Saul Bass
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Saul Bass (May 8, 1920 - April 25, 1996) was a graphic designer and Academy Award-winning filmmaker, but he is best known for his design on animated motion picture title sequences, which is thought of as the best such work ever seen.
During his 40-year career he worked for some of Hollywood's greatest filmmakers, including most notably Alfred Hitchcock, Otto Preminger, Stanley Kubrick and Martin Scorsese. His most famous title sequence is probably the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm.[citation needed]
Saul Bass designed the 6th AT&T Bell System logo, that at one point achieved a 93 percent recognition rate in the United States. He also designed the AT&T "globe" logo for AT&T after the break up of the Bell System.
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[edit] Early career
Saul Bass was born in May 8, 1920 in New York City. He studied at the Art Student's League in Manhattan until attending classes with Gyorgy Kepes at Brooklyn College. He began his time in Hollywood doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the movie poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first 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. Bass was one of the first to realize upon the creative potential of the opening and closing credits of a film.
[edit] Movie title sequences
Bass became notorious in the industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid 50's. Bass decided to create a controversial title sequence. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.
For Alfred Hitchcock, Bass provided effective, memorable title sequences for North by Northwest, Vertigo, working with John Whitney, and Psycho. It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. His later work with Martin Scorsese saw him move away from the optical techniques that he had pioneered and move into computerised titles, from which he produced the title sequence for Casino.
He had been designing title sequences for 40 years before his death in 1996, from films as diverse as Spartacus (film), It's a Mad, Mad, Mad, Mad World (1963) to Casino (1995). He also designed title sequences for films such as Goodfellas (1990), Doc Hollywood (1991), Cape Fear (1991) and The Age of Innocence (1993), all of which feature new and innovative methods of production and startling graphic design.
[edit] Logos and other designs
Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were *Continental Airlines (1968), Dixie (1969) and *United Way (1972). Later, he would also produce logos for a number of Japanese companies as well. He also designed the Student Academy Award for the Academy of Motion Picture Arts and Sciences.[1]
 AT&T (1969) |
 Quaker Oats(1971) |
 Alcoa(1963) |
 Girl Scouts of the USA (1978) |
Selected logos by Saul Bass and respective dates.
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[edit] Movie posters
All of Bass's posters had a distinctive style. After his first film project Carmen Jones, he frequently collaborated with Otto Preminger as well as with Alfred Hitchcock and others. His work spanned five decades and inspired numerous other designers.
He received a unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Sims claimed that it was made as an homage, but Bass regarded it as theft. [2] The cover art for the White Stripes' album The Hardest Button to Button is clearly inspired by the Bass poster for Man With the Golden Arm. The cover art for Lydia Lunch's Honeymoon In Red was less specifically derivitive.
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[edit] Filmmaker
Bass famously claimed {fact} that he directed the highlight of Psycho, the tightly edited shower-murder sequence, though many on set at the time (including star Janet Leigh) dispute this contention.
In 1964, he directed a short film titled The Searching Eye and shown during the 1964 New York World's Fair, coproduced with Sy Wexler. He later made a short documentary film called Why Man Creates, which won an Academy Award in 1968.
In 1974, he made his only feature length film as a director, the visually splendid though little-known[3] science fiction film Phase IV.
[edit] Quotes
- "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."[4]
[edit] See also
[edit] References
- ^ http://www.oscars.org/aboutacademyawards/awards/saa.html Student Academy Award
- ^ Entertainment Weekly 1995
- ^ http://www.notcoming.com/reviews.php?id=457 Folm review for Phase IV. Accessed February 27, 2007
- ^ Haskins, Pamela. "Saul, Can You Make Me a Title?": Interview with Saul Bass. Film Quarterly, Autumn 1996:12-13
