HBO’s anthology series “True Detective” is back after five years with a new season that will compete at the 2024 Emmy Awards. This latest installment that premiered in January comes with the subtitle “True Detective: Night Country” and, while still part of the franchise, it’s the first to not have the involvement of creator Nic Pizzolato – other than his executive producer credit. It was instead developed by Issa Lopez who wrote (or co-wrote) and directed all six episodes, and stars Jodie Foster and Kali Reis as detectives in an Alaskan town investigating the disappearance of eight scientists. Let’s re-examine the three previous seasons of “True Detective” at the Emmys – which garnered a combined total of 22 nominations and five wins – to determine possible nominations in categories for the current season.
Here is the complete Emmys history for the first three seasons of “True Detective”:
Season 1 (2014):
Best Drama Series
Nic Pizzolato,...
Here is the complete Emmys history for the first three seasons of “True Detective”:
Season 1 (2014):
Best Drama Series
Nic Pizzolato,...
- 4/1/2024
- by Christopher Tsang
- Gold Derby
"From the dusty mesa,
Her looming shadow grows.
Hidden in the branches of the poison creosote..."
Fans of Nic Pizzolatto's "True Detective" would recognize these lyrics anywhere. "Far From Any Road" by The Handsome Family was used in the opening credits of "True Detective" season 1 to haunting effect, supplemented by striking visuals that highlighted the show's core themes in compelling ways. Although "True Detective" has had a 3-season run so far, season 1 is still considered unparalleled for its startling complexity and grim, somber tone. There's an apocalyptic feel to the first season, reflected in the lives of the characters that inhabit the broken landscape of Louisiana — an emotion that is perfectly captured by the season's unforgettable opening credits.
How did the creators manage to capture the extremely specific aura of the opening credits? The title sequence was constructed by creative director Patrick Clair, with the aid of his studios,...
Her looming shadow grows.
Hidden in the branches of the poison creosote..."
Fans of Nic Pizzolatto's "True Detective" would recognize these lyrics anywhere. "Far From Any Road" by The Handsome Family was used in the opening credits of "True Detective" season 1 to haunting effect, supplemented by striking visuals that highlighted the show's core themes in compelling ways. Although "True Detective" has had a 3-season run so far, season 1 is still considered unparalleled for its startling complexity and grim, somber tone. There's an apocalyptic feel to the first season, reflected in the lives of the characters that inhabit the broken landscape of Louisiana — an emotion that is perfectly captured by the season's unforgettable opening credits.
How did the creators manage to capture the extremely specific aura of the opening credits? The title sequence was constructed by creative director Patrick Clair, with the aid of his studios,...
- 8/20/2022
- by Debopriyaa Dutta
- Slash Film
Click here to read the full article.
Flies, Loud Reed and a tower hold some of the biggest clues about where Westworld season four is headed, according to two key creative team members on the HBO show.
Speaking to The Hollywood Reporter ahead of Sunday night’s long-awaited premiere, co-creator, showrunner and EP Lisa Joy, along with writer and EP Alison Schapker, teased their favorite Easter eggs hidden in this season’s promo materials and title sequence. Schapker pointed to the tower in the opening credits — a topic that was seemingly introduced during “The Auguries,” as something fans should keep an eye out for throughout the season.
But she also noted a specific lyric from the Lou Reed song used for season four’s teaser trailer, which is not to be confused with the full trailer’s orchestral arrangement of Nine Inch Nails’ “The Day the World Went Away.” That cover — composed by Ramin Djawadi,...
Flies, Loud Reed and a tower hold some of the biggest clues about where Westworld season four is headed, according to two key creative team members on the HBO show.
Speaking to The Hollywood Reporter ahead of Sunday night’s long-awaited premiere, co-creator, showrunner and EP Lisa Joy, along with writer and EP Alison Schapker, teased their favorite Easter eggs hidden in this season’s promo materials and title sequence. Schapker pointed to the tower in the opening credits — a topic that was seemingly introduced during “The Auguries,” as something fans should keep an eye out for throughout the season.
But she also noted a specific lyric from the Lou Reed song used for season four’s teaser trailer, which is not to be confused with the full trailer’s orchestral arrangement of Nine Inch Nails’ “The Day the World Went Away.” That cover — composed by Ramin Djawadi,...
