00:10 -- JOE dir: David Gordon Green -- Hand-crafted opening title, painted in water color mixed with gravel, on distressed cold-press paper (soaked in coffee, run over by a car, dragged thru a parking lot, dried with hair dryer, repeated 3 or 4 times...) In the end, took about 12 coats of paint (with more sessions of kicking dirt into the wet watercolor) to achieve the desired result.
End cards used a left-aligned text block, centered to create a suitably off-kilter feeling. End crawl built from scratch.
DISTRIBUTOR: Lions Gate, Roadside Attractions. FESTIVALS: Venice, Toronto.
06:49 -- BEFORE MIDNIGHT dir: Richard Linklater -- The challenge with this was duplicating the typography of the previous BEFORE movies, with only DVDs of the earlier films to go by. In the end, after a good deal of detective work, I did some custom hot rodding to duplicate the earlier films' look.
Custom built end credits.
DISTRIBUTOR: Sony Classics. FESTIVALS: Sundance, Berlin.
12:13 -- CHOREOGRAPHY dir: David Redmon & Ashley Sabin -- Stark, minimalist design but with a heavier, more historical type. (Parenthetically, this is totally the best donkey film since AU HASARD BALTHAZAR, hands down)
FESTIVALS: Sundance, Cinéma du Reel.
13:14 -- YAKONA dir: Anlo Sepulveda & Paul Collins-- Besides a few brief intertitles, this is the only text in the movie. There are no lower thirds, title cards, etc. as well as no speaking or voices -- it's a completely visual film that follows the San Marcos River from the birth of the universe thru the present day. Keeping this ambitious scope in mind, I ended up using a typeset to convey a historical weight while also keeping the layout clean and spare so as to not compete too much with background imagery.
Also, fun times getting all those IndieGoGo supporters onto four cards.
Performed the entire color and finish for the film as well.
17:33 -- TIM'S VERMEER dir: Teller -- While the font was picked by the producers before my involvement, I still wanted to create an end crawl that looked interesting and a little bit different. Hence the 60s-style roll-off on the top and bottom to imitate a number of crawls from mid-60s European films (specifically THE YOUNG GIRLS OF ROCHEFORT).
DISTRIBUTOR: Sony Classics. FESTIVALS: Telluride, Toronto, New York.
21:05 -- THE REMNANTS OF CIVILIZATION & THE DAWN OF ANXIETY (2011) -- as the film itself consists of two parts, with each half running through the exact same events but with a different point of view, so the credit sequence is divided into two parts (one for "REMNANTS", one for "DAWN"). A spiraling motif was used to compliment the geometric shenanigans of the film and create a unifying element between the two halves. There also are a number of buried references to VERTIGO in the film itself, so why not embrace it with the title sequence design?