 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Willow!
|
|
|
|
|
|
THE TOWERING FLAMING INFERNO!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
CLOVERFIELD
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Star Trek: The Motion Picture, the original theatrical version.
Just kidding.
|
|
|
|
|
|
|
|
|
|
The original STAR WARS has to be a contender.
Although it's not as flashy as, say, SUPERMAN: THE MOVIE, I have rarely been so agog at a film's opening than the first time I saw STAR WARS.
(Of course, they're not technically 'credits', but ...)
|
|
|
|
|
|
|
|
|
|
I think designs by people like Saul Bass and Maurice Binder have to be high contenders too.
There are a few I couldn't argue are "the best", but which I am extremely fond of, such as:
THE SATAN BUG
THE LION IN WINTER (all those darkly lit gargoyles, very moody!)
Many of the James Bond titles
|
|
|
|
|
|
While I've always loved many of the Bass title sequences, my favorite is the opening multi-panel montage of prepararations for the beginning of the race going right into the opening race in GRAND PRIX. Maybe because it's so organically tied into the open of the film.
As I've said before, one of my favorite graphic main titles is the DePatie-Freleng animated creation for THE SATAN BUG which ends with a match dissolve from the final eyeball vein visual into the aerial shot of the roadway with the truck heading to station 3. (I love that kind of move.)
The strangest example of this is the Dong Kingman watercolors for 55 DAYS AT PEKING where the final title scenic graphic was obviously meant to dissolve into the opening shot . . . but doesn't. It fades out and THEN fades up on the live scene of the same vista--maybe the match was off.
|
|
|
|
|
|
The original STAR WARS has to be a contender.
Although it's not as flashy as, say, SUPERMAN: THE MOVIE, I have rarely been so agog at a film's opening than the first time I saw STAR WARS.
(Of course, they're not technically 'credits', but ...)
Yeah, Star Wars wins this one by a mile.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