- 6/27/2022
- by Abbey White
- The Hollywood Reporter - Movie News
New Zealand director Jessica Hobbs is among this year’s Emmy winners, taking home Outstanding Directing For a Drama Series for her work on The Crown.
Hobbs, whose previous credits include episodes of Heartbreak High, Love My Way, All Saints, and Rake, won the award for the “War” episode of the Netflix series at Monday’s ceremony, beating out fellow director from the program, Benjamin Caron, as well as Bridgerton‘s Julie Anne Robinson, The Handmaid’s Tale‘s Liz Garbus, The Mandalorian‘s Jon Favreau, and Pose‘s Steven Canals.
After forging her career in Australia, Hobbs moved to the UK more than seven years ago to work on the second series of crime drama Broadchurch following a meeting with creator Chris Chibnall, and has since been behind the camera on BBC One series’ River, Apple Tree Yard, and The Split.
Hobbs accepted her award at a satellite event in London,...
Hobbs, whose previous credits include episodes of Heartbreak High, Love My Way, All Saints, and Rake, won the award for the “War” episode of the Netflix series at Monday’s ceremony, beating out fellow director from the program, Benjamin Caron, as well as Bridgerton‘s Julie Anne Robinson, The Handmaid’s Tale‘s Liz Garbus, The Mandalorian‘s Jon Favreau, and Pose‘s Steven Canals.
After forging her career in Australia, Hobbs moved to the UK more than seven years ago to work on the second series of crime drama Broadchurch following a meeting with creator Chris Chibnall, and has since been behind the camera on BBC One series’ River, Apple Tree Yard, and The Split.
Hobbs accepted her award at a satellite event in London,...
- 9/20/2021
- by Sean Slatter
- IF.com.au
“The Queen’s Gambit” and “The Mandalorian” were among the big winners Saturday as the Creative Arts Emmy Awards were handed out in downtown Los Angeles, kicking off the last lap of Emmy season.
This year’s Creative Arts ceremonies, held in a tent on the L.A. Live events deck in downtown Los Angeles, will be split into three events over two days, on Sept. 11 and Sept. 12.
The creative and technical achievement awards kicked off with a Saturday evening event centered around artisans categories including cinematography, costumes, hairstyling, production design, editing and sound mixing. The Sunday afternoon ceremony will feature categories like animated programming, reality/competition host, narrator, documentary filmmaking, and structured and unstructured reality program, while the Sunday evening ceremony will focus on the major categories, such as guest actor and actress, music and lyrics, short form series, TV movie, variety sketch series, variety special (live) and writing for a variety special.
This year’s Creative Arts ceremonies, held in a tent on the L.A. Live events deck in downtown Los Angeles, will be split into three events over two days, on Sept. 11 and Sept. 12.
The creative and technical achievement awards kicked off with a Saturday evening event centered around artisans categories including cinematography, costumes, hairstyling, production design, editing and sound mixing. The Sunday afternoon ceremony will feature categories like animated programming, reality/competition host, narrator, documentary filmmaking, and structured and unstructured reality program, while the Sunday evening ceremony will focus on the major categories, such as guest actor and actress, music and lyrics, short form series, TV movie, variety sketch series, variety special (live) and writing for a variety special.
- 9/12/2021
- by Cynthia Littleton and Ethan Shanfeld
- Variety Film + TV
Few elements of television can entice the viewer quite like a well-designed main title sequence, as proved by this year’s Emmy nominees for Best Main Title Design. Such sequences may be less and less present in the modern TV landscape, but they help set a mood for the series to come, evoking emotions that might not be as potent with a simple title card.
This year’s nominees are: “Between the World and Me” (HBO), “The Good Lord Bird” (Showtime), “Lovecraft Country” (HBO), “The Queen’s Gambit” (Netflix), “Raised by Wolves” (HBO Max) and “WandaVision” (Disney+). So which opener will win the Emmy for Best Main Title Design? Let’s look at each of them individually, and be sure to make your Emmy predictions.
SEEBest Main Title Theme Music: Will Emmy go to ‘WandaVision,’ ‘Ted Lasso,’ ‘Bridgerton,’ ‘The Flight Attendant’ or ‘Allen v. Farrow’?
“Between the World and Me” — Creative...
