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Wikipedia

Saul Bass

December 01, 2023

Saul Bass (/bæs/; May 8, 1920 – April 25, 1996) was an American graphic designer and Oscar-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos.

Saul Bass
Bass in 1979
Born(1920-05-08)May 8, 1920
The Bronx, New York, U.S.
DiedApril 25, 1996(1996-04-25) (aged 75)
Los Angeles, California, U.S.
NationalityAmerican
Occupation(s)Graphic designer, title designer, film director
Spouses
Ruth Cooper
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(m. 1938; div. 1960)​
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(m. 1961)​
Children4
Awards
Signature
North by Northwest movie trailer screenshot

During his 40-year career, Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick, and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho.

Bass designed some of the most iconic corporate logos in North America, including the Geffen Records logo in 1980, the Hanna-Barbera "swirling star" logo in 1979, the sixth and final version of the Bell System logo in 1969, as well as AT&T Corporation's first globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 jet stream logo, United Airlines' 1974 tulip logo (which became some of the most recognized airline industry logos of the era) and the 1972 Warner Bros. "Big W" logo (which is WB's second most recognizable logo after the classic WB shield. The logo is also used as the Warner Music Group logo). He died from non-Hodgkin's lymphoma in Los Angeles on April 25, 1996, at the age of 75.[1]

Early life edit

Saul Bass was born on May 8, 1920, in the Bronx, New York, United States, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College. In 1938, Saul married Ruth Cooper and they had two children, Robert in 1942 and Andrea in 1946.[2]

He began his time in Hollywood in the 1940s, designing print advertisements for films including Champion (1949), Death of a Salesman (1951) and The Moon Is Blue (1953), directed by Otto Preminger. His next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Film title sequences edit

Bass became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused a sensation. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[3] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[4][5] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[5]

Bass once described his main goal for his title sequences as being to "try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story".[6] Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way. Examples of this or what he described as "making the ordinary extraordinary" can be seen in Walk on the Wild Side (1962) where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama (1963) where the interior workings of a clock become an expansive new landscape.[7] In the 1950s, Saul Bass used a variety of techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for the Best Picture Oscar winner Around the World in 80 Days (1956), and live-action sequences.

On occasion, Bass' title sequences were said to outshine the films they introduced.[2] When Billy Wilder's The Seven Year Itch (1955) was released, a film critic wrote, "If the film had lived up to the titles, it would have been a good picture."[8] In reviewing A Walk on the Wild Side (1962), more than half of New York Critics claimed that Bass' titles were better than the film itself.[9] In 1962, Variety even suggested that Bass might no longer find work in the title field since there has been too frequent the use of the line: "The best thing about the film is the Saul Bass credits."[10]

In 1955, Elaine Makatura came to work with Bass in his Los Angeles office. With the opening to Spartacus (1960), she was directing and producing title sequences, and in 1961 the couple married, beginning more than 30 years of close collaboration. After the birth of their children, Jennifer in 1964 and Jeffrey in 1967, they concentrated on their family, film directing, and title sequences. Saul and Elaine designed title sequences for more than 30 years, continuously experimenting with a variety of innovative techniques and effects, from Bunraku-style maneuvers in Spartacus (1960), live-action sequences in Walk on the Wild Side (1962), to time-lapse photography in The Age of Innocence (1993), and even chopped liver in Mr. Saturday Night (1992). Their live-action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes. These "time before" title sequences either compress or expand time with startling results. The title sequence to Grand Prix (1966) portrays the moments before the opening race in Monte Carlo, the title sequence to The Big Country (1958) depicts the days it takes a stage coach to travel to a remote Western town, and the opening montage title sequence to The Victors (1963) chronicles the twenty-seven years between World War I and the middle of World War II, where the film begins.

From the mid-1960s to the late '80s, Saul and Elaine moved away from main titles to focus on filmmaking and their children. About this time away from title design, Saul said:[11]

Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility. We saw a lot of pyrotechnics and fun and games and I suppose we lost interest. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it. Whatever the reasons, the result was "Fade Out." We did not worry about it: we had too many other interesting projects to get on with. Equally, because we still loved the process of making titles, we were happy to take it up again when asked. "Fade In"...[12]

In the 1980s, Saul and Elaine were rediscovered by James L. Brooks and Martin Scorsese, who had grown up admiring their film work.[13] For Scorsese, Saul and Elaine Bass[14] created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), their last title sequence. This later work with Martin Scorsese saw the Basses move away from the optical techniques that Saul had pioneered and move into the use of computerized effects. The Basses' title sequences featured new and innovative methods of production and startling graphic design.

 
Psycho title sequence

Screenwriter Nicholas Pileggi said of Saul and Elaine Bass, "You write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages. Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark. They have boiled it down to four minutes flat."[15]

In a sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of the Basses' innovative work. In particular, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of Saul Bass's animated sequences from the 1950s. Some examples of title sequences that pay homage to Bass's graphics and animated title sequences are Catch Me If You Can (2002),[16] X-Men: First Class (2011),[17] and the openings to the AMC series Mad Men[18] and TBS's Conan.[19]

Selected film title sequences edit

Logos and other designs edit

Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he produced logos for a number of Japanese companies as well.

Selected logos by Saul Bass and their respective dates (note that the links shown point to articles on the entities themselves, and not necessarily to the logos):

An analysis of a sample of Bass's corporate logos in 2011 found them to have an unusual longevity. The most common cause of the end of a Bass corporate logo (in the selection analyzed) was the demise or merger of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo was more than 34 years as of 2013.[25] In 2014, Frontier Airlines resurrected the stylized F logo originally designed for Frontier by Bass in 1978, and discontinued when the airline went bankrupt in 1984.[26] Bass created the sculpture which each of the World Food Prize laureates receive.[27]

Movie posters edit

 
The Man with the Golden Arm poster designed by Bass

Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass's seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass's posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for The Man with the Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addiction. Bass's iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film's title and captures the moral ambiguities within which this court room drama is immersed.

