He felt we needed a title sequence at the start to let people settle in and hint more about what we were about to see. But then a couple of people had a note about the movie, one of them being Quentin Tarantino. We test screened it once in this version. We originally ended on a completely different song too, "In The Long Run" by The Carrie Nations. But originally all the credits were at the end over black.
That was one of the first scenes boarded and pre-vised. The film always opened with the studio credits and the title always occurred over the long tracking shot in the living room with the band playing. The manga/mumblecore modulation of the film first seethes on pseudo strips of scratched celluloid scored to Beck's/Sex Bob-omb's artful cheetah-like strains of something akin to Black Flag’s "Wasted" locking horns with Iggy Pop’s "Search and Destroy". The visual napalm, conjured by Shynola, is traced and painted rather than a result of exposure to light.ĭirector EDGAR WRIGHT, main title designer RICHARD KENWORTHY from Shynola, and concept designer and head storyboard artist OSCAR WRIGHT discuss the creation of the opening sequence with us.Īt what stage in the process did you decide to use a title sequence?ĮW: In this case, the bulk of the title sequence came late in the game.
Scott pilgrim vs the world game artist series#
the World, based on the graphic novel series by Bryan Lee O'Malley. The reductionist 8-bit rendering of the Universal logo is the amuse-bouche to Edgar Wright's Scott Pilgrim Vs.
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