MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
MAIN TITLE FRAMES END SEQUENCE
Name of Program: Pan’s Labyrinth Type: Feature Film Director: Guillermo del Toro Producer: Guillermo del Toro, Alfonso Cuarón, Bertha Navarro, Frida Torresblanco, Alvaro Augustin Production Co.: Tequila Gang, Estudios Picasso, Telecinco Cinema Analysis by: Yuki Yamada Main Title Designer: ? Design Company: ?
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
SYNOPSIS & ANALYSIS END SEQUENCE
Synopsis: Pan’s Labyrinth (2006) is a feature film in which it cuts right to the first scene after showing just the production companies in white text on black background, hence the title sequence and even the movie title comes after the whole film. The sequence is all white text on black background and begins completely black, introducing first the main title in the center with a fade in. After it fades out to black, the important cast and crew start to fade in and out such as director, producers, and main casts. These all appear for the same amount of time and are centered on screen. Then, the credits with smaller font sizes start to scroll from the bottom like a paragraph. Throughout the whole sequence, there is a sorrowful and mystical orchestra music playing with occasional chorus hymns. Analysis: The main title of Pan’s Labyrinth seems to: 1. Identify the movie title, key cast, crew and production companies. 2. Establish a sorrowful and mysterious mood. Since the sequence is all white text on black background, the concept is based solely on the music and text. The music is one introduced repeatedly during the film as a lullaby, and using it at the end of the film indicates that the film is over. The text, along with the music, flows very slowly in a dream-like fashion, adding to its mysterious taste. Having just text and music may imply the feeling of a child going to sleep under a lullaby. The internal context is to continue setting the sorrowful and mysterious mood of the end. Did the girl die at the end or did she reincarnate as a princess in a fantastical world? The use of just text and music allow the audience to think during that period. The external context again is identified by text and music. It is apparent that director, producer and writer Guillermo del Toro is of Hispanic origin since the language of the film and the text in the credits are all Spanish. The genre too can be summarized overall to be ‘fantasy’ by the elegant font and the mysterious music.
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
TIMELINE END SEQUENCE
00:00:00:00
00:00:30:00 PAN’S LABYRINTH 4:03
2:20
:12
A FILM BY GUILLERMO DEL TORO 4:03
:12
:20
:12
DIRECTED BY GUILLERMO DEL TORO 4:03
:12
:20
:12
PRODUCED BY BERTHA NAVARRO ALFONSO CUARÓN FRIDA TORRESBLANCO ALVARO AUGUSTIN 4:03
:12
:20
:12
:12
DIRECTOR OF PHOTOGRAPHY GUILLERMO NAVARRO, ASC 4:03
:20
:12
:12
00:01:00:00
FILM EDITOR BERNAT VILAPLANA 4:03
:20
:12
:12
PRODUCTION DESIGNER EUGENIO CABALLERO 4:03
:20
:12
:12
DIRECTED BY GUILLERMO DEL TORO 4:03
:20
:12
SET BUILDERS CONSTRUCCIONES ESCENICAS MOYA S.I. 4:03
:12
:20
:12
:12
MUSIC BY JAVIER NAVARRETE 4:03
:20
:12
:12
SOUND DESIGNER MARTIN HERNANDEZ 4:03
:20
:12
:12
LIVE SOUND MIGUEL POLO 4:03
:20
:12
DDT FX 4:03
:12
:20
:12
DIGITAL EFFECTS CAFEFX, INC. 4:03
:12
:20
:12
:12
WHITE TEXT ON BLACK BACKGROUND MUSIC
00:01:30:00 SPECIAL EFFECTS REYES ABADES 4:03
:20
:12
EXECUTIVE PRODUCERS BELEN ATIENZA ELENA MANRIQUE 4:03
:12 :20
:12
:12
EXECUTIVE CO-PRODUCER EDMUNDO GIL 4:03
:20
:12
ASSOCIATE PRODUCER CAFEFX, INC. 4:03
:12
:20
:12
00:02:00:00
PRODUCED IN ASSOCIATION WITH SENTENTIA ENTERTAINMENT 4:03
:12
:20
:12
:12
CASTING SARA BILBATUA 4:03
:20
:12
:12
DIRECTED BY GUILLERMO DEL TORO 4:03
:20
:12
COSTUME DESIGN BY LALA HUETE 4:03
:12
:20
:12
:12
SERGI LÓPEZ 4:03
:20
:12
MARIBEL VERDÚ 4:03
:12
:20
:12
:12
IVANA BAQUERO 4:03
:20
:12
:12
ALEX ANGULO 4:03
:20
:12
:12
DOUG JONES 4:03
:20
:12
WHITE TEXT ON BLACK BACKGROUND MUSIC
00:02:26:07 PACO VIDAL 4:03
:20
:12
SPECIAL COLLABORATION BY FEDERICO LUPPI 4:03
:12
:20
:12
:12
CREDIT ROLL 4:19:16
AND IN THE ROLE OF CARMEN ARIADNA GIL 4:03
:20
:12
:12
4:12
WHITE TEXT ON BLACK BACKGROUND MUSIC
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
00:06:46:01
EUSEBIO LAZARO 4:03
:12
:20
:12
:12
GUILLERMO del TORO DIRECTOR, PRODUCER & WRITER
Refered to as the ‘Master of Horror,’ director, producer and screen writer Guillermo Del Toro’s films appear to dominantly include the essence of horror and weird fiction. However, he actively explores other genres such as hero action, science fiction, and fantasy under the umbrella of the horror and weird fiction genre, which creates an interesting chemical reaction between those elements. An example of a comic book hero action that he directed and wrote would be Hell Boy (2004) based on a Dark Horse Comics work. The ‘hero’ in this movie is not what one would traditionally expect; he looks like a devil with red skin, horns and a tail. The movie as an entirety too, is not the usual hero-fights-crime movie but rather have disgusting creature as enemies and include more journey within darkness in both the physical and mental realm than glory. In addition, Del Toro frequently injects the influence of war, usually in the 1930-40’s during and after the Spanish Civil War. Many of his films introduces war-time orphans or children who are forced to become alone because of the war, hence they would start to explore the imaginative and horrifying world of Del Toro. Gothic thriller film The Devil’s Backbone (2001) directed, produced and written by him fits in this template. It introduces a boy who was left at an orphanage until his father returns from the Spanish Civil War. Out of curiosity and boredom, he starts to investigate his new home and starts to uncover the horror of the ghosts. Children, with