This year’s nominees are: “Between the World and Me” (HBO), “The Good Lord Bird” (Showtime), “Lovecraft Country” (HBO), “The Queen’s Gambit” (Netflix), “Raised by Wolves” (HBO Max) and “WandaVision” (Disney+). So which opener will win the Emmy for Best Main Title Design? Let’s look at each of them individually, and be sure to make your Emmy predictions.
SEEBest Main Title Theme Music: Will Emmy go to ‘WandaVision,’ ‘Ted Lasso,’ ‘Bridgerton,’ ‘The Flight Attendant’ or ‘Allen v. Farrow’?
“Between the World and Me” — Creative...
- 9/11/2021
- by Kevin Jacobsen
- Gold Derby
There is a common thread between the television series True Detective, The Man in the High Castle, Westworld, Nine Perfect Strangers, and The Crown: the contribution of Aussies Raoul Marks and Patrick Clair.
The directors of production studio Antibody have been responsible for crafting main title sequences across streaming and network platforms in the eight years they have been working together, with Clair assuming the role of creative director and Marks acting as the art director and lead compositor.
It’s a creative partnership that has spawned more than 20 Outstanding Main Title Design Emmy nominations between them, as well as wins in 2014 and 2016 for True Detective and The Man in the High Castle, respectively.
They are again listed in the category this year for their work on HBO’s supernatural horror drama Lovecraft Country, in which they collaborated with renowned Melbourne illustrator Ken Taylor.
Taylor created a different piece...
The directors of production studio Antibody have been responsible for crafting main title sequences across streaming and network platforms in the eight years they have been working together, with Clair assuming the role of creative director and Marks acting as the art director and lead compositor.
It’s a creative partnership that has spawned more than 20 Outstanding Main Title Design Emmy nominations between them, as well as wins in 2014 and 2016 for True Detective and The Man in the High Castle, respectively.
They are again listed in the category this year for their work on HBO’s supernatural horror drama Lovecraft Country, in which they collaborated with renowned Melbourne illustrator Ken Taylor.
Taylor created a different piece...
- 9/7/2021
- by Sean Slatter
- IF.com.au
Yvonne Strahovski, a trio of title designers, and a South Australian Pdv studio will carry Australian hopes at this year’s Emmy awards, while Nicole Kidman and Joel Edgerton both missed out in Tuesday evening’s nominations announcement.
Strahovski received her second nomination for Outstanding Supporting Actress in a Drama Series, recognising her role as Serena Joy Waterford in Hulu’s The Handmaid’s Tale, alongside castmates Madeline Brewer, Ann Dowd and Samira Wiley. They will vie against The Crown’s Gillian Anderson, Helena Bonham Carter, and Emerald Fennell; and Lovecraft County‘s Aunjanue Ellis.
Nominated for Outstanding Main Title Design for HBO’s Lovecraft Country are Aussies creative director Patrick Clair, art director and lead compositor Raoul Marks, and illustrator Ken Taylor. They will be up against those who crafted titles for HBO’s Between the World and Me, HBO Max’s Raised by Wolves, Showtime’s The Good Lord Bird,...
Strahovski received her second nomination for Outstanding Supporting Actress in a Drama Series, recognising her role as Serena Joy Waterford in Hulu’s The Handmaid’s Tale, alongside castmates Madeline Brewer, Ann Dowd and Samira Wiley. They will vie against The Crown’s Gillian Anderson, Helena Bonham Carter, and Emerald Fennell; and Lovecraft County‘s Aunjanue Ellis.
Nominated for Outstanding Main Title Design for HBO’s Lovecraft Country are Aussies creative director Patrick Clair, art director and lead compositor Raoul Marks, and illustrator Ken Taylor. They will be up against those who crafted titles for HBO’s Between the World and Me, HBO Max’s Raised by Wolves, Showtime’s The Good Lord Bird,...
- 7/14/2021
- by Sean Slatter
- IF.com.au
Greig Fraser on the set of ‘The Mandalorian’.
Cinematographer Greig Fraser has won a Creative Arts Emmy for his work on Disney+’s The Mandalorian, ‘Chapter 7: The Reckoning’.
Fraser shares the award for Outstanding Cinematography for a Single Camera Series (Half Hour) with frequent collaborator and co-dop, New Zealander Barry ‘Baz’ Idoine.