He created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick among others. His last commissioned film poster was created for Steven Spielberg's Schindler's List (1993), but it was never distributed.[28] His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass's film posters are characterized by a distinctive typography and minimalistic style.

Selected posters by Saul Bass, and their respective dates:

1950s edit

 
Vertigo poster designed by Bass

1960s edit

 
Anatomy of a Murder poster designed by Bass

1970s edit

1980s and 1990s edit

 
Schindler's List poster designed by Bass, his last commissioned film poster (not distributed).

He received an unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Designer Art Sims claimed that it was made as an homage, but Bass regarded it as theft.[29] Many film posters have been considered to be homages to Saul Bass's posters. Some recent examples include the theatrical release poster for Burn After Reading (2008) which incorporates Bass's typography and style of figurative minimalism,[30] and a poster for Precious (2009) which includes elements from several of Bass's posters, including Anatomy of a Murder.[31] The cover art for The White Stripes' single The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm.[32]

The comic book artist J. H. Williams III's designs for the Batman story "The Black Glove" pay homage to Bass's designs as well.[33]

In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers. He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences.[34] In 1962 he illustrated his only children's book, Henri's Walk to Paris, written by Lenore Klein.[35]

Filmmaker edit

During the 1960s, Bass was asked by directors and producers to produce not only title sequences for their films, but also to visualize and storyboard key scenes and sequences within them. Bass has the unusual credit of "visual consultant" or "pictorial consultant" on five films. For Spartacus (1960), Bass as "visual consultant" designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans. John Frankenheimer, the director of Grand Prix (1966), had Bass storyboard, direct, and edit all but one of the racing sequences for his film. For West Side Story (1961) Bass filmed the prologue, storyboarded the opening dance sequence, and created the ending title sequence.

It is Bass's credited role as "pictorial consultant" for Alfred Hitchcock on Psycho (1960); however, that has caused some controversy and debate. Bass claimed that he participated in directing the highlight scene of Psycho, the tightly edited shower-murder sequence, though several on set at the time (including star Janet Leigh) disputed this claim.[36]

The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene. Hitchcock had asked Bass to design and produce storyboards for the shower murder scene and for some other scenes in the film. For this, Bass received a credit as Pictorial Consultant as well as Title Designer. Janet Leigh told Donald Spoto that "the planning of the shower scene was left up to Saul Bass, and Hitchcock followed his storyboard precisely. Because of this ... [the shooting] went very professionally,"[37] and she told Stephen Rebello that "Mr. Hitchcock showed Saul Bass's storyboards to me quite proudly, telling me in exact detail how he was going to shoot the scene from Saul's plans".[38]

Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower murder scene – most notably, the fact that the attacker appears as a silhouette, close-ups of a slashing knife, the shower curtain torn down, a shot of the shower head from below, Marion's desperate outstretched arm, and the famous shot of the transition from the drain hole of the bathtub to Marion Crane's dead eye. Krohn notes that this final transition is highly reminiscent of Bass's iris titles for Vertigo.[39] Krohn also concludes that Bass did not literally direct the shower scene, proving Hitchcock's presence on the set throughout the shooting of that scene.[39]

Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one. Hitchcock felt uncertain about Bass's conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham, Bass recalled, "Having designed and storyboarded the shower sequence, I showed it to Hitch. He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot [sic]".

To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh's stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail. Working with Hitchcock's editor George Tomasini, he edited this footage following the storyboards to show Hitchcock how the scene could work. In the end, Hitchcock gave his approval but, according to Kirkham, made two additions: a spray of blood on the chest of Marion Crane/Janet Leigh as she slides down the tiles, and a close-up of her belly getting stabbed.

In 1964, Saul and his wife and creative partner Elaine directed the short film The Searching Eye shown during the 1964 New York World's Fair, co-produced with Sy Wexler.[40] The Basses also directed a short documentary film called Why Man Creates[41] which won[42] the Academy Award for Documentary Short Subject[43] in 1968.[44] An abbreviated version of that film was broadcast on the first episode of the television newsmagazine 60 Minutes. In 2002, this film was selected for the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[45] Saul and Elaine directed several other short films, two of which were nominated for Academy Awards: Notes on the Popular Arts, in 1977,[46][47][48] and The Solar Film, in 1979.[49][50][51][52][53]

In 1974, Saul Bass made his only feature-length film as a director, the visually splendid though little-known science fiction film Phase IV, a "quiet, haunting, beautiful, ... and largely overlooked, science-fiction masterwork".[54]

Legacy edit

The moving image collection of Saul Bass is held at the Academy Film Archive and consists of 2,700 items. The film material is complemented by the Saul Bass papers at the Academy's Margaret Herrick Library.[55] The Academy Film Archive has preserved two of Bass's films: Why Man Creates, in 2011, and Notes on the Popular Arts (also known as An Essay: The Popular Arts Today), in 2012.[56]

On May 8, 2013, Bass's 93rd birthday was celebrated by a Google Doodle, which featured the tune "Unsquare Dance" by Dave Brubeck.[57][58]

See also edit

 
Wikiquote has quotations related to Saul Bass.

