Often overlooked thanks to the ‘skip intro’ button, a great main title sequence serves as an entry point into another world. And this Emmy season has its share of series based on previous properties, which presents the main title designers with the challenge of linking existing inspirations with new stories.
The Last of Us maps out a fungal network across the world in an evolution of the opening credit sequence from the 2013 video game. Inspired by Tolkien’s original works, The Lord of the Rings: The Rings of Power blends magic and science to create cymatic patterns. As a Game of Thrones prequel, House of the Dragon mirrors the previous show’s camera movements, but with a new focus on bloodlines.
‘The Last of Us’ Main Title Stills
The Last of Us
Following the 2013 video game, which had its own opening title sequence, it was important for creative studio Elastic...
The Last of Us maps out a fungal network across the world in an evolution of the opening credit sequence from the 2013 video game. Inspired by Tolkien’s original works, The Lord of the Rings: The Rings of Power blends magic and science to create cymatic patterns. As a Game of Thrones prequel, House of the Dragon mirrors the previous show’s camera movements, but with a new focus on bloodlines.
‘The Last of Us’ Main Title Stills
The Last of Us
Following the 2013 video game, which had its own opening title sequence, it was important for creative studio Elastic...
- 6/4/2023
- by Ryan Fleming
- Deadline Film + TV
In some ways, the second season of "The White Lotus" is exactly the same as the first. We once again have signed on for a stay at the titular resort where we'll spend 7 weeks watching the filthy rich guests spiral into madness, verbally spar with one another, and put their very worst selves on display. All the while, their so-called peaceful getaway will become a nightmarish stay that ends with at least one dead body. But the difference is in the details. We have a new crop of guests and with them, series creator Mike White is taking his scathing commentary in a slightly different direction.
Instead of skewering the wealthy elites through the lens of tourism and colonization, season 2 has set its sights on sexual politics — a thorny subject matter no matter which way you approach it. So naturally, "The White Lotus" needed a bit of a makeover — and...
Instead of skewering the wealthy elites through the lens of tourism and colonization, season 2 has set its sights on sexual politics — a thorny subject matter no matter which way you approach it. So naturally, "The White Lotus" needed a bit of a makeover — and...
- 11/11/2022
- by Shania Russell
- Slash Film
[Warning: The below contains Major spoilers for The White Lotus Season 2, Episode 1, “Ciao.”] The White Lotus is back and introducing viewers to a new set of privileged resort guests, staff, and even some local Sicilians in the Italy-based story. Helping set the tone for the season is the opening title sequence which features the names of the cast, crew, and creatives, as well as some key imagery that may offer hints as to what fans can expect from the season. Created, written, and directed by Mike White, the series works with Plains of Yonder, a film studio and creative consultancy headed by Katrina Crawford and Mark Bashore that has also had a hand in the credit sequences for shows like Westworld and The Lord of the Rings: The Rings of Power. Together with White, both Crawford and Bashore helped craft the opening credits sequences for Seasons 1 and Season 2. (Credit: Plains of Yonder for HBO) This time around,...
- 10/31/2022
- TV Insider
The opening credits of HBO’s Emmy-winning The White Lotus are immediately memorable: lush and colorful wallpaper-like depictions of monkeys, birds, fruit, and other tropical images that immediately convey a sense of decadence, set to a soundtrack of animal sounds, discordant flutes, and steadily escalating percussion. But the longer you watch them, the more it becomes apparent that they’re also deceptively sinister, with rotting fruit, dying fish, and blood splattered amongst the tropical imagery, in much the same way that the series’ high-end setting initially obscures the corrosive aspects of high-end tourism and its pointed skewering of the wealthy and privileged elite.
And that’s on purpose, according to creators Katrina Crowford and Mark Bashore. The Lord of the Rings: The Rings of Power fans will likely recognize the duo and their work, as their Seattle-based studio Plains of Yonder was also responsible for that intricate title sequence full...
And that’s on purpose, according to creators Katrina Crowford and Mark Bashore. The Lord of the Rings: The Rings of Power fans will likely recognize the duo and their work, as their Seattle-based studio Plains of Yonder was also responsible for that intricate title sequence full...
- 10/24/2022
- by Lacy Baugher
- Den of Geek
The Lord of the Rings: The Rings of Power is a sprawling, ambitious, and visually arresting series, so it makes sense that its opening title sequence would reflect those same elements. Over the course of 90 seconds, glistening grains of sand and pebbles of stone swirl through a complex pattern of morphing shapes and symbols inspired by the writings of J.R.R. Tolkien.
But creators Katrina Crawford and Mark Bashore of the Seattle-based studio Plains of Yonder had an even more daunting task than many viewers may have initially realized: To not only create a sequence that felt true to the world of The Rings of Power but one that served as something of a visual crash course in the history of the Second Age in which it is based.