The Mandalorian is the pair’s second venture into the Star Wars universe, having previously worked together on Rogue One, with Fraser Dop and Idoine heading second unit.
Greig Fraser and Baz Idoine accepting their award.
Their work with director Jon Favreau and Ilm on The Mandalorian has been much discussed for innovative use of virtual sets, with LED panelling allowing real-time, in-camera compositing.
The cinematography Emmy is one of five awards for the Lucasfilm series so far, with other gongs for production design, sound editing, sound mixing and visual effects.
Fraser is currently working on The Batman.
Cinematographer Greig Fraser has won a Creative Arts Emmy for his work on Disney+’s The Mandalorian, ‘Chapter 7: The Reckoning’.
Fraser shares the award for Outstanding Cinematography for a Single Camera Series (Half Hour) with frequent collaborator and co-dop, New Zealander Barry ‘Baz’ Idoine.
The Mandalorian is the pair’s second venture into the Star Wars universe, having previously worked together on Rogue One, with Fraser Dop and Idoine heading second unit.
Greig Fraser and Baz Idoine accepting their award.
Their work with director Jon Favreau and Ilm on The Mandalorian has been much discussed for innovative use of virtual sets, with LED panelling allowing real-time, in-camera compositing.
The cinematography Emmy is one of five awards for the Lucasfilm series so far, with other gongs for production design, sound editing, sound mixing and visual effects.
Fraser is currently working on The Batman.
- 9/17/2020
- by jkeast
- IF.com.au
Hannah Gadsby.
Australia’s most reluctant Hollywood triumph Hannah Gadsby has capped off a meteoric 18 month ride, securing the Creative Arts Emmy for Outstanding Writing for a Variety Special for Netflix Original production, Nanette.
The Creative Arts Emmy Awards celebrate artistic and technical achievements in television and were held over the weekend at the Microsoft Theatre in Los Angeles. The Primetime Emmy Awards will be held on September 21.
Gadsby’s critically lauded and globally embraced Nanette debuted on Netflix in June 2018 and has transformed her career and opportunities at a global level.
“I wrote Nanette as a way to tell my little story to my little corner of the world. I wrote it in the hope it would provide catharsis to myself and to those who existed in the same margins I did. Instead, my story has been pushed into every corner of the world – including places where stories like...
Australia’s most reluctant Hollywood triumph Hannah Gadsby has capped off a meteoric 18 month ride, securing the Creative Arts Emmy for Outstanding Writing for a Variety Special for Netflix Original production, Nanette.
The Creative Arts Emmy Awards celebrate artistic and technical achievements in television and were held over the weekend at the Microsoft Theatre in Los Angeles. The Primetime Emmy Awards will be held on September 21.
Gadsby’s critically lauded and globally embraced Nanette debuted on Netflix in June 2018 and has transformed her career and opportunities at a global level.
“I wrote Nanette as a way to tell my little story to my little corner of the world. I wrote it in the hope it would provide catharsis to myself and to those who existed in the same margins I did. Instead, my story has been pushed into every corner of the world – including places where stories like...
- 9/16/2019
- by jkeast
- IF.com.au
While there has been a trend of shortening opening title sequences on television or even doing away with them altogether, this year’s Emmy nominees for Best Main Title Design prove there are still shows that value the power of a good intro. The 2019 Emmy nominees for Best Main Title Design are: “Conversations with a Killer: The Ted Bundy Tapes” (Netflix), “Game of Thrones” (HBO), “Star Trek: Discovery” (CBS All Access), “True Detective” (HBO) and “Warrior” (Cinemax).
All five of these main titles share similarities in emphasizing symbolism and iconography present throughout their respective shows. Two of the nominated creative directors have previously won Emmys for previous seasons of their respective series, Angus Wall for “Game of Thrones” and Patrick Clair and Raoul Marks for “True Detective,” both for the first seasons. So what will win the Emmy for Best Main Title Design this year? Let’s take a closer...
All five of these main titles share similarities in emphasizing symbolism and iconography present throughout their respective shows. Two of the nominated creative directors have previously won Emmys for previous seasons of their respective series, Angus Wall for “Game of Thrones” and Patrick Clair and Raoul Marks for “True Detective,” both for the first seasons. So what will win the Emmy for Best Main Title Design this year? Let’s take a closer...
