But that was back when we were really wanting to push the film into a much more stylized look. So it was quite a commitment! 29 comments. © 2007–2020 Art of the Title, LLC. I was always like, “Aww, now it turned into real!” I don’t want to see real stuff. I did drawings, I painted, I would cut out stuff in paper and glue it. watch 01:57. Menu. In the test audiences they were seeing kids, young kids and such, shutting down and starting to imbue the film differently because the first impression was that it was gonna be this scary dark thing. Yeah. Merchandise now at So she used that. That’s a temporary thing!” [laughs] I did get to go back and they gave me one week to finesse the temporary thing. When I did the first take on the title sequence, we put in some temp jazz music. in: Credits, Pixar Credits. Add a photo to this gallery. E. Trending. Eventually that was sort of abandoned – that approach. The Umbrella Academy Timeline and Ending Explained Netflix . Cut-out paper doors and parts of the snake monster designed by Geefwee Boedoe. The Disney, the Pixar, and then the Monsters Inc, and kinda spread that out and make it like a little story within itself. I did all my stuff traditionally. Then in Photoshop and After Effects we coloured them and we animated them. Pixar Animation Studios Monsters, Inc./Credits < Monsters, Inc. Edit . Yeah… that’s a good question! I’m doing character design and also teaching a senior project class which involves helping students make their films. [laughs] That’s funny. Monsters, Inc. end title sequence, designed by Susan Bradley and featuring illustrations and typeface design by Geefwee Boedoe. And that’s right at the end of it, like where the snake’s tail kind of hits it and then it looks a little bit more like the actual poster logotype. That was Susan Bradley. Geefwee: It was during these early stages of it, and – Pete Docter and a small group of us including Harley Jessup and Lou Romano and Ricky Nierva and Ralph Eggleston – we were throwing out all kinds of ideas. Let’s put that title sequence back in there and have a lighter tone to it so we can say, “Oh, this is a comedy!” And then when we go into that scary chamber, the audience is relaxed, and you can move on. I often wore more than one hat on a project. As for the end sequence of Monsters, Inc., how did you work with Susan Bradley? A hybrid between cut-out animation versus digital – so it’s sort of a digital cut-out approach. That was an usual one because yeah, we did it on a Mac with After Effects and Photoshop! Geefwee: I actually did another title sequence for a very small independent film back in 2010. Which is funny! A discussion with Monsters, Inc. TV Shows. Geefwee: Yeah! It was a hybrid, you could say. Wait! Film, Billy Crystal, John Goodman and Sissy Spacek in, Post Production Sound Services Provided bySkywalker SoundA Division of Lucas Digital Ltd., LLC, Marin County, California, "If I Didn't Have You" Usually that doesn’t happen! Geefwee: Oh! I don’t know where it was even shown in theatres, but I did a title sequence for that. I had to create that font that I was using. That test piece was shown to Randy Newman, and he was already working on the end song, so he basically took that and he kinda re-orchestrated that for a small jazz ensemble and sped it up so it’s more peppy, so it felt really nice. I was able to get something that I could really sink my teeth into and claim for myself. When there was some downtime I came up with this idea for the title sequence and I made little demos with black paper and coloured paper with little doors that you could actually physically open up in the paper and there would be a drawing or title stuff under the doors. You had a bunch of roles on this film, right ? You mentioned that the team gravitated towards a very graphic look for the film initially, but it only remained in the title sequence. I heard that the first version of the sequence you created was black and white? Yes! Is that midcentury aesthetic something that you personally gravitate towards? Everything that they usually do is with their own proprietary stuff. It's a feature we've wanted to do for a long time. The Umbrella Academy (TV series) 0:40. best. Credits; A discussion with Monsters, Inc. [laughs] It’s got credits and stuff! What was it like seeing it all together for the first time? Scans of cut-out paper doors used in the title sequence development. It really commits to saying: Okay, this is a title sequence and it’s actually part of the movie. Was this change made for Disney+, or were the outtakes only in the theatrical release? Like Doctor Dolittle, with all those graphic images? It was sort of a comedy-suspense-drama and it was super low-budget. Geefwee: And the most ironic thing – usually when you think of a title sequence it’s got titles! Books are Sold, CD-ROM and Videogames Geefwee: I’m working on a lot of little projects. Design & Animation Direction: Geefwee BoedoeAnimation: Patrick Siemer, "If I Didn't Have You"Music and Lyrics by Randy NewmanPerformed by Billy Crystal and John GoodmanProduced by Randy Newman, Chris Montan, and Frank Wolf. Wiki Activity; Random page; Community; Videos; Images; Discuss. That was a big part of the title sequence and what was important with it – to try to create that nicer tone. Geefwee: Oh, yes, I actually did start about a year ago, at the California College of the Arts, so now I am teaching as well.
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