“Every time we take on a project, we research heavily,” Bashore tells Den of Geek. “We learn as fast as we can,...
But creators Katrina Crawford and Mark Bashore of the Seattle-based studio Plains of Yonder had an even more daunting task than many viewers may have initially realized: To not only create a sequence that felt true to the world of The Rings of Power but one that served as something of a visual crash course in the history of the Second Age in which it is based.
“Every time we take on a project, we research heavily,” Bashore tells Den of Geek. “We learn as fast as we can,...
- 10/12/2022
- by John Saavedra
- Den of Geek
Main title creators Mark Bashore and Katrina Crawford were given a unique challenge in creating the title sequence for “The Rings of Power,” a series from the world of J.R.R. Tolkien that would introduce fans of “The Lord of the Rings” to the much older and less familiar Second Age.
Bashore credits Crawford with their approach to the overall main title design, saying, “She came up with this idea of portals into other worlds. You have 90 seconds or sometimes less to transport people psychologically into a place where they’re ready. And it’s oftentimes the only thing that lives across seasons and seasons. Everything else changes. The directors, the writers, the shows change, but the one thing is that portal.”
Tolkien once wrote that his world was created from the music of angelic beings. It was with such heavenly inspiration that Bashore, Crawford and their team at Plains of...
Bashore credits Crawford with their approach to the overall main title design, saying, “She came up with this idea of portals into other worlds. You have 90 seconds or sometimes less to transport people psychologically into a place where they’re ready. And it’s oftentimes the only thing that lives across seasons and seasons. Everything else changes. The directors, the writers, the shows change, but the one thing is that portal.”
Tolkien once wrote that his world was created from the music of angelic beings. It was with such heavenly inspiration that Bashore, Crawford and their team at Plains of...
- 9/16/2022
- by Karen M. Peterson
- Variety Film + TV
Click here to read the full article.
One year ago, the opening credits for HBO’s The White Lotus pulsated on screens all over the world: simple, wallpaper-like graphics subtly undulating and accompanied by haunting music. The tropical images of monkeys, birds and fruit go perfectly with the sonic elements, teasing the character trajectories in the episodes to come, yet composer Cristobal Tapia de Veer and directors Katrina Crawford and Mark Bashore of Seattle studio Plains of Yonder tell THR that the three of them never worked together on it — it just became cohesive naturally.
“Cristobal was in Montreal, and we’re in Seattle,” says Bashore, “and we both took conversations from [creator] Mike White, and we didn’t talk and somehow we ended up with a nice combination.”
Adds Crawford, “Normally, our edits are very sound-driven, and we actually cut with some other music just to have something, but we...
One year ago, the opening credits for HBO’s The White Lotus pulsated on screens all over the world: simple, wallpaper-like graphics subtly undulating and accompanied by haunting music. The tropical images of monkeys, birds and fruit go perfectly with the sonic elements, teasing the character trajectories in the episodes to come, yet composer Cristobal Tapia de Veer and directors Katrina Crawford and Mark Bashore of Seattle studio Plains of Yonder tell THR that the three of them never worked together on it — it just became cohesive naturally.
“Cristobal was in Montreal, and we’re in Seattle,” says Bashore, “and we both took conversations from [creator] Mike White, and we didn’t talk and somehow we ended up with a nice combination.”
Adds Crawford, “Normally, our edits are very sound-driven, and we actually cut with some other music just to have something, but we...
- 8/9/2022
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
Back together in person after two years of going virtual during the pandemic, the Austin-based SXSW Film Festival has announced its juried prizes. As in previous editions, the awards show happened at the midpoint of the nine-day event, before SXSW’s music events suck much of the attention away from film screenings.
The top prize in narrative feature competition went to “I Love My Dad,” written and directed by James Morosini, who also stars as a younger version of himself in this uncomfortable retelling of how he was catfished by his father (played by Patton Oswalt).
“Morosini displays massive empathy as a filmmaker to get into the mind of the father he feels betrayed by, and also as an actor portraying the impact of that betrayal,” said the jury, who also gave special jury prizes to the cast and crew of “It Is in Us All” and Elizaveta Yankovskaya, star of the Russian film “Nika.
The top prize in narrative feature competition went to “I Love My Dad,” written and directed by James Morosini, who also stars as a younger version of himself in this uncomfortable retelling of how he was catfished by his father (played by Patton Oswalt).
“Morosini displays massive empathy as a filmmaker to get into the mind of the father he feels betrayed by, and also as an actor portraying the impact of that betrayal,” said the jury, who also gave special jury prizes to the cast and crew of “It Is in Us All” and Elizaveta Yankovskaya, star of the Russian film “Nika.
- 3/16/2022
- by Peter Debruge
- Variety Film + TV
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