. For me, a title sequence should be an artistic whetting of the appetite rather than a full-on, subtle as a sledgehammer whacking over the head of everything that's in the film. Given that the whole Skyfall lodge sequence doesn't turn up until the end of the film, it felt wrong to me for this imagery to dominate the title sequence. Imagine somebody seeing AVTAK for the first time being confronted by a title sequence dominated by blimps and the Golden Gate bridge. They'd wonder WTF it was all about. IMO, a title designer should do more with a title sequence than just read the script, see what's in it then just chuck all of it into the title sequence. I've liked a couple of Kleinman's title sequences in the past, but this one joins TND as just a really unimaginative and way too CG-heavy and unsubtle pile of unimaginative references to stuff in the script, rather than using colours, ideas and visuals which would make the title sequence stand out. Having such a phoned-in and lazy title song didn't help, but this title sequence still felt really rote to me, and I even preferred MK12's much-maligned but IMO underrated QOS titles, which at least had a funkier, more action-packed song to accompany them, as well as a fresh title font.

Translation. Laz wants to see nubile, dancing silhouette girls... :face:

Mrs Aural Sects wrote:

Lazenby. wrote:

I didn't like it. Too much "clarity" for my liking, and nowhere near enough subtlety. I don't agree with Bond being so fully visible so often in film form during the credits, I'd rather he appear in some kind of silhouette or animated form. Craig's Bond is supposed to be "dead" (or at least presumed so) at the point of the PTS, so it makes even less sense for him to be present and active in full film form during the title, especially when him falling to his "death" is actually part of those titles at the beginning. It's distracting. The animation was way too PS3 for my liking, in fact the overall title sequence looked like a videogame. For me, a title sequence should be an artistic whetting of the appetite rather than a full-on, subtle as a sledgehammer whacking over the head of everything that's in the film. Given that the whole Skyfall lodge sequence doesn't turn up until the end of the film, it felt wrong to me for this imagery to dominate the title sequence. Imagine somebody seeing AVTAK for the first time being confronted by a title sequence dominated by blimps and the Golden Gate bridge. They'd wonder WTF it was all about. IMO, a title designer should do more with a title sequence than just read the script, see what's in it then just chuck all of it into the title sequence. I've liked a couple of Kleinman's title sequences in the past, but this one joins TND as just a really unimaginative and way too CG-heavy and unsubtle pile of unimaginative references to stuff in the script, rather than using colours, ideas and visuals which would make the title sequence stand out. Having such a phoned-in and lazy title song didn't help, but this title sequence still felt really rote to me, and I even preferred MK12's much-maligned but IMO underrated QOS titles, which at least had a funkier, more action-packed song to accompany them, as well as a fresh title font.

Translation. Laz wants to see nubile, dancing silhouette girls... :face:

I liked Kleinman's CR titles for the reason that the central imagery for that film was so obviously casinos before you even watched the film, and the animations on playing cards against a striking green background lent themselves perfectly to that sequence from an artistic perspective. But Skyfall's title sequence IMO should have traded more on Britain than Skyfall lodge. Something universally recognisable such as the Britishness of Bond and the fact that quite a bit of Skyfall is set in Britain would have made a far more interesting and colourful base for the titles than the lodge stuff did IMO. After the PTS, I think that colours based around the union jack alongside images of coffins or somesuch would have been a better starting point.

I thought it was impossible to make something better than Casino Royale's title sequence.

I was totally wrong.

Who is it at 1:38? Seemed like Robert Urich.

The headstone stuff and some of the underwater bits kinda made me flash on the ED WOOD title sequence.

Maybe it will all be more pleasant in higher rez, but as it stands, that looked less engaging than either CR or QOS.

trevanian wrote:

Who is it at 1:38? Seemed like Robert Urich.

That's Javier Bardem.

I wanna sneak in my HD phone too :face:

Your avatar is one of the most frustrating things I've ever seen.

Largo's Shark wrote:

Your avatar is one of the most frustrating things I've ever seen.

Aww...I'll delete it if I get another thumbs down...

Mrs Aural Sects wrote:

Largo's Shark wrote:

Your avatar is one of the most frustrating things I've ever seen.

Aww...I'll delete it if I get another thumbs down...

No, no. You've got more than my thumbs up.

I gave it an average 'Liked It'. That might change when I see it on the big screen...

I'm agreeing with Mr. Dog here...too much Craig/solo Bond in the titles and no girls...girls are supposed to be synonymous with Bond titles...it's artistic in its own way but still....

That bootleg doesn't really do it justice. I think it's Kleinman's most visually striking and memorable work on a Bond film yet.

I like Jane Eyre but a Gothic Bond is somewhat unexpected. Then again, Skyfall is a very surprising film.

Still, I like the imagery of watery graves. Water is still the most powerful symbol in storytelling. Despite Quantum of Solace. :)

This is the only part of Skyfall which I thought wasn't brilliant, it wasn't big and colourful as the Casino Royale ones which are better but I might like the graphics more when I watch it again because that clip isn't great quality.

I loved it, moody, strange, I love the skull with the grave stones for teeth and of course a beautiful woman standing with a gun pointed straight to the screen, a classic Binder touch if there ever was one. Simply wonderful.

Okay, saw it on the big screen, it was okay...I'll give it a 7 8.5 out of 10. Was wondering who was reaching out her hand to grab Bond after he drops in the lake.

Mrs Aural Sects wrote:

Okay, saw it on the big screen, it was okay...I'll give it a 7 out of 10. Was wondering who was reaching out her hand to grab Bond after he drops in the lake.

Adele?

Largo's Shark wrote:

Mrs Aural Sects wrote:

Okay, saw it on the big screen, it was okay...I'll give it a 7 out of 10. Was wondering who was reaching out her hand to grab Bond after he drops in the lake.

Adele?

Daniel K could have really made it groundbreaking by having a silhouette Adele prancing across the screen like a renoir with her bountiful figure...but they still prefer the slim chicks.

Better quality.