- 8/10/2019
- by Kevin Jacobsen
- Gold Derby
In an age when Netflix’s “Skip Intro” button threatens to make a TV show’s opening credits into an endangered species, it’s more important than ever to acknowledge the work being done by the artists who set the tone for some of the year’s most notable series. “I have two jobs,” says two-time Emmy winner Patrick Clair, nominated this year for the haunting introduction to “True Detective” Season 3. “The main title needs to prove its worth — and also make it worth watching again and again.” His fellow nominees in the main title design category share that philosophy, while also revealing how they went about innovating — or in some cases, re-innovating — the art of these brief yet stunning sequences.
“Conversations With a Killer: The Ted Bundy Tapes”
(Netflix)
Elastic creative director Lisa Bolan was inspired by the actual cassette tape technology that captured those original interviews in her...
“Conversations With a Killer: The Ted Bundy Tapes”
(Netflix)
Elastic creative director Lisa Bolan was inspired by the actual cassette tape technology that captured those original interviews in her...
- 8/1/2019
- by Liz Shannon Miller
- Variety Film + TV
While we all wait for the new episode of Game of Thrones to air tonight, here’s a pretty cool fan-made opening title sequence that was created in the style of the Westworld title sequence.
The video is called WesterosWorld and it was created by Gilles Kontrol, who offered the following note with the video:
An homage to the two iconic drama series Game of Thrones and Westworld and to title designers Patrick Clair and Raoul Marks.
The project came to fruition over the course of 8 months of on and off work on it in my spare time.
The idea was sparked by the beautiful mashup by composer Brandon Chapman of the themes of the Game of Thrones and Westworld series.
WesterosWorld was also a way to push myself to try and achieve the level of quality of the original title sequence.
Check out the title sequence and let us...
The video is called WesterosWorld and it was created by Gilles Kontrol, who offered the following note with the video:
An homage to the two iconic drama series Game of Thrones and Westworld and to title designers Patrick Clair and Raoul Marks.
The project came to fruition over the course of 8 months of on and off work on it in my spare time.
The idea was sparked by the beautiful mashup by composer Brandon Chapman of the themes of the Game of Thrones and Westworld series.
WesterosWorld was also a way to push myself to try and achieve the level of quality of the original title sequence.
Check out the title sequence and let us...
- 5/5/2019
- by Joey Paur
- GeekTyrant
The “Game of Thrones” title sequence is a sacred thing of beauty, as is the “Westworld” intro. So what, if anything, could make these two HBO series’ intros better? Oh, maybe just combining them — which is exactly what a Berlin-based artist has done.
Gilles Augustijnen says he spent eight months of his spare time creating, “Westeros World,” a fake title sequence which pulls from aspects of the openers of both David Benioff and D.B. Weiss’ fantasy epic and Jonathan Nolan and Lisa Joy’s sci-fi series.
In the 1-minute, 30-second clip above, whatever you could dream of in the Seven Kingdoms has been “Westworld”-ified, including dragons (and dragon eggs), house sigils, crowns and swords. The Night King himself even shows up as a Host-in-the-making before the “Westeros World” title card flash across the screen.
Also Read: 'Game of Thrones' Star Kit Harington Actually Affirms a Few Rumors...
Gilles Augustijnen says he spent eight months of his spare time creating, “Westeros World,” a fake title sequence which pulls from aspects of the openers of both David Benioff and D.B. Weiss’ fantasy epic and Jonathan Nolan and Lisa Joy’s sci-fi series.
In the 1-minute, 30-second clip above, whatever you could dream of in the Seven Kingdoms has been “Westworld”-ified, including dragons (and dragon eggs), house sigils, crowns and swords. The Night King himself even shows up as a Host-in-the-making before the “Westeros World” title card flash across the screen.
Also Read: 'Game of Thrones' Star Kit Harington Actually Affirms a Few Rumors...
- 4/6/2019
- by Jennifer Maas
- The Wrap
Alec Bojalad Jan 13, 2019
It's another season of True Detective, and you know what that means! The True Detective Season 3 opening credits still rule.
True Detective isn’t always reliable. True Detective Season 1 was great, True Detective Season 2 was not. The wait between seasons 1 and 2 was a little over a year while the wait between season 2 and 3 was three years. Hey…wait a minute…maybe those two facts have something to do with each other!
