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Saul Bass, the art of credits

discovered through the wonderful blog Reluctantly a storyboard image the famous shower scene in Psychosis. illustrator Saul Bass (1920-1996) left fall after the death of Hitchcock that he was who not only drew the frames of this scene, but the director asked him to direct. The latter will never know for sure since it unveiled Bass himself after the death of magician suspense. But what gives us most. The trajectory of Bass speaks for itself.

stands out as an illustrator of cinema when postwar German Expressionism was fascinated Americans. His first major work was the film credits Carmen Jones (1954), Otto Preminger's (Also those of his Anatomy of a Murder , 1959 or The human factor , 1980). With Carmen Jones, Bass almost inventing the concept of credits, giving it an artistic value and not a mere appendage away from the film's aesthetic pretensions. On the other hand, is heir to a concise style, which under the veil of simplicity exudes all the tone that chair from the time the film presents.

Perhaps, however, viewers will more easily remember the opening credits ( title sequence ) of Casino (1996), of Scorsese, also with classical music background and the fire as a character. But were these his only collaborations with Hitchcock or Scorsese. It is worth noting the excellent credits Vertigo (1958), which could well have left the imagery of Dali and Bunuel, Goodfellas (1990), which makes no concession to a break, or Cape Fear (1991), with that music so to Hermann. The surely riddled titles such as schizoid stabs Joe Pesci . But not as disturbing as the credits Seconds of Frankenheimer (1966).

At the opposite is the overture pictorial West Side Story (1961), full of optimism, a rate of Bernstein. And on a more formal, but equally minimalist, we have to Spartacus (1960) . Even

Spielberg knows that Bass style is synonymous with success. Remember the sixties credits of Catch Me If You Can (1991), or The Age of Innocence (1993), where the music starts to remember Hermann.

The truth is that everyone who grew up in the seventies saw the film at through the lobby that invites us to cross Bass, promising magical worlds, mysterious, exciting. It was impossible to resist frame. As you saw those pictures, instantly wanted witness, if not the protagonist, a promising story.

Web on the work of illustrator Bass
Saul Bass on the web
Bass pictorial referents
Digest of the best credits in film history (1)
Digest of the best credits in film history (2)