References edit

  1. ^ Times, Los Angeles (27 April 1996). "SAUL BASS, 75, LOGO AND TRADEMARK DESIGNER". Sun-Sentinel.com.
  2. ^ a b Horak, Jan-Christopher (2014). Saul Bass: Anatomy of Film Design. The University of Kentucky Press. ISBN 978-0813147192.
  3. ^ "GranneBlog » Saul Bass changed how audiences view movie credits". Blog.granneman.com. 6 April 2011. Retrieved 2012-06-06.
  4. ^ Bass, Saul (1960). "Film Titles – a New Field for the Graphic Designer". Graphis. Vol. 16, no. 89.
  5. ^ a b Straw, Will (2010). "Letters of Introduction: Film Credits and Cityscapes". Design and Culture. 2 (2): 155–165. doi:10.2752/175470710X12696138525587. S2CID 143577106.
  6. ^ Kael, Pauline. "One, Two, Three." Film Quarterly Vol. 15, No. 3. (Spring, 1962): 62–65
  7. ^ Bass, Saul (1977) Bass on Titles. Pyramid Films. Santa Monica, CA
  8. ^ Fessier Jr., Mike (27 October 1964). "Lay 'Em in the Aisles with a Title". Daily Variety. p. 39.
  9. ^ "Movies: Man with a Golden Arm". Time. 16 March 1962. p. 46.
  10. ^ "Do Film Critics Extol 'Bass Credits' to Slur (by Contrast) the Director?". Variety. 17 June 1964. p. 5.
  11. ^ "Saul Bass". Art of the Title. Retrieved 13 June 2015.
  12. ^ Jennifer Bass and Pat Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, p. 264
  13. ^ . BFI. 2012-05-11. Archived from the original on 2011-07-06. Retrieved 2012-06-06.
  14. ^ Sloman, Tony (30 April 1996). "OBITUARY : Saul Bass". The Independent.
  15. ^ Jennifer Bass and Pat Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.263
  16. ^ Interview with Olivier Kuntzel and Florence Degas, designers of the Catch Me If You Can title sequence. Artofthetitle.com. Retrieved 2011-12-10
  17. ^ Interview with Simon Clowes, designer of the X-Men First Class title sequence. Watchthetitles.com
  18. ^ Mad Men Q&A: Mad Men Title Designers Mark Gardner and Steve Fuller Retrieved 2011-12-19
  19. ^ Ashe, Rob. "Designing Conan". Creative Cow. p. 1. Retrieved June 11, 2011.
  20. ^ Serling, Robert J. (1974). Maverick: The story of Robert Six and Continental Airlines. Doubleday & Company. ISBN 0-385-04057-1.
  21. ^ "FULLER O'BRIEN Trademark of AKZO NOBEL COATINGS INC. - Registration Number 0934365 - Serial Number 72332101 :: Justia Trademarks".
  22. ^ "京王百貨店の象徴｜京王百貨店".
  23. ^ "Kiplinger's Personal Finance". November 1972.
  24. ^ "A postage stamp by Saul Bass". Retrieved 2011-04-02.
  25. ^ Parekh, Rupal (May 8, 2013). "A Few of Our Favorite Saul Bass Logos". Advertising Age.
  26. ^ Sumers, Brian (September 10, 2014). "Frontier Airlines Looks to the Past to Set Designs on Its Future". Skift.
  27. ^ "The Sculpture". The World Food Prize Foundation. Retrieved 30 November 2021.
  28. ^ Kirkham, Pat & Jennifer Bass (2011) Saul Bass: A Life in Film & Design (pp. 406 and 420). London: Laurence King
  29. ^ Schaefer, Stephen (September 08, 1995). "Poster Imposter" 2007-10-25 at the Wayback Machine. Entertainment Weekly. 2011-04-02.
  30. ^ "Burn After Reading Poster Inspired by Saul Bass". /Film. June 17, 2008.
  31. ^ "Saul Bass". Dieselation. 2009-05-30. Retrieved 2012-06-06.
  32. ^ . Archived from the original on 2018-09-01. Retrieved 2018-08-31.
  33. ^ Singer, Marc. Grant Morrison: Combining the Worlds of Contemporary Comics. (Univ. Press of Mississippi, Jackson, MS, 2012) p. 272. Link at Google Books.
  34. ^ "Student Academy Award" 2014-10-01 at the Wayback Machine. Oscars.org. Retrieved 2011-12-20.
  35. ^ "grain edit · Henri's walk to Paris : Designed by Saul Bass". Grainedit.com. 2012-02-14. Retrieved 2012-06-06.
  36. ^ Harris, Aisha (February 20, 2014) "Did Saul Bass Direct the Shower Scene in Psycho?" Slate.com. Retrieved 2014-2-23
  37. ^ Spoto, Donald (1999 [1983]). The Dark Side Of Genius: The Life Of Alfred Hitchcock. New York: Da Capo Press. (pp. 454–455)
  38. ^ Rebello, Stephen (1990). Alfred Hitchcock and the Making of Psycho. New York: St. Martin's Griffin. (p. 102) ISBN 0-312-20785-9.
  39. ^ a b Krohn, Bill (2003). Hitchcock at Work. (pp. London: Phaidon Press. (p. 231)
  40. ^ "HUMANITIES : Searching Eye, The". www.pyramidmedia.com.
  41. ^ DataBase, The Big Cartoon. "Why Man Creates (Saul Bass and Associates)". Big Cartoon DataBase (BCDB).
  42. ^ "The 41st Academy Awards (1969) Nominees and Winners". oscars.org. Retrieved June 8, 2019.
  43. ^ "Documentary Winners: 1969 Oscars". YouTube. Archived from the original on 2021-12-21.
  44. ^ . Archived from the original on 2019-09-01. Retrieved 2019-09-12.
  45. ^ "Librarian of Congress Adds 25 Films to National Film Registry". Library of Congress.
  46. ^ "HUMANITIES : Notes On The Popular Arts". www.pyramidmedia.com.
  47. ^ "Notes on the Popular Arts (1978) - Elaine Bass, Saul Bass | Synopsis, Characteristics, Moods, Themes and Related". AllMovie.
  48. ^ "The 50th Academy Awards | 1978". Oscars.org | Academy of Motion Picture Arts and Sciences.
  49. ^ "ACADEMY AWARD : Solar Film, The". www.pyramidmedia.com.
  50. ^ . www.thescienceofcreativity.com. Archived from the original on 2018-09-01. Retrieved 2018-08-31.
  51. ^ "ACADEMY AWARD : Solar Film, The". www.pyramidmedia.com.
  52. ^ Oscars (4 February 2016). "Short Film Winners: 1980 Oscars". Archived from the original on 2021-12-21 – via YouTube.
  53. ^ "The 52nd Academy Awards | 1980". Oscars.org | Academy of Motion Picture Arts and Sciences.
  54. ^ Scalzo, Thomas (August 8, 2005). "Phase IV (review)". Not Coming to a Theater Near You (notcoming.com). Retrieved 2008-10-16.
  55. ^ "Saul Bass Collection". Academy Film Archive. 5 September 2014.
  56. ^ "Preserved Projects". Academy Film Archive.
  57. ^ "Saul Bass: Designer, artist, and auteur of the opening credits (+video)" by Matthew Shaer, The Christian Science Monitor, May 8, 2013
  58. ^ Doodle for Saul Bass's 93rd Birthday on YouTube