But regardless of HBO’s anthology true crime series’ other imperfections, there is always something consistently great about each season: the opening credits. As designed by Patrick Clair and his Antibody production studio, the True Detective opening credits have always perfectly established the Southern (and one time Southern California) Gothic tone of the show.
True Detective Season 3’s almost exactly 90-second long opening credits are no different as it turns out. The credits feature an ominous...
It's another season of True Detective, and you know what that means! The True Detective Season 3 opening credits still rule.
True Detective isn’t always reliable. True Detective Season 1 was great, True Detective Season 2 was not. The wait between seasons 1 and 2 was a little over a year while the wait between season 2 and 3 was three years. Hey…wait a minute…maybe those two facts have something to do with each other!
But regardless of HBO’s anthology true crime series’ other imperfections, there is always something consistently great about each season: the opening credits. As designed by Patrick Clair and his Antibody production studio, the True Detective opening credits have always perfectly established the Southern (and one time Southern California) Gothic tone of the show.
True Detective Season 3’s almost exactly 90-second long opening credits are no different as it turns out. The credits feature an ominous...
- 1/11/2019
- Den of Geek
“Main Title Design” may not sound like the most glamorous Emmy award out there, or even as crucial an element as it is to a series. But while it’s often underrated, a show’s titles do all the heavy lifting right at the start, setting the tone and pace, and giving audiences a taste of what’s to come in terms of themes, characters, visual aesthetic and artistic ambition. It’s a tall order for such a short sequence, but when done right, it economically conveys all that and more, as evidenced by this year’s five Emmy nominees.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
- 8/16/2018
- by Iain Blair
- Variety Film + TV
The 2018 Emmy nominees for Best Main Title Design once again prove that the opening credits sequence is not dead yet. The five nominees include TNT’s “The Alienist,” Netflix’s “Altered Carbon,” Starz’s “Counterpart,” Netflix’s “Glow” and HBO’s “Westworld.” These choices are inspired compared to other categories, which mostly comprise of shows nominated in their respective series categories. While we do have three such shows, “Westworld” (21 noms overall), “Glow” (10 noms) and “The Alienist” (6 noms), “Altered Carbon” has just one other nomination and this is the only nom for “Counterpart.”
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
- 7/31/2018
- by Kevin Jacobsen
- Gold Derby
The craft of main title design has become more prestigious in TV since “Mad Men” and “Game of Thrones” won Emmys in 2008 and 2011. And this season the race pits three Best Drama contenders (“Westworld,” “Stranger Things,” “The Crown”) against Limited Series contender (“Feud: Bette and Joan”) and “American Gods.”
Three of the five main title designs come from Patrick Clair (“Westworld,” The Crown,” “American Gods”), last year’s winner for “The Man in the High Castle,” and a previous winner for “True Detective” (2014). If the goal is to encapsulate the essence of a show in a graphically striking, attention-grabbing manner, then all five shows fit the job.
As far as winning the race, “Westworld” stands out for its complex design, poetic beauty, and melancholy mood, But both “Feud” and “Stranger Things” boast distinctive retro vibes— that brilliantly play off the nostalgia appeal of their series.
“Westworld”
From the galloping horse...
Three of the five main title designs come from Patrick Clair (“Westworld,” The Crown,” “American Gods”), last year’s winner for “The Man in the High Castle,” and a previous winner for “True Detective” (2014). If the goal is to encapsulate the essence of a show in a graphically striking, attention-grabbing manner, then all five shows fit the job.
As far as winning the race, “Westworld” stands out for its complex design, poetic beauty, and melancholy mood, But both “Feud” and “Stranger Things” boast distinctive retro vibes— that brilliantly play off the nostalgia appeal of their series.
“Westworld”
From the galloping horse...
- 8/15/2017
- by Bill Desowitz
- Indiewire
Apparently the TV Academy will only go so far in honoring sci-fi when it comes to the below-the-line craft nominations. While HBO’s “Westworld” and Netflix’s “Stranger Things” deservedly snagged 12 and 11 noms, respectively, FX’s “Legion” was totally shut out. That’s right: Noah Hawley’s mind-blowing Marvel superhero deconstruction didn’t get recognition for either Michael Wylie’s eye-popping production design or Dana Gonzales’s experimental cinematography. Perhaps it was too subversive for its own good.
