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 Posted:   Feb 10, 2017 - 7:43 PM   
 By:   OnyaBirri   (Member)

Imagine this:

You are in a big theatre.

The feature:

ALL of Saul Bass's main titles in chronological order, from the cleanest master elements possible.

All synched to the original main title themes, from the best quality master sources available.

A giant screen, saturated colors, crisp visuals, the music in clean stereo, filling the theatre.

I realize that this would probably be impossible to do because of the the various film studios.

Still, in an ideal world, would you pay to see this?

 Posted:   Feb 10, 2017 - 8:36 PM   
 By:   dbrooks   (Member)

Yes. I am a former graphic designer and he is respected and influential today. I would also be interested in a movie soundtrack of course.

 Posted:   Feb 10, 2017 - 8:45 PM   
 By:   Morricone   (Member)


 Posted:   Feb 11, 2017 - 2:25 AM   
 By:   Bob DiMucci   (Member)


 Posted:   Feb 11, 2017 - 3:15 AM   
 By:   manderley   (Member)

How much are you going to charge me? smile

Actually, I've sort of had this kind of experience already.

50 years ago, between 1962 and 1967, I spent 5 years working at the Saul Bass company in Hollywood in his film department as Post-Production Supervisor.

During that time Saul would always run his "Sample Reel" of work for prospective clients who came by wanting to consider his doing their titles for them.

Most of these kinds of production houses like Bass' were small, and independent of the major studios, and didn't really equip for 35mm projection---and this was long before non-network video formats---so Bass' "Sample Reels" were assembled in 16mm and ran approximately 25-40 minutes.

I don't recall the order of things or every single one of the titles included on the reels, but they usually contained at least CARMEN JONES, AROUND THE WORLD IN 80 DAYS, ANATOMY OF A MURDER, PSYCHO, THE RACERS, THE MAN WITH THE GOLDEN ARM, VERTIGO, OCEAN'S ELEVEN, THE BIG COUNTRY, THE PRIDE AND THE PASSION, NORTH BY NORTHWEST, EXODUS, WALK ON THE WILD SIDE......and later NINE HOURS TO RAMA, IT'S A MAD (4) WORLD, ADVISE AND CONSENT, SECONDS, The Prologue to THE VICTORS, THE CARDINAL and several others were added. The reels were pretty representative overall of the work he'd accomplished during the previous 15 years-or-so.

The black-and-white / flat titles were usually assembled at the beginning of the reels, and then were followed by the B&W or IB Tech / Scope titles---which necessitated a quick-change to the anamorphic projection lens somewhere near the middle of the reels.

Clients came out of these screenings pretty well set on doing a Saul Bass title for their film, assuming they could afford it. Bass' efforts were never cheap, and were time-consuming to accomplish production-wise, but they were almost always an asset for the film they accompanied.

During my years there we moved our offices to a larger building down the street on Sunset, and during the move it was decided that some of the stuff needed to be cleared out. So some of the sample reels were trashed (!!). I plucked one of them at random from the trash bin and added it to my film collection, eventually running it a few times. I doubt if I've screened it in 35 years or so now and it just sits on the shelf awaiting the next running.

 Posted:   Feb 11, 2017 - 3:39 AM   
 By:   Clemens   (Member)

Yeah, I would. I would see a flic because it interested me, and when it had a Saul Bass title sequence, I knew that whether-or-not the movie held up, I did not feel cheated because the opening sequence set the pace for what should follow.

 Posted:   Feb 11, 2017 - 4:09 AM   
 By:   WILLIAMDMCCRUM   (Member)

He was a genius.

 Posted:   Feb 11, 2017 - 7:16 AM   
 By:   nerfTractor   (Member)

Absolutely, what a cool idea. That in-house sample reel sounds fascinating, too.

On a broader note, I think you could make a pretty damn fine evening's entertainment just by showing great title sequences, correlated by theme or not. But then, like some other commenters here, graphic design gets me going and I have a real affinity for the art and craftsmanship that go into a good opening title. And for most of us here one of the main criteria is also good music.

