or the end in its relationship to the last shot of the film
chunking express
festen (the celebration)
rushmore
crimes and misdemeanors
I enjoyed the signatures at the end of The Terminal. I dunno if it's original but I don't recall seeing that before.
Quote from: matt35mmI enjoyed the signatures at the end of The Terminal. I dunno if it's original but I don't recall seeing that before.
i agree...i thought it was very original.
others:
boogie nights
punch drunk love
american beauty
fear and loathing in las vegas
kill bill volume 2, i thought the montage was great.
Amelie - flipping through a photo album.
Se7en
um, helloooo, taxi driver.
Quote from: matt35mmI enjoyed the signatures at the end of The Terminal. I dunno if it's original but I don't recall seeing that before.
yeah ok, i haven't seen it yet, but does it go something like this?:
WRITTEN AND DIRECTED BY STEVEN SPIELBERGand underneath this Steven's signature is written out?
cuz i had that idea a year ago! and wanted to do it, you know, if i ever made it. :(
Quote from: ©bradWRITTEN AND DIRECTED BY STEVEN SPIELBERG
and underneath this Steven's signature is written out?
No, just signatures... no typed names.
And the cool thing was that you got to see everyone's signature. Not just Spielberg's (I've seen his signature before). But everyone from Tom Hanks to Janusz Kaminski to Kumar.
Off the top of my head:
The Conversation
West Side Story
Grease
Butch Cassidy and the Sundance Kid
Bamboozled
I saw Almost Famous again last night. that movie tried to have one, it was a good idea to let Zepplin play for a few bars in the credits before the names roll, but I dunno, something went wrong, and it didn't live up to the rest of hte film. cameron crowe's latter film, vanilla sky, too--the end credits would've been so great if it weren't for the awful awful paul simon song.
Quote from: peteend credits would've been so great if it weren't for the awful awful paul simon song.
You mean Paul McCartney, of course
terrible song, but good whistling.
End credits where the cast and crew sing always get to me... School of Rock and There's Something About Mary off the top of my head...
As for Almost Famous... since when does the credits at the end of a film need to "live up" to the rest of the movie? At any rate I thought it ended on a very sweet note. There's a continuity in tone created with the opening credits as we see the pictures being looked through. Both the opening and closing credits of Almost Famous glow with understated sweetness and the sort of subtle emotional resonance that only Cameron Crowe can create. You see them and you can't help but smile, be it watching someone scribble the names of the cast members down on a yellow piece of college ruled paper (and initially misspelling Frances McDormand's name) or seeing someone go through photographs of the characters you just spent time with.
Quote from: samsongEnd credits where the cast and crew sing always gets to me... School of Rock and There's Something About Mary off the top of my head.
Down With Love.
oh my god. every little thing about that sequence is amazing. it runs the risk of being too much, but that's the point, so it avoids it..
pretty much anything that isn't white text on black scrolling up is usually good.
The credits on Harry Potter and the Prisoner of Azkaban were pretty great. The footsteps on the map jumping over the approaching credits was a nice touch.
The Dreamers
The Conversation
Almost Famous
and
Any Given Sunday
the naked gun........they include recipes
i like the end of rules of attraction. how it just cuts van der beek off midsentence. also the credits roll backwards, that was pretty cool.
I loved the credits at the end of Brazil. That last shot is amazing.
Also the credits to all of Woody Allen's movie seem to fit just perfectly. Black and white with some nice jazz played in the background. It's pleasant.
It's a new beginning for movie end credits
Source: Hollywood Reporter
The scene fades to black, the movie is over, and the credits begin to roll. But wait! Don't leave just yet. You might miss some of the great custom-made artwork being cooked up by today's filmmakers.
As several recent movies demonstrate, filmmakers are getting creative with their end credits. They're starting to add a flourish that's akin to an exclamation point at the end of a sentence, giving viewers a reason to stay a bit longer in their seats for a memorable treat.
Zack Snyder's adaptation of cartoonist Frank Miller's "300" used Miller-style drawings, spinning and upending each one into a different credit. Pixar's Brad Bird-directed animated feature "Ratatouille" got all arty with 2-D drawings, while "Superbad" offers a cornucopia of drawing after drawing of penises in a variety of settings. A flag-raising of Iwo Jima by a set of penises? Check. The sinking of Titanic with drowning penises? Sure. Sushi chef penises, Jedi penises? Why the heck not?
Michael Davis' "Shoot 'Em Up," which New Line Cinema releases September 7, also gets fancy with its end credits, which have been described as "James Bond on acid."
"I think it's the equivalent of finishing a show and coming back and doing another number for an encore," Bird says.
Says Davis: "You want people to walk away with a high from the movie because you want them to go tell their friends to see this. They also show filmmakers really cared about the movie by giving it this sort of going-away present of these cared-for credits."
The end credits for "Ratatouille" came about during the design stage of the movie, when the filmmakers discovered drawings done by fresh-from-Cal Arts grad Nate Wragg. Wragg then was paired with Teddy Newton, who designed the credits for Bird's "The Incredibles."
One reason Pixar went with the 2-D credits was practicality. Bird came into the project so late in the process that all computer resources were diverted to making the main movie.
"We certainly didn't have any more bandwidth to do 3-D," producer Brad Lewis says. "We were maxed out. So that was probably a factor."
But the filmmakers loved the style. "We have a bunch of 2-D-trained animators at Pixar, and they were all, 'I'm in!' " Lewis says. "One animator came up to me and said: 'Paper cuts. I've got paper cuts again!' They were thrilled."
Davis used title house Picture Mill to come up with a look that was inspired by Maurice Binder's James Bond opening title sequences as well as those of Saul Bass, the man behind the classic Alfred Hitchcock opening credits.
"Shoot 'Em Up's" end titles hark back to scenes from the movie. Credits in two bullet holes pull back to reveal a pair of breasts, referencing the lactating hooker played by Monica Bellucci. In the movie, Clive Owen creates an oil slick, then slides on it shooting bad guys. In the credits, a person streaks through a patch of blood, wiping in it the name of visual effects supervisor Edward Irastorza.
"What we were able to do was have these call-back jokes that remind people of scenes in the movie," Davis says.
The rise of creative end titles has to do with where the filmmakers come from, he says.
"They are coming from a visual, animation and design background," says Davis, an animator from the stop-motion house Broadcast Arts, which worked on classic MTV logos. "Hopefully there were will more filmmakers like us."
hmmm, never seen this thread. The New World is a favorite of mine.
i prefer end credits to movies like a clockwork orange. simple and clean. over and out.
Quote from: mogwai on August 23, 2007, 03:17:08 PM
i prefer end credits to movies like a clockwork orange. simple and clean. over and out.
that was normal in those days and earlier. credits started getting ridiculously long in the 80s i think. before then i guess movies were made by 3 guys and saul bass.
A Clockwork Orange [Singin' In The Rain]
Dr. Strangelove... [We'll Meet Again]
Juxtaposition is always my favourite. Mixing happy songs with bad situation.
Volver
the repartee between steve coogan and rob brydon during the end credits of Tristram Shandy: A Cock and Bull Story is the most hilarious thing i've seen in ages (and the movie itself is quite funny). i still laugh thinking about it.
i recommend it to all my friends. also the commentary, but that's another thread.
"tuscan sunset."
I'd just gotten the alan partridge show from netflix just now, so it's a minor coincidence that you mentioned this other thing that he was in.
The Fountain and Irreversible (are those end credits?)
I saw Cruising again recently, and the end credits were great. A punk rock song by Willy Deville over stark end titles. Perfect way to finish up a very disturbing film.
I like the end credits of Death Proof. And Dog Day Afternoon -- very stark and simple, no music, just a sense of desolation. GoodFellas has great end credits, with Sid Vicious doing My Way seguing into Layla by Clapton. Or McCabe and Mrs. Miller -- an out of focus marble that Mrs. Miller is staring at in an opiate haze.
Kubrick was a master of end credits. The title cards were cut to the beat of the music, whether Singin' in the Rain or Paint it Black.
My Own Private Idaho - for the color and the music... I always wanted to just sit and watch those credits, but never felt that the feeling I got watching them would be earned the same way by skipping straight to the end. So I'd always start the film from the beginning and watch good and proper to the end.
Also:
The Life Aquatic
Inland Empire (and Fire Walk With Me, for that matter.)
Buffalo '66
Children of Men
I guess if there was a mad-libs for "obvious choice" on this board... those would all qualify.
But fuck you, I like 'em.