“Westworld” Rules
With HBO’s “Game of Thrones” out of the running this season, the void was filled by the brilliant re-imagining of Michael Crichton’s adult theme park. Jonathan Nolan and Lisa Joy wisely took a more graphic and philosophical approach to A.I. The brutal sex and violence definitely tapped a cultural nerve.
It’s about beauty and ugliness in this collision of sci-fi and the western. Paul Cameron’s...
“Westworld” Rules
With HBO’s “Game of Thrones” out of the running this season, the void was filled by the brilliant re-imagining of Michael Crichton’s adult theme park. Jonathan Nolan and Lisa Joy wisely took a more graphic and philosophical approach to A.I. The brutal sex and violence definitely tapped a cultural nerve.
It’s about beauty and ugliness in this collision of sci-fi and the western. Paul Cameron’s...
- 7/13/2017
- by Bill Desowitz
- Indiewire
From the galloping horse to the dancing robotic tools to the passionate embrace of two unfinished lovers, the “Westworld” main title design is a work of beauty. It captures the essence of HBO’s amusement park run amok, re-imagined from the late Michael Crichton. Created by design studio, Elastic, these spectacular titles even surpass last year’s Emmy-winning “The Man in the High Castle.”
The challenge, of course, was doing justice to the sweeping aesthetics and moral tone of the Jonathan Nolan-directed sci-fi/western mashup. “As I learnt more and more about the way the show had been put together, I could see that the bar was going to be high,” said Patrick Clair, Elastic’s creative director. “I loved the design sensibility of the world they were building, and how smart the underlying concepts were.”
Building the Wild West DNA
The early concepts explored the show’s construction...
The challenge, of course, was doing justice to the sweeping aesthetics and moral tone of the Jonathan Nolan-directed sci-fi/western mashup. “As I learnt more and more about the way the show had been put together, I could see that the bar was going to be high,” said Patrick Clair, Elastic’s creative director. “I loved the design sensibility of the world they were building, and how smart the underlying concepts were.”
Building the Wild West DNA
The early concepts explored the show’s construction...
- 6/12/2017
- by Bill Desowitz
- Indiewire
HBO’s “Westworld” is a tale of two realities: The rugged western frontier where human-like robots entertain human guests, and the scientists and business managers behind the scenes who make the park come to life. The opening credits to the show, a monochromatic, sterile and beautiful rendering of how the life-like robots in the park are made, was created and executed by creative design company Elastic, led by creative director Patrick Clair. Having been a lifelong fan of “Westworld” starting with the 1973 movie, Clair tells TheWrap how he pursued the opportunity to pitch his take on the main titles for HBO’s new.
- 10/3/2016
- by Linda Ge
- The Wrap
What's the main purpose of a television title sequence? For some viewers, it's a time to situate themselves and unwind before the start of the program. For others, it's ignored or fast-forwarded through, an unwelcome distraction before the start of the show. Patrick Clair, the brains behind True Detective's lauded season one and season two title sequences, recently spoke with John Horn, host of Southern California's Public Radio's arts and entertainment show "The Frame," to discuss the process behind creating titles. As expected, it's hard. (Subscribe to "The Frame" at iTunes or Stitcher.) Opening titles in some ways are a little bit like score, in that if you’re noticing them, something’s gone wrong. In other words, you want to kind of disappear and be part of the fabric of the show, not call attention to yourself. So does that mean while your opening titles are plain, people should...
- 6/29/2015
- by John Horn
- Vulture
The opening titles for the first season of True Detective were mesmerizing — and instantly iconic. Like everything else about last season, they loom large, almost begging us to compare the freshman and sophomore outings. Are Farrell, Vaughn, McAdams, and Kitsch as obsession-worthy as McConaughey and Harrelson? Unclear! Are these new titles as hypnotic and mysterious as season one's? Oh, absolutely.Both sequences are from creative director Patrick Clair and production house Elastic, so, perhaps unsurprisingly, the vibe is very much intact: the double-exposure visual style, the sense of turmoil and doom, and a combining of organic and inorganic imagery. Roadways in particular make strong appearances in both, which seems appropriate given how much of the show takes place in a car. But a couple of key moments in the new opener seem to point to what we should and shouldn't expect from the rest of this season. Season one's titles...
- 6/22/2015
- by Margaret Lyons
- Vulture
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