Opening credits never really went away (think of the slow-mo demolition of “The Good Fight”), but they are definitely having a moment.
“I really love title sequences,” “Chucky” showrunner Don Mancini told IndieWire. “ I lament the loss of titles. I just love the ritualistic value of them.”
When correctly deployed, opening credit sequences can do some heavy lifting for TV shows. The best title credit sequences set the tone for the show, hint at what’s to come, and, depending on when they’re used, underscore what just happened in the cold open. But in the wake of streaming upheavals and changes to how we consume content, they’ve been missing more and more. Or skipped more and more, depending on the options of a given platform.
But there are gifts to the sequences that compensate for shaving a minute or two off your watch time. For Prime Video’s...
“I really love title sequences,” “Chucky” showrunner Don Mancini told IndieWire. “ I lament the loss of titles. I just love the ritualistic value of them.”
When correctly deployed, opening credit sequences can do some heavy lifting for TV shows. The best title credit sequences set the tone for the show, hint at what’s to come, and, depending on when they’re used, underscore what just happened in the cold open. But in the wake of streaming upheavals and changes to how we consume content, they’ve been missing more and more. Or skipped more and more, depending on the options of a given platform.
But there are gifts to the sequences that compensate for shaving a minute or two off your watch time. For Prime Video’s...
- 11/15/2023
- by Mark Peikert
- Indiewire
“The Queen’s Gambit” and “The Mandalorian” were among the big winners Saturday as the Creative Arts Emmy Awards were handed out in downtown Los Angeles, kicking off the last lap of Emmy season.
This year’s Creative Arts ceremonies, held in a tent on the L.A. Live events deck in downtown Los Angeles, will be split into three events over two days, on Sept. 11 and Sept. 12.
The creative and technical achievement awards kicked off with a Saturday evening event centered around artisans categories including cinematography, costumes, hairstyling, production design, editing and sound mixing. The Sunday afternoon ceremony will feature categories like animated programming, reality/competition host, narrator, documentary filmmaking, and structured and unstructured reality program, while the Sunday evening ceremony will focus on the major categories, such as guest actor and actress, music and lyrics, short form series, TV movie, variety sketch series, variety special (live) and writing for a variety special.
This year’s Creative Arts ceremonies, held in a tent on the L.A. Live events deck in downtown Los Angeles, will be split into three events over two days, on Sept. 11 and Sept. 12.
The creative and technical achievement awards kicked off with a Saturday evening event centered around artisans categories including cinematography, costumes, hairstyling, production design, editing and sound mixing. The Sunday afternoon ceremony will feature categories like animated programming, reality/competition host, narrator, documentary filmmaking, and structured and unstructured reality program, while the Sunday evening ceremony will focus on the major categories, such as guest actor and actress, music and lyrics, short form series, TV movie, variety sketch series, variety special (live) and writing for a variety special.
- 9/12/2021
- by Cynthia Littleton and Ethan Shanfeld
- Variety Film + TV
Few elements of television can entice the viewer quite like a well-designed main title sequence, as proved by this year’s Emmy nominees for Best Main Title Design. Such sequences may be less and less present in the modern TV landscape, but they help set a mood for the series to come, evoking emotions that might not be as potent with a simple title card.
This year’s nominees are: “Between the World and Me” (HBO), “The Good Lord Bird” (Showtime), “Lovecraft Country” (HBO), “The Queen’s Gambit” (Netflix), “Raised by Wolves” (HBO Max) and “WandaVision” (Disney+). So which opener will win the Emmy for Best Main Title Design? Let’s look at each of them individually, and be sure to make your Emmy predictions.
SEEBest Main Title Theme Music: Will Emmy go to ‘WandaVision,’ ‘Ted Lasso,’ ‘Bridgerton,’ ‘The Flight Attendant’ or ‘Allen v. Farrow’?
“Between the World and Me” — Creative...
This year’s nominees are: “Between the World and Me” (HBO), “The Good Lord Bird” (Showtime), “Lovecraft Country” (HBO), “The Queen’s Gambit” (Netflix), “Raised by Wolves” (HBO Max) and “WandaVision” (Disney+). So which opener will win the Emmy for Best Main Title Design? Let’s look at each of them individually, and be sure to make your Emmy predictions.
SEEBest Main Title Theme Music: Will Emmy go to ‘WandaVision,’ ‘Ted Lasso,’ ‘Bridgerton,’ ‘The Flight Attendant’ or ‘Allen v. Farrow’?
“Between the World and Me” — Creative...
- 9/11/2021
- by Kevin Jacobsen
- Gold Derby
For Apple TV+ drama The Morning Show, Angus Wall and Hazel Baird designed a main title sequence that was at once visually abstract and thematically rich, speaking to the various challenging facets of life in the high-pressure world of morning news.