Further reading edit

  • Kirkham, Pat and Jennifer Bass (2011). Saul Bass: A Life in Film & Design. London: Laurence King. ISBN 978-1-85669-752-1.
  • Tomislav Terek (2001). Saul Bass on Titles: Film Titles Revealed. Defunkt Century. ISBN 1-903792-00-2.
  • Horak, Jan-Christopher (2014). Saul Bass. Anatomy of Film Design. Lexington, KY: University of Kentucky Press. ISBN 978-0-8131-4718-5.

External links edit

  • Saul Bass at IMDb
  • Saul Bass Archive at FilmArt Gallery
  • Saul Bass Poster Archive The Saul Bass Estate
  • Titles Designed by Saul Bass (still sequences & commentary)
  • Saul Bass Title Sequences on Art of the Title
  • Title Sequences from Saul Bass (videos & commentary)
  • Saul Bass title sequences: ten of the best compiled by The Guardian
  • Saul Bass papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
  • Criterion Channel's 'Saul Bass Turn 100' on Vimeo

December 01, 2023
saul, bass, 1920, april, 1996, american, graphic, designer, oscar, winning, filmmaker, best, known, design, motion, picture, title, sequences, film, posters, corporate, logos, bass, 1979born, 1920, 1920the, bronx, york, diedapril, 1996, 1996, aged, angeles, ca. Saul Bass b ae s May 8 1920 April 25 1996 was an American graphic designer and Oscar winning filmmaker best known for his design of motion picture title sequences film posters and corporate logos Saul BassBass in 1979Born 1920 05 08 May 8 1920The Bronx New York U S DiedApril 25 1996 1996 04 25 aged 75 Los Angeles California U S NationalityAmericanOccupation s Graphic designer title designer film directorSpousesRuth Cooper m 1938 div 1960 wbr Elaine Makatura Bass m 1961 wbr Children4AwardsAcademy Award Best Documentary Short Subjects Why Man Creates 1968 Honorary Doctorate Otis College of Art and Design 1986 SignatureNorth by Northwest movie trailer screenshotDuring his 40 year career Bass worked for some of Hollywood s most prominent filmmakers including Alfred Hitchcock Otto Preminger Billy Wilder Stanley Kubrick and Martin Scorsese Among his best known title sequences are the animated paper cut out of a heroin addict s arm for Preminger s The Man with the Golden Arm the credits racing up and down what eventually becomes a high angle shot of a skyscraper in Hitchcock s North by Northwest and the disjointed text that races together and apart in Psycho Bass designed some of the most iconic corporate logos in North America including the Geffen Records logo in 1980 the Hanna Barbera swirling star logo in 1979 the sixth and final version of the Bell System logo in 1969 as well as AT amp T Corporation s first globe logo in 1983 after the breakup of the Bell System He also designed Continental Airlines 1968 jet stream logo United Airlines 1974 tulip logo which became some of the most recognized airline industry logos of the era and the 1972 Warner Bros Big W logo which is WB s second most recognizable logo after the classic WB shield The logo is also used as the Warner Music Group logo He died from non Hodgkin s lymphoma in Los Angeles on April 25 1996 at the age of 75 1 Contents 1 Early life 2 Film title sequences 3 Selected film title sequences 4 Logos and other designs 5 Movie posters 5 1 1950s 5 2 1960s 5 3 1970s 5 4 1980s and 1990s 6 Filmmaker 7 Legacy 8 See also 9 References 10 Further reading 11 External linksEarly life editSaul Bass was born on May 8 1920 in the Bronx New York United States to Eastern European Jewish immigrant parents He graduated from James Monroe High School in the Bronx and studied part time at the Art Students League in Manhattan until attending night classes with Gyorgy Kepes at Brooklyn College In 1938 Saul married Ruth Cooper and they had two children Robert in 1942 and Andrea in 1946 2 He began his time in Hollywood in the 1940s designing print advertisements for films including Champion 1949 Death of a Salesman 1951 and The Moon Is Blue 1953 directed by Otto Preminger His next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones Preminger was so impressed with Bass s work that he asked him to produce the title sequence as well This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments Bass was one of the first to realize the creative potential of the opening and closing credits of a movie Film title sequences editBass became widely known in the film industry after creating the title sequence for Otto Preminger s The Man with the Golden Arm 1955 The subject of the film was a jazz musician s struggle to overcome his heroin addiction a taboo subject in the mid 1950s Bass decided to create an innovative title sequence to match the film s controversial subject He chose the arm as the central image as it is a strong image relating to heroin addiction The titles featured an animated white on black paper cut out arm of a heroin addict As he hoped it caused a sensation For Alfred Hitchcock Bass provided effective memorable title sequences inventing a new type of kinetic typography for North by Northwest 1959 Vertigo 1958 working with John Whitney and Psycho 1960 It was this kind of innovative revolutionary work that made Bass a revered graphic designer Before the advent of Bass s title sequences in the 1950s titles were generally static separate from the movie and it was common for them to be projected onto the cinema curtains the curtains only being raised right before the first scene of the movie 3 In 1960 Bass wrote an article for Graphis magazine called Film Titles a New Field for the Graphic Designer which has been revered as a milestone for the consecration of the movie credit sequence as a design object 4 5 One of the most studied film credit designers Bass is known for integrating a stylistic coherence between the designs and the films in