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Wonder Woman (2. 01. Art of the Title. A discussion with Wonder Woman Director PATTY JENKINS and Greenhaus GFX Creative Director JASON DOHERTY, Art Director AMANDA KOH, and Executive Producer MEGAN HAMILTON. Hi Patty! Congratulations on the film! It's a lot of fun. Patty: Thank you! So I think we should start by talking about title sequences in general. How do you feel about titles, both as a filmmaker and a viewer? Patty: It depends, you know? I feel like for a certain kind of movie it can really bring something to the party and elevate it. I don’t think that they’re always necessary, but when they’re good, when they’re well made, and when they’re in the right place I think they’re an amazing part of the movie. The Wonder Woman main- on- end titles are an amazing part of this movie. They act as a sort of reprise of the story, a recap of what the audience has just seen. Is that how you initially approached it? Patty: In our case the title sequence almost became the end of the movie in a beautiful way. You’re right at a moment when you wish you had more and it becomes more. It carries forward the story in a way. What the final moment of the film is best at is saying “Now there’s Wonder Woman, now Wonder Woman is born.”Wonder Woman (2. Patty: The movie is the journey all the way to Wonder Woman and it’s only at that final moment that she steps into the world and becomes our Wonder Woman. And so having that kind of comic book- style recap of the myth of Wonder Woman – you just saw the story but this is the myth of who she is – it felt like a really great way to be like “now she’s this and this is her backstory!”It's very effective and a really positive note to end the movie on. It seems like more and more films – particularly in the superhero genre – are using the real estate at the end of the movie for exactly that purpose. Jason: Yeah, this has become a popular approach for main- on- end titles. We did it with both Teenage Mutant Ninja Turtles films. It is nice because sometimes you get into your car after watching a movie and you start reflecting back to all your favourite parts, but now it’s like they’re doing that for you in the movie to a degree. Alright, before you leave, let’s reflect on all this great stuff that just happened!”Amanda: Yeah, I think it helps the audience to kind of wrap up how they’re feeling about the movie. The last cut we saw ended on a slightly sombre note, so it’s just good to help the audience package everything they’re feeling before they head out. Patty, on a huge film like this – with all of the pre- production, planning, shooting, and post- production – at what point do conversations about the titles begin? Is it the sort of thing that’s mandated by the studio or did you know right from the start that you needed this sort of capstone for the movie? Wonder Woman director Patty Jenkins and star Gal Gadot on location. Patty: I knew that I needed it and wanted it. I didn’t want to do any opening titles, but I wanted to do something better than just title cards at the end. I really didn’t have time to focus on it or do much about it until post – not only post but until I’d cut the whole movie into a director’s cut – which was actually wonderful. You really don’t know where you’re going to have arrived at in that final emotional moment until you see the whole movie cut together. It was amazing because what that allowed me to get there and then say “now I know what we need!” I met with a bunch of different companies, but was super excited by my meeting with Greenhaus, their ideas, and their initial pitch. So that was it! So how exactly did Greenhaus become involved? Jason: We were fortunate enough to go in for an early screening in late January. It was a rough cut, but it wasn’t too rough – there was a lot of visual effects that still needed work, but ultimately the story was in place. After watching the film and developing our first presentation, we were able to get on a call with Patty and David E. Hall, her post- production supervisor – who’s a good friend who we worked with on Warcraft. We had a really great Skype meeting with them for like an hour. Megan: Helen Greene, our Creative Director, is a very big fan of Wonder Woman, so we had sent them something that we’d come up with internally before we’d even spoken or seen the movie. Selected frames from Greenhaus GFX's initial Wonder Woman main title design proposal. Megan: Then once we got on the phone we just kind of spitballed about what Patty was looking for, the feel she wanted, the colour palette, and any inspirations she had. She was very involved in what she wanted creatively and was very clear about what she wanted. Then we were able to go see the movie and had about six to seven great Skype calls as well as number of emails and phone calls. It was a very collaborative effort. Amanda: She was really clear about how she wanted this title sequence to be about Wonder Woman’s journey. It wasn’t just a normal superhero movie, it was about Wonder Woman finding herself