Shuddering, we adjust our typefaces

In designing the opening credit sequence, we've experimented with an array of styles. An early option was to roll the credits over a series of illustrations that explained the backstory. Sort of like this:



We decided against it when it became clear that we'd actually have to come up with a backstory to do this. Never explain what you don't have to.

So we thought about the classic Saul Bass look:



Or, more likely, this:



I think we've settled on making the typography do the majority of the heavy lifting when it comes to visual interest. Here's one of our prototypes:



With a little color and motion (in the strict Northanger tradition of tasteful restraint), I think they're going to look terrific.

Finally, since I seem to be piloting the blog ship straight in YouTube Shoals today... Motorhead!

EXT. KUNGSBADEN MUSEUM -- DAY

I think our motto is a big improvement over the one that's really there: "Try to scrape by with a C."

After coming up with a title for this post, I was going to mention that once we had moved beyond the infamous third draft of the script, we didn't have any exterior night shots in the movie at all. Then I zipped through the rest of the effects reel and realized that we still have tons of nighttime exteriors. Just no nighttime exteriors with extended chase scenes.

Effects Shots March Forth. Like Zombies.

The eerie swing in the moonlight. Not the middle of the afternoon.


Chemical-fog toxicity will claim the lives of dozens of lab assistants this year alone. Please give generously to the gas-mask fund.