A movie’s title sequence is much like a handshake: it forms an impression. If it’s firm and confident, it allows you to become engaged with the story – if it’s limp wristed and clammy, it can put you off. I just watched the new James Bond movie, Quantum of Solace. I have something of a fetish for the title sequences of films (see Se7en, Catch Me If You Can, Lord of War, etc) and when it comes to Bond, I consider each title sequence a highlight of the 007 experience itself. After Daniel Kleinman‘s brilliant motion capture title sequence for Casino Royale, I was uber-excited to see what Quantum of Solace would offer.
MK12 was founded in 2000 by four friends (Timmy Fisher, Ben Radatz, Matt Fraction, and Jed Carter) who met at the Kansas City Art Institute. MK12 had done title work with MTV, ESPN and the Cartoon Network before getting their big break in feature film work in 2006 with Stranger Than Fiction. Their work on that movie was nothing short of ground breaking. The opening title sequence sees accountant Harold Crick, described by the narrator as “a man of infinite numbers, endless calculations, and remarkably few words,” go through his daily routine – as numbers, words and symbols morph across the screen.
MK12’s work on Quantum of Solace includes all the staple Bond elements: silhouettes, guns and, of course, women. But what I frickin’ love is the font work.
See Ben Radatz and Tim Fisher from MK12 discuss the Quantum of Solace title sequence in the video below.
Notably, MK12 also created the fictional operating system that M16 uses in Quantum of Solace – this involved desiging all the interfaces for all the screens (computers/phones) shown in the film.