There are some really good end credit sequences out there too (WALL•E comes to mind).

Count me in!

 Posted:   Feb 11, 2017 - 7:39 AM   
 By:   Leo Nicols   (Member)

Nuff said...

 Posted:   Feb 11, 2017 - 8:46 AM   
 By:   OnyaBirri   (Member)

50 years ago, between 1962 and 1967, I spent 5 years working at the Saul Bass company in Hollywood in his film department as Post-Production Supervisor.


 Posted:   Feb 11, 2017 - 12:07 PM   
 By:   Last Child   (Member)

Hell no. But I'd video it in the theater and put it online.

 Posted:   Feb 11, 2017 - 12:27 PM   
 By:   GoblinScore   (Member)

You bet your ass - can you throw in a screening of the restored PHASE IV to make it a full program?

 Posted:   Feb 11, 2017 - 12:39 PM   
 By:   TheIrishman   (Member)

seems somebody has done that for you already:

 Posted:   Feb 11, 2017 - 12:52 PM   
 By:   Morricone   (Member)

We have arrived. It seems people cannot tell the difference between a theater experience and a cell phone one and we are all the poorer for it.

Always turn fifty shades of green when I hear Manderley's experiences working with this master. Luckily Bass took his little showreel and brought a version of it to a Filmex film fest once or twice.

 Posted:   Feb 11, 2017 - 1:06 PM   
 By:   Last Child   (Member)

Shouldnt this thread be called "Rule Dont Apply - When in doubt, call Saul"

 Posted:   Feb 11, 2017 - 2:20 PM   
 By:   OnyaBirri   (Member)

seems somebody has done that for you already:

I've seen it. Not the same as being in a theatre, with remastered video and audio.

 Posted:   Feb 11, 2017 - 4:46 PM   
 By:   TheIrishman   (Member)

I've seen it. Not the same as being in a theatre, with remastered video and audio.

For sure not the same. But better than nothing. For the rest we have to use our imagination.

 Posted:   Jun 29, 2020 - 2:06 PM   
 By:   Steven Lloyd   (Member)

Bass assembled a 1977 short film (38:00, I think) called BASS ON TITLES, that was distributed in 16mm years ago by Pyramid Films. Its entirety was Bass looking directly into a camera answering questions from an offscreen interviewer. He would give a short into about approach, inspiration, etc., to lead into the title sequence for each of 10 different features.

In most cases each sequence ran intact, although in a couple of cases he would state some variant of "We've had to shorten this one or else we'd be here all day." This release preceded the era of letterboxing CinemaScope footage, so most of the 'Scope sequences were presented squeezed (except for GRAND PRIX, which was cropped to 1:37.1). This might not be the precise chronology, but these are definitely the contents:

IN HARM'S WAY (squeezed, only slightly shortened)
THE BIG COUNTRY (squeezed; trimmed by final few seconds)
WEST SIDE STORY (squeezed, slightly shortened midway)
IT'S A MAD, MAD, MAD, MAD WORLD (squeezed)
GRAND PRIX (cropped)
THE VICTORS (squeezed; powerful prologue, not the titles)

I have a 16mm print of this -- and like manderley above, I also violate good 'Scope etiquette by swapping the standard lens for the anamorphic lens during the Bass intro preceding each 'Scope sequence! However, this film was released on a Warner Home Video DVD called Ecstasy, which is Vol. 11 of a series titled Short.

 Posted:   Jun 29, 2020 - 5:51 PM   
 By:   LRobHubbard   (Member)

Not large-screen (unless your local microcinema does it) - but you can now have that experience if you order the PHASE IV Blu-ray, which has the film & the original ending remastered (but as a separate extra) and a separate disc of Bass' short films, including "Bass On Titles". Currently available on Region B blu (UK [101] and France [Carlotta]); no word yet as to when it will appear on Region A Blu.

 Posted:   Jun 30, 2020 - 8:02 AM   
 By:   Howard L   (Member)

These are pure film music/cinematic short story-style moments if ever there were. I like it. Would pay in a heartbeat to see an entire collection. Bass was the master.

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