which they appear 5 Bass once described his main goal for his title sequences as being to try to reach for a simple visual phrase that tells you what the picture is all about and evokes the essence of the story 6 Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way Examples of this or what he described as making the ordinary extraordinary can be seen in Walk on the Wild Side 1962 where an ordinary cat becomes a mysterious prowling predator and in Nine Hours to Rama 1963 where the interior workings of a clock become an expansive new landscape 7 In the 1950s Saul Bass used a variety of techniques from cut out animation for Anatomy of a Murder 1958 to fully animated mini movies such as the epilogue for the Best Picture Oscar winner Around the World in 80 Days 1956 and live action sequences On occasion Bass title sequences were said to outshine the films they introduced 2 When Billy Wilder s The Seven Year Itch 1955 was released a film critic wrote If the film had lived up to the titles it would have been a good picture 8 In reviewing A Walk on the Wild Side 1962 more than half of New York Critics claimed that Bass titles were better than the film itself 9 In 1962 Variety even suggested that Bass might no longer find work in the title field since there has been too frequent the use of the line The best thing about the film is the Saul Bass credits 10 In 1955 Elaine Makatura came to work with Bass in his Los Angeles office With the opening to Spartacus 1960 she was directing and producing title sequences and in 1961 the couple married beginning more than 30 years of close collaboration After the birth of their children Jennifer in 1964 and Jeffrey in 1967 they concentrated on their family film directing and title sequences Saul and Elaine designed title sequences for more than 30 years continuously experimenting with a variety of innovative techniques and effects from Bunraku style maneuvers in Spartacus 1960 live action sequences in Walk on the Wild Side 1962 to time lapse photography in The Age of Innocence 1993 and even chopped liver in Mr Saturday Night 1992 Their live action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes These time before title sequences either compress or expand time with startling results The title sequence to Grand Prix 1966 portrays the moments before the opening race in Monte Carlo the title sequence to The Big Country 1958 depicts the days it takes a stage coach to travel to a remote Western town and the opening montage title sequence to The Victors 1963 chronicles the twenty seven years between World War I and the middle of World War II where the film begins From the mid 1960s to the late 80s Saul and Elaine moved away from main titles to focus on filmmaking and their children About this time away from title design Saul said 11 Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility We saw a lot of pyrotechnics and fun and games and I suppose we lost interest At the same time an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it Whatever the reasons the result was Fade Out We did not worry about it we had too many other interesting projects to get on with Equally because we still loved the process of making titles we were happy to take it up again when asked Fade In 12 In the 1980s Saul and Elaine were rediscovered by James L Brooks and Martin Scorsese who had grown up admiring their film work 13 For Scorsese Saul and Elaine Bass 14 created title sequences for Goodfellas 1990 Cape Fear 1991 The Age of Innocence 1993 and Casino 1995 their last title sequence This later work with Martin Scorsese saw the Basses move away from the optical techniques that Saul had pioneered and move into the use of computerized effects The Basses title sequences featured new and innovative methods of production and startling graphic design nbsp Psycho title sequenceScreenwriter Nicholas Pileggi said of Saul and Elaine Bass You write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark They have boiled it down to four minutes flat 15 In a sense all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of the Basses innovative work In particular title sequences for some recent movies and television series especially those whose setting is during the 1960s have purposely emulated the graphic style of Saul Bass s animated sequences from the 1950s Some examples of title sequences that pay homage to Bass s graphics and animated title sequences are Catch Me If You Can 2002 16 X Men First Class 2011 17 and the openings to the AMC series Mad Men 18 and TBS s Conan 19 Selected film title sequences editCarmen Jones 1954 The Big Knife 1955 The Man with the Golden Arm 1955 The Racers 1955 The Seven Year Itch 1955 The Shrike 1955 Around the World in Eighty Days 1956 Storm Center 1956 Attack 1956 Johnny Concho 1956 Edge of the City 1957 Saint Joan 1957 The Pride and the Passion 1957 The Young Stranger 1957 Bonjour Tristesse 1958 Cowboy 1958 Vertigo 1958 The Big Country 1958 Anatomy of a Murder 1959 North by Northwest 1959 Psycho 1960 Spartacus 1960 The Facts of Life 1960 Exodus 1960 Ocean s 11 1960 West Side Story 1961 Something Wild 1961 Advise amp Consent 1962 Walk on the Wild Side 1962 The Victors 1963 Nine Hours to Rama 1963 It s a Mad Mad Mad Mad World 1963 The Cardinal 1963 In Harm s Way 1965 Bunny Lake Is Missing 1965 Grand Prix 1966 Not with My Wife You Don t 1966 Seconds 1966 Such Good Friends 1971 That s Entertainment Part II 1976 Broadcast News 1987 Big 1988 Tonkō 1988 The War of the Roses 1989 Goodfellas 1990 Cape Fear 1991 Doc Hollywood 1991 Mr Saturday Night 1992 The Age of Innocence 1993 Higher Learning 1995 Casino 1995 A Personal Journey with Martin Scorsese Through American Movies 1995 Logos and other designs editBass was responsible for some of the best remembered most iconic logos in North America including both the Bell Telephone logo 1969 and successor AT amp T globe 1983 Other well known designs were Continental Airlines 1968 Dixie 1969 and United Airlines 1974 Later he produced logos for a number of Japanese companies as well Selected logos by Saul Bass and their respective dates note that the links shown point to articles on the entities themselves and not necessarily to the logos Alcoa 1963 Ajinomoto 1973 AT amp T Corporation 1983 Avery International 1975 Bell System 1969 Boys amp Girls Clubs of America 1978 Celanese 1965 Continental Airlines 1968 20 Dixie 1969 Frontier Airlines 1978 Fuller O Brien Paints 1962 21 Geffen Records 1980 General Foods 1984 Girl Scouts of the USA 1978 Hanna Barbera 1979 Japan Energy Corporation 1993 J Paul Getty Trust 1993 Keio Department Store 1964 22 Kibun Foods 1984 Kleenex 1962 Kose Cosmetics 1991 Lawry s Foods 1959 Maeda Corporation 1991 Minami Sports 1991 Minolta 1978 and 1981 NCR Corporation 1996 Quaker Oats Company 1969 Rockwell International 1968 Security Pacific Bank 1966 Southern California Rapid Transit District 1979 United Airlines 1974 United Way and United Way Centraide Canada 1972 75 23 University of Southern California 1994 US postage stamp Science and Industry 1983 24 Warner Communications 1972 Wienerschnitzel 1978 Wesson Oil 1964 YWCA 1988 An analysis of a sample of Bass s corporate logos in 2011 found them to have an unusual longevity The most common cause of the end of a Bass corporate logo in the selection analyzed was the demise or merger of the company rather than a corporate logo redesign The average lifespan of a Bass logo was more than 34 years as of 2013 25 In 2014 Frontier Airlines resurrected the stylized F logo originally designed for Frontier by Bass in 1978 and discontinued when the airline went bankrupt in 1984 26 Bass created the sculpture which each of the World Food Prize laureates receive 27 Movie posters edit nbsp The Man with the Golden Arm poster designed by BassSaul Bass designed emblematic movie posters that transformed the visuals of film advertising Before Bass s seminal poster for The Man with the Golden Arm 1955 movie posters were dominated by depictions of key scenes or characters from the film often both juxtaposed with each other Bass s posters however typically developed simplified symbolic designs that visually communicated key essential elements of the film For example his poster for The Man with the Golden Arm with a jagged arm and off kilter typography starkly communicates the protagonist s struggle with heroin addiction Bass s iconic Vertigo 1958 poster with its stylized figures sucked down into the nucleus of a spiral vortex captures the anxiety and disorientation central to the film His poster for Anatomy of a Murder 1959 featuring the silhouette of a corpse jarringly dissected into seven pieces makes both a pun on the film s title and captures the moral ambiguities within which this court room drama is immersed He created some of his best known posters for films directed by Otto Preminger Alfred Hitchcock Billy Wilder and Stanley Kubrick among others His last commissioned film poster was created for Steven Spielberg s Schindler s List 1993 but it was never distributed 28 His poster work spanned five decades and inspired numerous other poster and graphic designers Bass s film posters are characterized by a distinctive typography and minimalistic style Selected posters by Saul Bass and their respective dates 1950s edit nbsp Vertigo poster designed by BassCarmen Jones 1954 The Man with the Golden Arm 1955 Edge of the City 1956 Storm Center 1956 Love in the Afternoon 1957 Saint Joan 1957 Bonjour tristesse 1958 The Big Country 1958 style b poster Vertigo 1958 Anatomy of a Murder 1959 1960s edit nbsp Anatomy of a Murder poster designed by BassExodus 1960 The Magnificent Seven 1960 design not used One Two Three 1961 Advise amp Consent 1962 Birdman of Alcatraz 1962 It s a Mad Mad Mad Mad World 1963 The Cardinal 1963 In Harm s Way 1965 Bunny Lake Is Missing 1965 The Firemen s Ball 1967 The Two of Us 1967 Why Man Creates 1968 Very Happy Alexander 1969 1970s edit Tell Me That You Love Me Junie Moon 1970 Such Good Friends 1971 Rosebud 1975 Brothers 1977 Notes on the Popular Arts 1977 Bass on Titles 1978 The Human Factor 1979 The Solar Film 1979 The Double McGuffin 1979 1980s and 1990s edit nbsp Schindler s List poster designed by Bass his last commissioned film poster not distributed The Shining 1980 Return from the River Kwai 1989 not distributed Schindler s List 1993 rejected poster He received an unintentionally backhanded tribute in 1995 when Spike Lee s film Clockers was promoted by a poster that was strikingly similar to Bass s 1959 work for Preminger s film Anatomy of a Murder Designer Art Sims claimed that it was made as an homage but Bass regarded it as theft 29 Many film posters have been considered to be homages to Saul Bass s posters Some recent examples include the theatrical release poster for Burn After Reading 2008 which incorporates Bass s typography and style of figurative minimalism 30 and a poster for Precious 2009 which includes elements from several of Bass s posters including Anatomy of a Murder 31 The cover art for The White Stripes single The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm 32 The comic book artist J H Williams III s designs for the Batman story The Black Glove pay homage to Bass s designs as well 33 In addition to movie posters Bass designed numerous posters for film festivals and several magazine book and album covers He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences 34 In 1962 he illustrated his only children s book Henri s Walk to Paris written by Lenore Klein 35 Filmmaker editDuring the 1960s Bass was asked by directors and producers to produce not only title sequences for their films but also to visualize and storyboard key scenes and sequences within them Bass has the unusual credit of visual consultant or pictorial consultant on five films For Spartacus 1960 Bass as visual consultant designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans John Frankenheimer the director of Grand Prix 1966 had Bass storyboard direct and edit all but one of the racing sequences for his film For West Side Story 1961 Bass filmed the prologue storyboarded the opening dance sequence and created the ending title sequence It is Bass s credited role as pictorial consultant for Alfred Hitchcock on Psycho 1960 however that has caused some controversy and debate Bass claimed that he participated in directing the highlight scene of Psycho the tightly edited shower murder sequence though several on set at the time including star Janet Leigh disputed this claim 36 The research of several film scholars on Hitchcock s production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene Hitchcock had asked Bass to design and produce storyboards for the shower murder scene and for some other scenes in the film For this Bass received a credit as Pictorial Consultant as well as Title Designer Janet Leigh told Donald Spoto that the planning of the shower scene was left up to Saul Bass and Hitchcock followed his storyboard precisely Because of this the shooting went very professionally 37 and she told Stephen Rebello that Mr Hitchcock showed Saul Bass s storyboards to me quite proudly telling me in exact detail how he was going to shoot the scene from Saul s plans 38 Bill Krohn has noted that Bass s 48 story board panels for the scene introduced all the key aspects of the final shower murder scene most notably the fact that the attacker appears as a silhouette close ups of a slashing knife the shower curtain torn down a shot of the shower head from below Marion s desperate outstretched arm and the famous shot of the transition from the drain hole of the bathtub to Marion Crane s dead eye Krohn notes that this final transition is highly reminiscent of Bass s iris titles for Vertigo 39 Krohn also concludes that Bass did not literally direct the shower scene proving Hitchcock s presence on the set throughout the shooting of that scene 39 Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent bloody murder as an impressionistic and nearly bloodless one Hitchcock felt uncertain about Bass s conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence In an interview with film historian Pat Kirkham Bass recalled Having designed and storyboarded the shower sequence I showed it to Hitch He was uneasy about it It was very un Hitchcockian in character He never used that kind of quick cutting he loved the long shot sic To convince Hitchcock that the scene would work as planned eight days before shooting of the final shower scene Bass used a newsreel camera and Janet Leigh s stand in Marli Renfro to shoot footage on the set to plan the shots in more detail Working with Hitchcock s editor George Tomasini he edited this footage following the storyboards to show Hitchcock how the scene could work In the end Hitchcock gave his approval but according to Kirkham made two additions a spray of blood on the chest of Marion Crane Janet Leigh as she slides down the tiles and a close up of her belly getting stabbed In 1964 Saul and his wife and creative partner Elaine directed the short film The Searching Eye shown during the 1964 New York World s Fair co produced with Sy Wexler 40 The Basses also directed a short documentary film called Why Man Creates 41 which won 42 the Academy Award for Documentary Short Subject 43 in 1968 44 An abbreviated version of that film was broadcast on the first episode of the television newsmagazine 60 Minutes In 2002 this film was selected for the United States National Film Registry by the Library of Congress as being culturally historically or aesthetically significant 45 Saul and Elaine directed several other short films two of which were nominated for Academy Awards Notes on the Popular Arts in 1977 46 47 48 and The Solar Film in 1979 49 50 51 52 53 In 1974 Saul Bass made his only feature length film as a director the visually splendid though little known science fiction film Phase IV a quiet haunting beautiful and largely overlooked science fiction masterwork 54 Legacy editThe moving image collection of Saul Bass is held at the Academy Film Archive and consists of 2 700 items The film material is complemented by the Saul Bass papers at the Academy s Margaret Herrick Library 55 The Academy Film Archive has preserved two of Bass s films Why Man Creates in 2011 and Notes on the Popular Arts also known as An Essay The Popular Arts Today in 2012 56 On May 8 2013 Bass s 93rd birthday was celebrated by a Google Doodle which featured the tune Unsquare Dance by Dave Brubeck 57 58 See also edit nbsp Wikiquote has quotations related to Saul Bass nbsp Biography portal nbsp Film portalMotion graphics Paul Rand Richard Amsel Tom Jung Frank McCarthy Bob Peak Drew Struzan Howard Terpning Pablo FerroReferences edit Times Los Angeles 27 April 1996 SAUL BASS 75 LOGO AND TRADEMARK DESIGNER Sun Sentinel com a b Horak Jan Christopher 2014 Saul Bass Anatomy of Film Design The University of Kentucky Press ISBN 978 0813147192 GranneBlog Saul Bass changed how audiences view movie credits Blog granneman com 6 April 2011 Retrieved 2012 06 06 Bass Saul 1960 Film Titles a New Field for the Graphic Designer Graphis Vol 16 no 89 a b Straw Will 2010 Letters