Where Credit is Due... My Favorite Opening Title Sequences

Now that the opening title sequence from David Fincher’s wonderful adaptation of “The Girl with the Dragon Tattoo” has officially hit the internet (legally I believe) I must admit it’s quickly become one of my favorite opening title sequences of all time. I am a big fan of cool and innovative title sequences. When a movie misses an opportunity for a good one (like the recent Alice in Wonderland for instance) it almost makes me dislike the movie. Title sequences serve several purposes and the most important is helping set the particular tone of the film you’re about to watch. Sometimes they’re so good they can stand on their own as brilliant short films. Sometimes they’re good because they feature a great song or particularly catchy music score or sometimes the imagery is just interesting that you forget to even bother to care about who the production designer, editor etc is. Some filmmakers are known for their plain, yet comfortably practical titles – such as Woody Allen’s familiar Windsor EF light condensed text – and others are known for their more elaborate designs – like Fincher. Here is a collection of some of my person favorites. (Some sequences have been embedded here, others just have a link to youtube.)


The Girl with the Dragon Tattoo (2011)
I’ve read some people complain that the film’s title sequence bares little resemblance to the movie that follows it. I disagree. The melty, gothic imagery here is all part of heroine Lisbeth Salander’s nightmare (although it feels more like a goth T-1000’s nightmare). Hello, did this sequence’s detractors even watch the movie? Even if most of the imagery here is computer generated, it features such strange and smooth textures I’m almost tempted to reach out and grab some of that black, icky goo. The wonderful cover of “Immigrant Song” blaring on the soundtrack fits perfectly with the weird images that parade across the screen. Simply outstanding. click here



Watchmen (2009)
The graphic novel adaptation “Watchmen” delievered an epic title sequence featuring a wonderful mix of history of sci-fi. Set to Bob Dylan’s “The Times They Are a-Changin,'” the sequence reimagines famous historical events (ranging from JFK’s assignation to the opening of Studio 54) but with the film’s superheroes added. It’s all filmed in slow motion, which is perfectly paced with Dylan’s song. This is what I mean by some title sequences feeling like a short film. You could turn off “Watchmen” after this sequence and feel completely satisfied – but the rest of the film is still good. click here

Charlie and the Chocolate Factory (2005)
It comes at no surprise that I’m a big Tim Burton fan (just keep reading). “Charlie and the Chocolate Factory” features one of my all time favorite Danny Elfman themes and it’s paired with a scrumdiddlyumptious title sequence that takes us inside Willy Wonka’s magic chocolate factory. It borrows heavily from the 1971 film, but it’s much more elaborate – and CGI heavy which may dismay many. But it’s lavish and perfectly sets up the entire quirky personality of not only the candy man himself but of the entire movie. It’s as mouthwatering as it is fun. click here


Lord of War (2005)
Even bad movies can have spectacular opening titles. Nothing is more true than with the Nicolas Cage film “Lord of War.” Granted the movie isn’t particuraly horrible, it’ just not one of my favorites, but the opening title sequence, which follows the “life” of a butllet is simply amazing. Set to the tune of Buffalo Spingfield’s 1967 song “For What It’s Worth,” the sequence follows a bullet as it’s manufactured and shipped off and ends up in the rifle of a war lord and ends up in some innocent child’s head. It’s an altogether fascinating sequence and ends in a tragically ironic – but not too surprising – way. click here

Catch Me If You Can (2002)
Steven Spielberg is one of the most popular filmmakers of all time. And yet very few of his films actually have full title sequences. Sometimes he’s just too eager to get into the story – but he changed that with 2002’s fun caper dramedy “Catch Me If You Can.” The film is a wonderful throwback to the types of tiles Saul Bass would have designed. Backed with John Williams wonderfully jazzy score, the sequence includes animated characters running about while the credits form and morph around them. It’s a wonderfully fun and catchy sequence that perfect sets the tone for the rest of the film. Spielberg, stop holding out on us and deliver more sequences like this – with his most recent example being 2011’s “The Adventures of Tintin.” click here


Panic Room (2002)
Another David Fincher film – one of his more underrated efforts – begins with a wonderfully simply but no less enjoyable title sequence with beautiful shots of New York City with big white titles placed randomly… seemingly floating. The letters even cast shadows and what seems like simplicity was actually a lot of work for the creaters of this sequence which can be further explored in the film’s special edition DVD bonus features. The sequence features a superb theme from composer Howard Shore which gets more and more menacing as it progresses and helps us settle into the story of one particular house in the big scary city. Many of the shots remind me of the opening aerial shots from Hitchcock’s “Psycho” – which completely makes sense since the film is entirely Hitchcockian. The film is often unjustly overlooked, but this title sequence should definitely not be. click here


Mars Attacks! (1996)
Another fun title sequence from another fun Tim Burton movie. This is probably one of Tim Burton’s least popular films – and properly so since it’s just an over budgeted B-movie homage that was obviously inspired by the subject of his previous effort “Ed Wood.” But even lesser films can have wildly entertaining title sequences (see “Lord of War”). Set in outer space during an alien invasion, the sequence features another winning Danny Elfman score that perfectly sets up the campy fun the audience is about to experience. If you think this sequence is super lame, you might as well just turn the movie off right then and there. click here

Seven (1995)
David Fincher’s serial killer opus “Seven” features not only one of the most famous opening titles in modern cinema, but definitely one of the most unsettling. It completely sets up the film’s creepy and tone. Arguably it’s the scariest part of the movie and certainly helps get the mood and setting disturbing right by giving you a first glimpse at a serial killer who we won’t even meet until the film’s third act. This title sequence was so popular it’s influenced countless other films in the genre with equally strange titles. One could easily argue that this is the best title sequence of all time. click here


Beetlejuice (1988)
The main reason why I love the Beetlejuice title sequence so much is because it’s 100% a gigantic tease. The whole time you think you’re sweeping over a New England town in an elaborate helicopter shot and ending with a creepy spider crawling on the roof of a house. At first you might think this is a giant spider movie, until you realize you’ve been duped and it’s just in fact a scaled down model. It’s a model of an entire town, which will actually play an important role in the film. Not to mention another classic Danny Elfman score. Beetlejuice! Beetlejuice! Beetlejuice! click here

The Naked Gun: From the Files of Police Squad! (1988)
The most flat-out hilarious sequence on this list is definitely “The Naked Gun” which proves that even comedies can have awesome titles as well. The sequence which perfectly captures the wonderfully zany tone of the entire film follows the point-of-view of a police cruiser as it makes its way down a city street… and proceeds to increasingly stranger and stranger locations. It starts off by going through a car wash, drives through a family’s house, a woman’s locker room, a roller coaster, and finally ended up in front of a donut shop – of course. Each of the film’s sequels – parts 2 ½ and 33 1/3 – feature even more bizarre sequences which are just as hilarious. These are sequences fans of ZAZ comedy know all too well. click here


Psycho (1960)
Forget “Vertigo,” this is where it’s at. Graphic designer Saul Bass was a master of the title sequence and a frequent collaborator with Alfred Hitchcock. One of their most recognized sequences is for Hitchcock’s most famous film “Psycho.” It’s a simple sequence with gray lines streaking across the screen – in time with those screeching violins – wiping the credits on and off. It’s an eerie sequence which perfectly sets up the tone of the movie that you’re about to watch. Bernard Herrmann’s classic score (which was criminally not Oscar nominated) is one of his most famous scores of all time. If black & white isn’t your thing, check out the 1998 remake’s striking green version. Why green? Like the remake itself, I have no clue. Also, see the little seen thriller “Vacancy” for a wonderful Saul Bass-like title sequence with an equally catchy and creepy score. click here

The 1998 remake version:


And the wonderful "Vacancy" opening titles: