Heidi Carr (The dripping eyes? Silhouette dancer) Timna Woollard (Not really a model, but did reference/concept for the CG circuit girl which you can find on her portfolio) Natasha Wightman (The face in the intro, girl attracting Bond's attention at sickle) They are the 3 silhouette dancers, though good luck trying to find them because I have no idea of their identities unless someone's got a clue maybe?) Moni, Nikki Grosse, and Vanessa Lee (Found through Art of the Title's credits for Goldeneye. Jilly Johnson (Dancing girl on scope, highlighted in red)Ĭatrina Skepper (Girl with shades and gun, also shows up at the end on a martini cup)ĭiana Lee-Hsu (Asian, dancing like a ballet, jumping on cue with gunshot, also later seen wearing transparent clothing on a casino backdrop, also plays Loti, the narcotics agent in the film as well) Mary Stavin (Blonde, possibly her on the last frame? Or one of the silhouettes)Īnn Jackson (Blonde girl laying down with gun shooting laser away from herself) Perri Small (Penelope Smallbone, possibly the blonde holding the Tommy gun) Wei Wei Wong (The first model you see in the titles)Īnna Noble (Brunette, One of the girls with a gun)Ĭarolyn Cheshire (Blonde, Another girl with a gun, also later appears in The Man With The Golden Gun as the dancing girl with the sparking red background) Jodi Flynn (Brunette with long hair and gun on flaming background, only side view) Melita Clarke (Seen only with her face, partially shaded with jewels on her forehead) Kiyomi Kobayashi (Only her face is shown for a brief moment) Mai Ling ( Japanese girl with traditional geisha hair) Sylvana Henriques (Silhouette fan dancer) Micky De Rauch, Christina Hayward ((nee Morse) the girl with ponytail swimming downwards with a red backdrop), Jean McGrath, Billie Bates and Rani Dube (Swimming girls) Margaret Nolan (The famed golden girl everyone Bond fan knows) And there’s that pop of red, in full screen.Julie Mendez (Belly dancer in opening credits) By the end, we’ve got this uplift of bright colors which symbolizes him getting his mojo back. He wants to retire, so the color palette followed the muted colors and natural tones. Goalby: The overarching idea was that James Bond has had his heart broken and his mojo is down. What visuals did you play with when creating the sequence? The brief given to us was to do something retro and not driven by CGI. We knew bits and bobs and enough to launch the title sequence. Janaud: Daniel had the script in hand, but his process when working is not to watch too much of the film or read too much because he doesn’t want to be too influenced by it in telling the story too much. The thing is we didn’t know about the ending, that was super top secret at the time. Goalby: As soon as the music starts with the gun barrel and the white circle goes across the screen, you know it’s James Bond, so it was nice to have that circle motif going throughout. We liked the idea too of starting with dots. We played with it a bit and settled on the kaleidoscope effect. Janaud: We tried to have circles because that’s such a part of the sequences. What was the key imagery in this title sequence and what motifs did you establish? There were some aspects we had to remove because they were spoilers. But the challenging aspect was to have those iconic moments and you want to tell a story, but without giving tons away. Janaud: We rewatched the titles that had been done in the past. How did that all come together in terms of imagery and colors and working in Billie Eilish’s song, “No Time to Die”? So, Jules and I went away, did tests and mock-ups, we’d do test animations and work with Danny to formulate the ideas to see what would stick. The sequence needed to hint at what was going to happen in the film. Goalby: Daniel came to us with a lot of ideas. Jules Janaud: The challenge was about doing something different, but not too different, and it was the 25th anniversary. You want to do something good because it’s historic to do a title with Daniel Kleinman, who has directed every title sequence since “Goldeneye.” Stephen Goalby: It’s such an honor to do this stuff, but the pressure sf on your shoulders right away. Framestore When you’re working on a title sequence that is this recognizable and this important to film history, how do you develop ideas while paying homage to the past?
0 Comments
Leave a Reply. |