![]() ![]() Scans of cut-out paper doors used in the title sequence development During the very early pre-production stages was when I actually presented a concept for a title sequence. It’s often just called “visual development” or visdev. I did story work, I did design work, I did both character designs and environment designs, and then overseeing and designing the title sequence. I worked on that film doing all kinds of pre-production designing. ![]() I often wore more than one hat on a project. You had a bunch of roles on this film, right? Title Designer GEEFWEE BOEDOE.įirst of all, thanks for joining me to talk about Monsters, Inc! It's a feature we've wanted to do for a long time. imbues the film with rhythm and warmth, and the opening title sequence offers the first taste of that.Ī discussion with Monsters, Inc. In talking about his work for this film, Randy Newman has said that music “is best at emotional things, at enhancing excitement, enhancing a tender moment.” Often working as an invisible effect, the music in Monsters, Inc. It also appears directly after a dark and sinister opening scene, so it not only sets up the proper tone for the film but it dispels any discomfort that young viewers might be experiencing, reinforcing that it is indeed a comedy. The sequence is charming and organic, the cut-out shapes and hand-drawn lettering bearing an imperfection that is inviting and accessible. Boedoe takes that mid-century graphic approach – normally used to open live-action films – and applies it to Monsters, Inc., a slick, computer-animated comedy. The sequence is reminiscent of classic 2D animated openings for live-action comedies of the 1950s and 1960s like DePatie-Freleng’s work for The Pink Panther (1963) and A Shot in the Dark (1964) or Saul Bass’s work for Around The World in Eighty Days (1956) and It’s A Mad Mad Mad Mad World (1963). What follows is a ballet of doors, stacking themselves into patterns and spitting out hand-hewn credits, squamous arms and slithering snakes, all set to the jolly and upbeat theme by composer Randy Newman. Shapes bounce and dance in a black void, coming together to form a door, which opens on a closet, and then opens again to reveal a roaring, gaping cartoon mouth. It’s this idea of the door that is the main subject of Title Designer Geefwee Boedoe’s vibrant and graphic opening sequence to the 2001 film directed by Pete Docter, David Silverman, and Lee Unkrich. The gateway between this parallel universe of colourful characters and the human world is a simple door. At Monsters, Inc., creatures great and small, tentacled and hairy, lurk in the closets and under the beds of human children, frightening them to produce screams which are then bottled and used as a power source. In Disney and Pixar’s animated city of Monstropolis, multifarious monsters live and work in a society whose main industry is terror. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |