A look at the typography of Quantum of Solace

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For you combination Bond Fans/Typography Geeks out there, the FontFeed.com blog has a terrifically interesting piece on MK12 and their titles work for Quantum of Solace, the latest James Bond movie.

The article contains an analysis of the main titles sequence, and, in a linked page, the typography of the location-specific title cards used throughout the film. They also get into the history of MK12 a little bit, so your who are these guys? questions get something of an answer.

It’s a little on the technical side, but MK12 Create Custom Type for Quantum of Solace Title Sequence provides an interesting peek into a rather specialized subset of fandom. But, watch out! If you’re not careful, you may learn something.

QUANTUM OF SOLACE titles sequence

APRIL 2015: This was written by one of the publishers of the now-defunct Her Majesty’s Secret Servant website.

I’ve just seen the Quantum of Solace credit sequence.¬† If you want to know more about the titles read on, if not, know there may be SPOILERS.

I have sincerely loved Daniel Kleinman’s work on the past five films, and consider each title sequence a highlight of the 007 movie itself.¬† The title sequences of Casino Royale and to a lesser extent Die Another Day (yes, DAD) are likely my favorites.¬† I was seriously disappointed when I learned Kleinman would not be returning for QOS.

That said, MK12 has created visually interesting titles that are mostly in keeping with tradition.  I like them, and they work well (mostly) with the song.  With what I have heard as to how people feel about the QOS theme however, your mileage may vary.

Title sequence details:¬† Just as Bond says to a bound and bruised Mr. White in a boot, “It’s time to get up”, Jack White’s song kicks in and the credits roll.¬† A silhouetted James Bond fires a gun while the credits fade (in and out) “Daniel Craig… as Ian Fleming’s James Bond 007… in Quantum of Solace.”

We follow the (gold) slo-mo bullet as it travels above a desert, through wind and sand.  Silhouette-Bond is seen stalking someone (gun drawn) traversing sand dunes, then approaches the camera.  A silhouette of a naked woman is seen rising from the shifting sand.

More Bond stalking, a bit more shifting of sand (akin to what Kleinman has done before with oil or water/ice motifs) then LOTS of shifting sand and several shots of silhouettes of naked women.¬† (The lighting here is fairly dark unfortunately.)¬† Silhouette-Bond falling, then a graphic that looks to be STRAIGHT from Maurice Binder’s You Only Live Twice work – a circle grid.¬† (You’ll recognize it when you see it.)

Then a ring of many silhouette nudes dancing and cavorting (slow motion) around a blurred sun as silhouette-Bond is depicted falling amongst them¬† (Binder’s grid in background.)¬† LOTS of silhouette Bonds falling, starry night in background.

Two silhouette nudes, back-to-back.¬† Four silhouette-nudes (in high-heels!) dancing as mirror images.¬† (So maybe it’s just the one.)¬† Bond’s Walther falling with him into an iris, then onto the desert.

The gun evaporates into sand.¬† Bond still falling, a cool shot of him firing a gun, again in slow motion.¬† Complete with the depiction of the casing being ejected and gases escaping. “Written by Paul Haggis and Neal Purvis & Robert Wade.”¬† (The ampersand has significance as to writing credit.)

We again follow the bullet as Bond walks toward the camera.¬† Interestingly, at the bottom, the beginning of Binder’s “walk-on” sequence begins – small circles move across the screen.¬† “Produced by Michael G. Wilson and Barbara Broccoli” follows the circles.

More silhouette-nudes, an explosion of sand as the bullet hits its target, “Directed by Marc Forster”, and then into the film proper.¬†¬† (The first few seconds are a red and yellow checkered flag and then what looks like a parade somewhere in Europe.)

I like it.  Well done and graphically interesting.  The contemporary font used throughout is also appropriate.

Still not up to par with Kleinman’s work though.¬† Or Binder’s.¬† In that comparison, the QOS titles… are a bit cold.¬† Like the creators knew the character, but didn’t well… love the character.

— Tom Zielinski

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