Basically what happens is I get sent the script, I read it, brainstorm some ideas, and then pass it by Sam and the producers. What was the first meeting about this sequence like?ĭaniel: We met quite early on. This isn’t your first rodeo with 007, but this is your second collaboration with director Sam Mendes. Coupled with Smith’s driving and impassioned theme, the sequence is easily one of 2015’s strongest as well as a standout entry in the Bond stable.Ī discussion with Title Designer DANIEL KLEINMAN of Rattling Stick and VFX Supervisor WILLIAM BARTLETT of Framestore. The combination, though familiar in its routine, is executed flawlessly. Flesh, flames, and those sticky, reaching tentacles call back to previous Craig-era 007 adventures with fleeting glimpses of old allies and adversaries. For the opening of SPECTRE, the 24th film in the series, Bond title design stalwart Daniel Kleinman, studio Rattling Stick, and the visual effects team at Framestore assemble a powerful mix of imagery to reintroduce the British super spy and his foe du jour. It’s a formula we’ve come to relish, and one unlike any other in title design: the women, the weapons, and Bond, tangled among it all. But as Sam Smith’s mournful theme “Writing’s on the Wall” says: “I’ve been here before.” It must recall the brand, ooze style, establish tone, excite and awe, all while living up to the high standards set by its predecessors – and Skyfall is a tough act to follow. The title sequence of any James Bond film often has the heaviest burden to carry.

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