of Introduction Film Credits and Cityscapes Design and Culture 2 2 155 165 doi 10 2752 175470710X12696138525587 S2CID 143577106 Kael Pauline One Two Three Film Quarterly Vol 15 No 3 Spring 1962 62 65 Bass Saul 1977 Bass on Titles Pyramid Films Santa Monica CA Fessier Jr Mike 27 October 1964 Lay Em in the Aisles with a Title Daily Variety p 39 Movies Man with a Golden Arm Time 16 March 1962 p 46 Do Film Critics Extol Bass Credits to Slur by Contrast the Director Variety 17 June 1964 p 5 Saul Bass Art of the Title Retrieved 13 June 2015 Jennifer Bass and Pat Kirkham Saul Bass A Life in Film amp Design Laurence King Publishing 2011 p 264 Library Exhibitions and Events Saul Bass biography BFI 2012 05 11 Archived from the original on 2011 07 06 Retrieved 2012 06 06 Sloman Tony 30 April 1996 OBITUARY Saul Bass The Independent Jennifer Bass and Pat Kirkham Saul Bass A Life in Film amp Design Laurence King Publishing 2011 pg 263 Interview with Olivier Kuntzel and Florence Degas designers of the Catch Me If You Can title sequence Artofthetitle com Retrieved 2011 12 10 Interview with Simon Clowes designer of the X Men First Class title sequence Watchthetitles com Mad Men Q amp A Mad Men Title Designers Mark Gardner and Steve Fuller Retrieved 2011 12 19 Ashe Rob Designing Conan Creative Cow p 1 Retrieved June 11 2011 Serling Robert J 1974 Maverick The story of Robert Six and Continental Airlines Doubleday amp Company ISBN 0 385 04057 1 FULLER O BRIEN Trademark of AKZO NOBEL COATINGS INC Registration Number 0934365 Serial Number 72332101 Justia Trademarks 京王百貨店の象徴 京王百貨店 Kiplinger s Personal Finance November 1972 A postage stamp by Saul Bass Retrieved 2011 04 02 Parekh Rupal May 8 2013 A Few of Our Favorite Saul Bass Logos Advertising Age Sumers Brian September 10 2014 Frontier Airlines Looks to the Past to Set Designs on Its Future Skift The Sculpture The World Food Prize Foundation Retrieved 30 November 2021 Kirkham Pat amp Jennifer Bass 2011 Saul Bass A Life in Film amp Design pp 406 and 420 London Laurence King Schaefer Stephen September 08 1995 Poster Imposter Archived 2007 10 25 at the Wayback Machine Entertainment Weekly 2011 04 02 Burn After Reading Poster Inspired by Saul Bass Film June 17 2008 Saul Bass Dieselation 2009 05 30 Retrieved 2012 06 06 SOUND AND VISION THE WHITE STRIPES VoxPop Archived from the original on 2018 09 01 Retrieved 2018 08 31 Singer Marc Grant Morrison Combining the Worlds of Contemporary Comics Univ Press of Mississippi Jackson MS 2012 p 272 Link at Google Books Student Academy Award Archived 2014 10 01 at the Wayback Machine Oscars org Retrieved 2011 12 20 grain edit Henri s walk to Paris Designed by Saul Bass Grainedit com 2012 02 14 Retrieved 2012 06 06 Harris Aisha February 20 2014 Did Saul Bass Direct the Shower Scene in Psycho Slate com Retrieved 2014 2 23 Spoto Donald 1999 1983 The Dark Side Of Genius The Life Of Alfred Hitchcock New York Da Capo Press pp 454 455 Rebello Stephen 1990 Alfred Hitchcock and the Making of Psycho New York St Martin s Griffin p 102 ISBN 0 312 20785 9 a b Krohn Bill 2003 Hitchcock at Work pp London Phaidon Press p 231 HUMANITIES Searching Eye The www pyramidmedia com DataBase The Big Cartoon Why Man Creates Saul Bass and Associates Big Cartoon DataBase BCDB The 41st Academy Awards 1969 Nominees and Winners oscars org Retrieved June 8 2019 Documentary Winners 1969 Oscars YouTube Archived from the original on 2021 12 21 Why Man Creates Saul Bass s short film on the nature of creativity Night Flight Archived from the original on 2019 09 01 Retrieved 2019 09 12 Librarian of Congress Adds 25 Films to National Film Registry Library of Congress HUMANITIES Notes On The Popular Arts www pyramidmedia com Notes on the Popular Arts 1978 Elaine Bass Saul Bass Synopsis Characteristics Moods Themes and Related AllMovie The 50th Academy Awards 1978 Oscars org Academy of Motion Picture Arts and Sciences ACADEMY AWARD Solar Film The www pyramidmedia com The Science of Creativity The Solar Film www thescienceofcreativity com Archived from the original on 2018 09 01 Retrieved 2018 08 31 ACADEMY AWARD Solar Film The www pyramidmedia com Oscars 4 February 2016 Short Film Winners 1980 Oscars Archived from the original on 2021 12 21 via YouTube The 52nd Academy Awards 1980 Oscars org Academy of Motion Picture Arts and Sciences Scalzo Thomas August 8 2005 Phase IV review Not Coming to a Theater Near You notcoming com Retrieved 2008 10 16 Saul Bass Collection Academy Film Archive 5 September 2014 Preserved Projects Academy Film Archive Saul Bass Designer artist and auteur of the opening credits video by Matthew Shaer The Christian Science Monitor May 8 2013 Doodle for Saul Bass s 93rd Birthday on YouTubeFurther reading editKirkham Pat and Jennifer Bass 2011 Saul Bass A Life in Film amp Design London Laurence King ISBN 978 1 85669 752 1 Tomislav Terek 2001 Saul Bass on Titles Film Titles Revealed Defunkt Century ISBN 1 903792 00 2 Horak Jan Christopher 2014 Saul Bass Anatomy of Film Design Lexington KY University of Kentucky Press ISBN 978 0 8131 4718 5 External links editSaul Bass at IMDb Saul Bass Archive at FilmArt Gallery Saul Bass Poster Archive The Saul Bass Estate Titles Designed by Saul Bass still sequences amp commentary Saul Bass Title Sequences on Art of the Title Title Sequences from Saul Bass videos amp commentary Saul Bass title sequences ten of the best compiled by The Guardian Saul Bass papers Margaret Herrick Library Academy of Motion Picture Arts and Sciences Criterion Channel s Saul Bass Turn 100 on Vimeo Retrieved from https en wikipedia org w index php title Saul Bass amp oldid 1187476835, wikipedia, wiki, book, books, library,

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