Art of the Title ha intervistato il regista David Fincher soffermandosi sui suggestivi titoli di testa dei suoi film.
The sequence for Se7en did very important non-narrative things; in the original script there was a title sequence that had Morgan Freeman buying a house out in the middle of nowhere and then travelling back on a train. He was making his way back to the unnamed city from the unnamed suburban sprawl, and that's where the title was supposed to be -- "insert title sequence here" -- but we didn't have the money to do that. We also lacked the feeling of John Doe, the villain, who just appeared 90 minutes into the movie. It was oddly problematic, you just needed a sense of what these guys were up against.
Kyle Cooper, the designer of the title sequence, came to me and said, "You know, you have these amazing books that you spent tens of thousands of dollars to make for the John Doe interior props. I'd like to see them featured." And I said, "Well, that would be neat, but that's kind of a 2D glimpse. Figure out a way for it to involve John Doe, to show that somewhere across town somebody is working on some really evil shit. I don't want it to be just flipping through pages, as beautiful as they are." So Kyle came up with a great storyboard, and then we got Angus Wall and Harris Savides -- Harris to shoot it and Angus to cut it -- and the rest, as they say, is internet history.
I don't believe in decorative titles -- neato for the sake of being neato. I want to make sure you're going to get some bang for your buck. Titles should be engaging in a character way, it has to help set the scene, and you can do that elaborately or you can do it minimally.
Le strade, le ruote, i sentieri, i pedali, le corse, la pista, il sudore, l'agonia, il tifo, l'euforia, il trionfo. Il ciclismo.