![]() ![]() For HBO’s most popular series, Game of Thrones, the now-beloved opening credits change slightly from episode to episode, focusing in on different parts of the map of Westeros depending on where the drama will be happening. They are also now seen as a way to enhance the drama. For Netflix drama Orange is the New Black, Regina Spektor recorded the original track You’ve Got Time, while for The Affair, Grammy award-winning Fiona Apple wrote a new song, Container. As well as Zimmer’s original score for The Crown, Leonard Cohen re-recorded his track Nevermind especially for the season two True Detective opening titles. The wealth of talent willing to lend their names to these sequences is also a testament to their quality. In an age of Amazon and Netflix, where streaming platforms are unconstrained by time or commercial demands, “There’s so much enthusiasm these days for us to come up with the most bizarre and visually distinctive ideas,” added Clair. However, Clair said television executives had increasingly realised how these titles could become key to drawing people into a series, giving shows a “distinctive visual identity”, and were willing to invest months of time and millions of pounds in these one-minute sequences. In previous years, when networks had been keen to optimise time for adverts, opening sequences had become truncated to as little as 10 seconds. We are really encouraged to push our concept as far as we can and to really come up with something that is as original and creative as we can make it.” “They’ve become something where showrunners these days really feel emboldened to take creative risks. ![]() “I think what we are seeing now is the latest wave in something that originated at the turn of the century, when American networks like HBO were trying to make television something it hadn’t been before, that was a little bit more elevated, which extended to the title sequences,” he said. It was Clair who created the polluted, sepia-tinted titles of True Detective that became as much of a talking point as the show itself, Clair who directed the James Bond-esque sequence of jewels and missiles for The Night Manager, and Clair who oversaw the haunting, milky skeleton that opens up HBO’s recent acclaimed sci-fi series Westworld.Ĭlair said that as budgets and ambition for television shows now matched films, and as the boundaries between the two forms had “disappeared almost entirely”, networks were willing to invest in opening sequences that rivalled those seen in cinemas. The titles were the work of Patrick Clair, the director who over the past few years has been redefining how the television industry approaches the much-maligned opening sequence. The Crown, Netflix’s new $100m drama, launched last week. ![]()
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