Every year Jesse Garson gives out awards to those motion pictures whose opening credits or in-film typography most embody the spirit of art, design, creativity, and invention. Since no other web site dares to discuss type for film we figure only Jesse really cares about this sort of thing. No other votes were used to calculate the winners each year. Flame Jesse about his lousy choices at jgarson@hamp.hampshire.edu.


Click here to skip to a particular year:

1998 1997 1996 1995 1994 1993 1992

1991 1990 1989 1988 1987


1999

High profile special effects heavy films are at an all time high this year. The front runners are, as usual, films which already employed special effects artists and animators in other ways, but who also took the time to make the first few minutes of the film \into something special.

Award:

Pleasantville
Nick-at-Nite's hoply retro style, complete with kitchy icons, is used to introduce the world of Pleasantville. Despite the very different shape of the screen, these titles transform the movie screen into a cable channel. These sequences were created by Planet Blue. The nice folks at 'Hippie Boy' created the opening titles. Much of the other title work, and hand painted signs within the movies 50's town were created by in-house staff on the films large special effects crews.

Runner up:

The Matrix
This slickly overproduced action sci-fi romp opens with digital screen type zooming to reveal fractal-like details composed of even smaller letters and symbols. Lynne Cartwright of Animal Logic Film supervised the creation of this opening title sequence, as well as the general look of the 'matrix' code throughout the film. For this effect Animal Logic Film relyed upon a custom created alphabet which incorporated numbers and sybols from several alphabets and cultures. Derry Frost of Amalgamated Pixels created the tinted versions of the Warner Bros. logo which appears at the beginning of the film.
 

Also Notable:

Fight Club
 
Breakfast of Champions
 

1998

This was a year of slick design and information overload. Several films are on my mind for accolades this year, all of them with very similar approaches:

Award:

Avengers
In cinematic tribute to the original Style-Over-Subsatnce British TV series these titles use a trippy house font. The letterforms are composed of a thick San-serif face which has been clipped at an angle, overlapped by an angular semi-serif face. The titles ooze, fade, slide, and explode across a heady background of building stormclouds and obscurred clips from the film itself!

Runner up:

Lost In Space
In cinematic tribute to the original Style-Over-Subsatnce American Sci-fi TV series these titles use a trippy house font. But the true greatness of this film's typography is the relentless appearence of new and different fonts and layouts on every screen and surface in the movie's world. The entire film comes across like two hours of MTV's AMP or the back of a RAVE flyer.

Also Notable:

James Bond
Starship Troopers


1997

Award:
GATTACA
The stunningly understated opening titles for this film set the stage for a slick and stylish film. The theme of the movie is genetic science, and this is brought home by highlighting every G,C,T, and A in every word throughout the opening titles. These letters are also in a bolder semi-serif face.
Runner up:
Mimic
With a slick and spooky look to match the rest of the film, this opening credit sequence uses nice focus and reflection effects. Somewhat evocative of Se7en's opening credits.


1996

Award:

Mars Attacks
Tim Burton employs animated titles which curve around sci-fi planet elements and flying saucers for this film, with visuals and titles all tightly linked to Danny Elfman's lively yet ominous soundtrack. Tim is really just brushing up old territory for him though, he used the same style of opening credits in Ed Wood (1994).

Runner up:

Cable Guy
The credits are set in front of an extreme close-up of a TV set changing channels. Some of the san-serif titles have static and colour flare on them as if they are part of the TV picture.

Also Notable:

Star Trek: First Contact


1995

Award:

Se7en
Cool Photoshop filters and decayed text, plus the groovy use of a number imbedded as a letter in the title!

Runner up:

Toy Story
Complete toy packaging design and inventive logo creation dominate many scenes in this wonderful movie. Books on shelves and plant markers also contain myriad in jokes and name-dropping.

Also Notable:

Babe
12 Monkeys
Apollo 13
'O' in Apollo is burning booster collar from second stage of atlas rocket leaving earth's orbit.


1994

Award:

Ed Wood
Tim Burton uses all the trappings of a bad sci-fi opening title sequence to package this sci-fi/documentary.

Runner up:

Reality Bites
Great parodies of MTV's unrelenting typographic oddness throughout this otherwise lackluster film.

Also Notable:

Hudsucker Proxy
Disclosure
Leon (The Professional)

The Euro-release of this film had a set of crosshairs in the 'o' of Leon. Behind the crosshairs our hero's silouhette could be seen. Very slick logo!


1993

Award:

Much Ado About Nothing
Nice visual translation of language as Emma Thomson reads us a poem to open the movie. The font, although anachonistic, nicely introduces us into the evocative textual world of Shakespeare.

Runner up:

Sleepless In Seattle
A pull down map and elegant type bumper the whole film as we travel from Seattle to New York and back in this popular romance.

Also Notable:

Son of Pink Panther
A 3-D animated tribute to the origional great Pink Panther opening credit animations.


1992

Award:

Sneakers
One of the all-time great opening credit sequences! Each credit appears as real anagram of the name or title, and then 'unscrambles' as if decrypted. Some of the anagrams are very funny! (This sequence also prepares us for similar crytography within the film.)

Runner up:

Lethal Wepon 3
Watch fire as it slowly burns out a trail that forms a flaming '3'. Over this traditional titles are placed. The sequence is set to action movie music with ominous flare.

Also Notable:

Batman Returns
Bats fly right through the uncurling title. Nice CG.


1991

Award:

Delicatessen
All of the titles are physical objects arranged around a table covered in odd knick-knacks. To add to the creativity of this unique approach- each credit is part of an object that represents the credit. For instance: 'Costumes' is stiched onto a scrap of fabric.

Runner up:

Point Break
Cool font where the 'a's have no cross, making them look like upside-down 'v's.

Also Notable:

Barton Fink


1990

Award:

Total Recall
The text itself is set in a 'machine'-like font, but the real fun of this credit crawl is that all the credits have a vertical flare of orange light which interferes with the other titles as they slide up the screen. It must be seen to be appriciated!

Runner up:

Edward Scissorhands
Nice gothic type with snow falling and animated paper snowflakes and gingerbread men, etc.


1989

Award:

Honey, I Shrunk the Kids
Disney called upon their traditional animators as well as computer artists to create this freeform romp where cartoon children and 3-D type interact.

Runner up:

Indiana Jones and the Last Crusade
Typesetters and graphic artists recreate an entire diary with marvelous scetches of ancient art , illuminated manuscripts, and architecture.


1988

Award:

Wizard of Speed and Time
There are more ideas for movie credit design in this movie than I can describe! The inventive director/actor/animator for this film shows some really cool movie opticals throughtout- as well as many subliminal messages woven into the details of many scenes.

Runner up:

She's Having a Baby
Nice addition of evocative icons above the main title.

Also Notable:

Who Framed Roger Rabbit
AKIRA


1987

Award:

Robocop
Screen readouts, forms, logos, and animated news graphics were all created for this film with an inventive eye and considerable talent.

Runner up:

The Princess Bride
Not much here really, but it was a lean year for typographic design in the movies ;)


©2001 jESSElAND iNK. Jesse Garson