there imagination and innocence, serve as a buffer zone between reality and fantasy. Del Toro takes advantage of this and adds more depth to his films by tying the audiences’ world (reality) with the film’s world (fantasy). Pan’s Labyrinth also involved a girl who is also detached mentally from her parents because of the Post Spanish Civil War. Furthermore, Del Toro’s film brings out the horror and thriller essence by camera work as well. Whenever there is a heightened tension, you see many close-ups of the characters and objects for the audience to notice the emotions and details, and also for them to not see the danger that may be lurking near the characters off the screen. It will then connect to sudden danger and a speedy camera movement for the action scenes such as when running away from a ghost. All in all, Del Toro explores the fantasy world of horror and weird fiction by encompassing other genres and reality. MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
OTHER FEATURE FILMS HELL BOY & THE DEVIL’S BACKBONE
Hell Boy (2004)
The Devil’s Backbone (2001)
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
SIMILAR TASTES HARRY POTTER
Name of Program: Harry Potter and the Prisoner of Azkaban Type: Feature Film Director: Alfonso Cuarón Producer: David Heyman Production Co.: Heyday Films Analysis by: Yuki Yamada Main Title Designer: ? Design Company: Capitol FX
Synopsis: The third version of the renowned film Harry Potter and the Prisoner of Azkaban (2004) also has a end title sequence. The sequence starts off by introducing the movie title with an ink-like fade in on a paper texture. It then begins to flip pages in order to transition between the key names while footprints travel around the words (multiple footprints appear for multiple people). For the credit scroll after that, the words are placed inside of a map in which the camera travels through the path as footprints continue to walk around the words. It ends with the magic word that makes all the words disappear. Analysis: The sequence bases the animation on the Marauder’s map, a magical map introduced in the film that detects anyone moving around the map-user, hence it has an appropriate look to it with the paper texture and ink which implies the magical and antique feel. Many of these footprints have character in them and unleash a story of its own such as a footprint playing hopscotch with the words. Some even can be identified as the key characters in the film like the paw-prints of Sirius or the huge footprints of Hagrid. These ‘stories’ interact with the audience much like when Harry is looking at the map during the film, hence it will amuse the audience enough for them to watch it.
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
SIMILAR TASTES
A SERIES OF UNFORTUNATE EVENTS
Name of Program: Lemony Snicket’s A Series of Unfortunate Events Type: Feature Film Director: Brad Silberling Producer: Laurie MacDonald, Walter F. Parkes, Jim Van Wyck Production Co.: Nickelodeon Movies, Scott Rudin Productions Analysis by: Yuki Yamada Main Title Designer: ? Design Company: ?
Synopsis: A Series of Unfortunate Events (2004) has an end title sequence as well. After the final scene, the screen folds up like a curtain and the illustrative sequence begins. It introduces the three children and the villan in the film as illustrated characters along with bizzare environments. It reminds the audiece of a gloomy fairytale book and unfolds a summarizing yet new storyline of the film. As the children travel through the sequence, the names are embedded in the environments, ending with a credit scroll on a wall-paper-like background. Analysis: The entire film is told in a fairytale fashion of the three children, hence the illustrations of the children taking a journey through the bizzare environments is a perfect fit. Also, the film has some essence of steam punk with the entertaining gadgets which are appropriate for the old European setting. Incorporating those elements in the title sequence gives depth in the background story and creates interesting shapes for the characters to travel with and travel through. The overall color palette is very monochromatic and sepia which also reflect the time period. Retelling the story those elements is a great way to get the audience to stay seated.
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
MOODBOARD CONCEPT 1
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
STYLEFRAMES CONCEPT 1
During the film, there is a scene where the girl draws a rectangle on the wall with a magic chalk and makes an entrance to a mystical room to accomplish her task. The chalk rectangle therefore acts as the borderline between reality and fantasy; it is a door/window that the girl could enter and leave. This concept focuses on that dual world aspect. The camera (and audience) would travel through the chalk portal and into different scenery such as the woods and the old interiors of the residence. The typography will be incorporated in the scenes by flowingv in and out like a dream-like substance.
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada
STYLEFRAMES CONCEPT 2
The second concept focuses on the magic book to obtain the fantastical mood but also acts as a notebook/scrapbook at the same time to incorporate the reality aspects. Is it a note book or a fairy tale book? The borderline is uncertain much like in the film. The credits are treated in a fairytale style but have hand-written notes underneath them to get the note book feel and the images could be either bleeding ink on the book or is a burnt picture to indicate the war. There are opportunities in this concept to incorporate the background story of both fantasy and reality, the fairytale and the war.
MOME 246 - Title Design - Professor Boortz - Fall 2010 - Yuki Yamada