Created by Jay Carson and Kerry Ehrin, the series centers on a popular breakfast news program broadcast out of New York, which is rocked to its core when one of its longtime anchors is fired, due to accusations of sexual misconduct.
Set to Benjamin Clementine’s “Nemesis,” the show’s title sequence centers on spheres of different colors and sizes, interacting in a series of playful vignettes. For Wall and Baird, two of the creative directors behind Elastic—a design studio launched in 2008, which this year claimed four Emmy nominations out of seven for Outstanding Main Title Design—the challenge of The Morning Show was to make sure that...
Created by Jay Carson and Kerry Ehrin, the series centers on a popular breakfast news program broadcast out of New York, which is rocked to its core when one of its longtime anchors is fired, due to accusations of sexual misconduct.
Set to Benjamin Clementine’s “Nemesis,” the show’s title sequence centers on spheres of different colors and sizes, interacting in a series of playful vignettes. For Wall and Baird, two of the creative directors behind Elastic—a design studio launched in 2008, which this year claimed four Emmy nominations out of seven for Outstanding Main Title Design—the challenge of The Morning Show was to make sure that...
- 8/10/2020
- by Matt Grobar
- Deadline Film + TV
Documentary group Cinema Eye on Thursday unveiled nominations for the 2020 Cinema Eye Honors, with Netflix’s American Factory and Neon’s Apollo 11 leading the way with five nominations each. Netflix tops all distributors with 17 noms, the most ever in a single year.
Winners will be revealed at a ceremony January 6 at the Museum of the Moving Image in Astoria, Queens.
American Factory, which counts Barack and Michelle Obama’s Higher Ground among its executive producers, and Todd Douglas Miller’s deep dive into the 1969 moon mission Apollo 11 were nominated in the marquee Outstanding Nonfiction Feature category. They are joined there by For Sama, the PBS/Frontline Syrian drama from Waad al-Kateab and Edward Watt; Neon’s Honeyland, the Sundance-winning Macedonian beekeeper tale from Ljubomir Stefanov and Tamara Kotevsk; 1901 Media’s Mexico City ambulance industry pic Midnight Family; and Amazon Studios’ Sundance U.S. Grand Jury Prize-winning One Child Nation.
Last year,...
Winners will be revealed at a ceremony January 6 at the Museum of the Moving Image in Astoria, Queens.
American Factory, which counts Barack and Michelle Obama’s Higher Ground among its executive producers, and Todd Douglas Miller’s deep dive into the 1969 moon mission Apollo 11 were nominated in the marquee Outstanding Nonfiction Feature category. They are joined there by For Sama, the PBS/Frontline Syrian drama from Waad al-Kateab and Edward Watt; Neon’s Honeyland, the Sundance-winning Macedonian beekeeper tale from Ljubomir Stefanov and Tamara Kotevsk; 1901 Media’s Mexico City ambulance industry pic Midnight Family; and Amazon Studios’ Sundance U.S. Grand Jury Prize-winning One Child Nation.
Last year,...
- 11/7/2019
- by Patrick Hipes
- Deadline Film + TV
“American Factory” and “Apollo 11” led all films in nominations for the 13th annual Cinema Eye Honors, a New York-based awards show created to pay tribute to all facets of nonfiction filmmaking.
The two films each received five nominations, including Outstanding Nonfiction Feature, from the Cinema Eye jury of festival programmers, as well as votes from this year’s eligible filmmakers.
The full slate of nominees in that category is a solid lineup of the year’s most acclaimed docs. In addition to Steven Bognar and Julia Reichert’s “American Factory” and Todd Douglas Miller’s “Apollo 11,” it includes Waad al-Kateab and Edward Watts’ “For Sama,” Ljubomir Stefanov and Tamara Kotevska’s “Honeyland,” Luke Lorentzen’s “Midnight Family” and Nanfu Wang and Jialing Zhang’s “One Child Nation.”
Also Read: 12 Documentaries to Check Out This Fall, Including Films by Bruce Springsteen and Agnès Varda (Photos)
“American Factory,” “Apollo 11...
The two films each received five nominations, including Outstanding Nonfiction Feature, from the Cinema Eye jury of festival programmers, as well as votes from this year’s eligible filmmakers.
The full slate of nominees in that category is a solid lineup of the year’s most acclaimed docs. In addition to Steven Bognar and Julia Reichert’s “American Factory” and Todd Douglas Miller’s “Apollo 11,” it includes Waad al-Kateab and Edward Watts’ “For Sama,” Ljubomir Stefanov and Tamara Kotevska’s “Honeyland,” Luke Lorentzen’s “Midnight Family” and Nanfu Wang and Jialing Zhang’s “One Child Nation.”
Also Read: 12 Documentaries to Check Out This Fall, Including Films by Bruce Springsteen and Agnès Varda (Photos)
“American Factory,” “Apollo 11...
- 11/7/2019
- by Steve Pond
- The Wrap
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