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Saul Bass 1920-1996

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					    Saul Bass 1920-1996
•   Studied at the Art Students League in New
    York and Brooklyn College

•   Influenced by European émigrés who fled
    Nazi Germany. From Russian Constructivism
    to Laszlo Moholy-Nagy’s graphic
    innovations at the Bauhaus, Bass absorbed
    their influences and later reworked them into
    his own graphic solutions.

•   Spent several years as a free-lance designer in
    New York

•   Created corporate identities for AT&T (1969
    and 1983), Continental Airlines (1968),
    Minolta (1978), Quaker Oats Company
    (1971), and Rockwell International (1968),
    just to name a few.
    Saul Bass 1920-1996

•   Moved to Los Angeles in 1946 and founded
    Saul Bass & Associates. His first employee,
    Elaine, soon became his wife

•   By 1950 he was designing graphics for films

•   Brought his graphic design philosophy of
    "symbolize and summarize" to print work for
    film ads

•   Until Bass entered the scene, movie
    promotional art usually consisted of
    photographs or brightly colored pictures of
    the stars, but Bass took a radically different
    approach, preferring instead to use dramatic
    abstract images, often comprised of
    interestingly arrayed lines, deceptively simple
    drawings and broken type
                                          Saul Bass 1920-1996
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                                      •   Continued doing print work for film ads, until
                                          he collaborated with filmmaker Otto
                                          Preminger to design the movie poster for his
                                          film Carmen Jones (1954).

         QuickTime™ and a             •   First title sequence design for Carmen Jones
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                                      •   Saw the opportunity to create something
                                          more than a title sequence, but to create
                                          something which would ultimately enhance
                                          the experience of the audience and contribute
                                          to the mood and the theme of the movie
                                          within the opening moments.
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                                                                Saul Bass 1920-1996
         QuickTime™ and a                                   •   He was one of the first to realize the creative
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                                                            •   Created Movies within movies.

                                                            •   Most prominent techniques: cutout
                                                                animation, montage, live action

                                                            •   Employed hand-drawn type and cutout
                                                                construction paper shapes in early work.

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                                                            •   Unified several techniques to exploit his
                                                                visual metaphors, with photography,
                                                                photomontage, split-screen wipes, and
                                                                animation. Later he grasped video and digital
                                                                technology and live action to explore the
                                                                layering of type and image in a seamless
                                                                environment.

                                                            •   Held idea that graphic design and film design
                                                                are closely related disciplines
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                                      •   In Vertigo (1958) Bass combined live action,
                                          typography, and advanced optical effects that
                                          compete with the capabilities of computer
                                          technology almost 40 years later.

                                      •   For Vertigo he worked together with John
                                          Whitney, one of the earliest pioneers in
                                          computer animation who, together with his
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                                          brother James build their own technical
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                                      •   During his 40-year career he worked for
                                          Alfred Hitchcock, Otto Preminger, Stanley
                                          Kubrick and Martin Scorsese.

                                      •   Was first to receive open credit for his title
                                          sequences

         QuickTime™ and a
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                                          including The Searching Eye (1964), From
                                          Here to There (1964), and Why Man Creates
                                          (1968-Academy Award).
    Film Title Origin

•   The earliest titles originated with title cards,
    specifically in the silent film are, where type
    was handwritten or printed on a card, and
    then directly filmed into the camera. The
    cards gave the dialogue and set the time,
    place and action of the scenes, sometimes
    giving the audience polite commands like
    “Would the ladies please remove their hats?”

•   Over a period of time, titles became frillier
    when they were displayed on silk, satin or
    wallpaper, or on boxes that opened, or on
    calendars whose pages blew away one by
    one.
Saul Bass 1920-1996
"My initial thoughts about what a title can do
was to set mood and the prime underlying
core of the film's story, to express the story in
some metaphorical way. I saw the title as a
way of conditioning the audience, so that
when the film actually began, viewers would
already have an emotional resonance with it.”

-Saul Bass
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                                        1950’s
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                                        1959 – Anatomy of a murder (Otto Preminger)
                                        1958 – The Big Country (William Wyler)
                                        1958 – Vertigo (A.Hitchcock)
                                        1957 – Saint Joan (Otto Preminger)
                                        1957 – The Young Stranger (J. Frankenheimer)
                                        1956 – Around the world in 80 days (Michael Anderson)
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                                        1956 – Attack (Robert Aldrich)
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                                        1955 – The Man with the golden arm (O.Preminger)
                                        1955 – The Big Knife (R.Aldrich)
                                        1955 – The 7 Year Itch (Billy Wilder)
                                        1955 – The Racers (Henry Hathaway)
                                        1954 – Carmen Jones (O.Preminger)


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                                      1960’s
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                                      1966 – Grand Prix (John Frankenheimer)
                                      1966 – Seconds (J.Frankenheimer)
                                      1963 – The Cardinal (Otto Preminger)
                                      1963 – It’s a Mad Mad Mad World (Stanley Kramer)
                                      1962 – Walk on the Wild Side (Edward Dmytryk)
                                      1961 – West Side Story (R.Wise & J.Robbins)
                                      1960 – Exodus (Otto Preminger)
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                                      1960 – Spartacus (Stanley Kubrick)
                                      1960 – Psycho (Alfred Hitchcock)




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                                      1990’s
                                      1995 – Casino (Martin Scorsese)
                                      1993 – The Age of Innocence (Martin Scorsese)
                                      1991 – Cape Fear, (Martin Scorsese)
                                      1990 – Goodfellas, (Martin Scorsese)
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                                      1989 – The War of the Roses (Danny de Vito)
                                      1988 – Big (Penny Marshall)
                                      1987 – Broadcast News (James L.Brooks)

                                      1970’s
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                                      1979 – The Human Factor (Otto Preminger)
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   are need ed to see this picture.   1976 – That's Entertainment, Part II (Gene Kelly)
                                      1975 – Rosebud (Otto Preminger)
                                      1974 – Phase IV (Saul Bass)


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