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. 
Before the Devil Knows You're Dead 
May the road to hell is full of grass due to lack of use! Health and long life for you! To get the wife (or husband) to your liking! Have a child every year! Do not pay rent for your land! And you get to heaven half an hour before the Devil Knows You're Dead! Slainte! (To your health!) That you be allowed to die in bed at age 95, at the hands of a jealous spouse! A health of the enemies of your enemies!
So runs the traditional Irish toast that inspires the title of the latest film from master Lumet . Hopefully, Sidney, we let a few more before the Devil Knows You're Dead! Twelve Angry Men (1957), Serpico (1973), Dog Day Afternoon (1975), Network (1976), The Verdict ( ), woven by the resounding boom of Mamet ... Even Guilty get to forget the past Diesel Vil and we believe the story.
repeat this time with Albert Finney , which recruits and Murder on the Orient Express (1974). And you give a difficult ballot, of playing a father who sees as his family is the movie falls apart without mercy, as purging and penalties that every family leaves behind his becoming daily in the form of reproach, omissions, envy , and all that inconsistent array of relics that inhabit the emotional closet each house. Two children without waste dramatic mark the paternal inheritance. One ( Hawke), alcohol vomit his failed marriage, and placebo against envy as you pull the woman of his brother (Hoffman ), another lost soul, who unflinchingly pushed his brother to a dubious enterprise criminal caught fleeing once a week in search sleep provides a golden chute. Both are stiff money, an absence that serves as a perfect metaphor to describe its devastating emotional universe parallel. Psychologist does not take title to suspect that all that they intend to go wrong, or if possible, but goes well with it will never find solace in their emptiness. So prayed the Irish saying, why scratch a drop of luck as they redeem the unfortunate existence. At least, we remove it bailao.
Brilliant interpretation of Hoffman and Hawke. This profile outlines naturally timid brother, unsafe, the shoulders of his brother, apparently successful, the winner, and his downfall in the end. On the other hand, Hoffman once again gives us the versatility to provide his characters with a force that pulls every movie he touches. This time it will be necessary to resort to the histrionics of his previous proposals. Two views are sufficient. His character is manipulative and ruthless, mean, and cowardly in the background as his brother. Not surprisingly, both resort to shortcut the drug to deal with what comes up.
cold is not chance that breaks the intentions of redemption of these two brothers, but operates as a symbol and expression of emotional collapse . The only events expose the latent disorder and slept, hoping to find out. Everything, as the reader can guess, it smells like a tragedy in the classic style. What we are we just chasing, as the death of the adage, and while, if that is good and the fiery will, we will have scratched the reaper a minute of your glory. In the first scene, a bright Marisa Tomei confesses to her husband when she is with him in bed, wrapped in its warmth and look, do not feel unsuccessful. He (Hoffman) looks upset. He does not understand what he says. The next frame shows the adage: "Better you're in heaven half an hour before the devil being aware that you are dead ". Similarly, fifteen minutes from Tomei recommended film after his troubled lover (Hawke) that do not beat yourself up and enjoy the moment, despite the merciless reality of a society based on the vile metal (in one scene comes to call her daughter failed not meet their demands chrematistic).
But neither hear this unexpected Casandra (Tomei). None of The two brothers heard the voices of their elders, and recites the son of one of them in a school play: "Times are tough. We have to obey, we what we feel, but not what we say. The biggest speak for the children, and not suffer and live long lives. " None listens, and they drag their unconscious tragedy of the black future advertising. The illusion Rio, Andy confesses to his wife, reveals the desperation escape from a reality that is impossible to draw, a lifestyle that ends up engulfing who are there without calculating the costs emotions that leaves in its wake. Welcome to America, where happiness is intense but fleeting, likely, but disappointing. Pilla ration you want while you're sitting at your table. Do not cry like a child when the memory of what you enjoyed and you are alone the brink of death. Live, Before the Devil Knows You're Dead.
not have wasted the final scene. The father walks down the hospital corridor, a blinding light will erase the background. All of us imagine viewers of his life (without having experienced) the sadness of this man, the feeling of having left behind a line of black men with no soul, no will to be happy. Live while you can, behind the sun waiting for us just the cold night.
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. 