and becoming Wonder Woman. She really wanted us to come up with some ideas of vignettes that would really work with capturing her strength and femininity, and just her journey to becoming this superhero that we know and love. Patty, you mentioned that a number of other studios pitched on the project as well. What was it about the team at Greenhaus and their pitch that convinced you they were right for the job? Patty: They put together a lookbook and it was literally that. They had found a way to incorporate colour, brightness, and doable animation that made it exciting but possible to do. View 9 images. Image set: Wonder Woman (2. Beacon” concept boards. Patty: Movement and animation can be very time consuming. I loved what they came up with! I loved the way they showed scenes from the film but not literally scenes from the film. It was the quality of the work and the great ideas. And, by the way, their body of work being excellent. Could we talk about some of the initial directions Greenhaus took with this project? Amanda: There were definitely a few different ideas and variations that we tried, but Patty seemed to have a really clear vision when she saw two of our concepts at the very early stages. They were more of the illustrative style that we have in the final. It was all about taking from those initial styles and churning out different ideas and vignettes to really tell the story. One of the boards that we sent was of Wonder Woman standing on the precipice of the “W”, which had this moody feeling of her heroicness as well as isolation and loneliness. We built off some of the different boards from there. Wonder Woman (2. 01. Jason: Patty was definitely adhering to the yellow, red, and blue colour palette, as well as everything involving the smoke and atmosphere. Also, the sparks, which were very prominent in the film. So it was really riffing off of what she was already liking about the film and just kind of redeveloping those things. Amanda: It really brought a lot of mystery and energy into the characters in the vignettes, which was nice. Jason: But then it came to a situation where she was feeling like it was too dark and too moody. We didn’t want to end on too much of a sombre note or too much of a war fighting note, which is easy to do with a superhero film. Amanda: Especially one that was taking place in World War One. There’s an abstract, James Bond- like quality to parts of the title sequence, but as we've discussed it also functions as a sort of recap of Diana’s story. Patty, can you talk about the decision to not go one direction over the other, but instead sort of combine several ideas? Patty: They had these great war vignettes, but I was missing some of the positivity. I didn’t want the entire sequence to be the war and her fighting in the war. So then I was craving the island, which then led us more in that direction. We only saw so much on the island, so it’s not like the island will go on forever in the sequence. That sort of started to make things a more literal and the conversation then became “Well, how do we show moments from the island without it being shots from the actual film?” I think that was sort of how we arrived there. Amanda: We tried to capture certain elements from the film, like for example the watch being representative of Chris Pine’s character. We were looking for more poetic ways of positioning the concepts or certain moods that she was feeling in the movie. Jason: Yeah, there was one concept – the Unbreakable concept – that I thought for sure they were going to respond to. It was a rough, loose sketch, but conceptually I thought it was really nice. True power comes from within,” with this kind of Greek statue resting gently and carefully in the cave. Basically everything evolves from this statue breaking apart. We were going to do these high frame rate macro shots…View 9 images. Image set: Wonder Woman (2. Unbreakable" concept boards. Amanda: Just crushing the damsel in distress stereotype having her break out of this mold. That was a really cool concept, but we went a whole different direction ultimately. Jason: And a lot of times we want to go with a cohesive concept, but the world doesn’t necessarily work like that. What works for act one isn’t necessarily going to work for acts two, three, or four. I feel like we have about five acts in our piece. So it’s more like a James Bond- esque title sequence. Amanda: It was all tied together by the colour palette. Cool! I want to ask you about the logo reveal at the end. It’s really stunning and looks like it was complex to execute. Could you tell us about the development of that and how it was produced? Amanda: Patty was married to this idea of the layers with the Ws intersecting with the footage in the background. We were trying to interpret that idea she had with something that would be cohesive with the film and wrap up the whole title sequence that we had built before. Jason: It was all about trying to sew up and find a way to bring all this footage together.
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