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“Main Title Design” may not sound like the most glamorous Emmy award out there, or even as crucial an element as it is to a series. But while it’s often underrated, a show’s titles do all the heavy lifting right at the start, setting the tone and pace, and giving audiences a taste of what’s to come in terms of themes, characters, visual aesthetic and artistic ambition. It’s a tall order for such a short sequence, but when done right, it economically conveys all that and more, as evidenced by this year’s five Emmy nominees.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
- 8/16/2018
- by Iain Blair
- Variety Film + TV
The 2018 Emmy nominees for Best Main Title Design once again prove that the opening credits sequence is not dead yet. The five nominees include TNT’s “The Alienist,” Netflix’s “Altered Carbon,” Starz’s “Counterpart,” Netflix’s “Glow” and HBO’s “Westworld.” These choices are inspired compared to other categories, which mostly comprise of shows nominated in their respective series categories. While we do have three such shows, “Westworld” (21 noms overall), “Glow” (10 noms) and “The Alienist” (6 noms), “Altered Carbon” has just one other nomination and this is the only nom for “Counterpart.”
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
- 7/31/2018
- by Kevin Jacobsen
- Gold Derby
Why Watch? In a different world, this short film exists as a fairly standard police negotiation thriller, but through blunt force editing and a very cool robot, writer/directors Jason Groves, Chris Harding and Richard Kenworthy have created something worth cheering about. With sirens blaring, a metal E.T.-looking automaton works its way up a staircase to an apartment where a bleeding man is slouching desperately against the window. The full force of the police is outside, but Dr. Easy attempts to offer medical assistance and talk the man down from what he’s about to do. Tight as a drum, this movie cracks on with a direct mystery and high stakes, placing the slightest twist on a common genre. That CGI twist makes all the difference. Dr. Easy itself is integrated with precision (except a few dodgy bits near the end) and becomes a warm blue tractor beam alongside a situation that grips you by...
- 8/7/2013
- by Scott Beggs
- FilmSchoolRejects.com
Watch: Stellar Sci-fi Short Brings You into the World of 'Dr. Easy,' but the Film Doesn't Stop There
Hopefully you've got 10 minutes to spare today, and if you don't, you should really make an effort to find them. That's all it will take to watch Dr. Easy, a remarkable sci-fi short film that packs an impressive amount of awe and awwww into its short run time. Based on the novel The Red Men by Matthew DeAbaitua, Dr. Easy tells the story of a robotic medical technician who is sent into a crisis situation to give care to a suicidal madman before he does something rash. It's a beautifully conceived snapshot of the future that'll have you projecting emotions onto a supposedly emotionless robot. The film was written and directed by Jason Groves, Richard Kenworthy and Christopher Harding, a trio of names we hope to see attached to some feature film...
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- 7/3/2013
- by Peter Hall
- Movies.com
Check out this exceptionally well made sci-fi short film called Dr. Easy. It's based on Matthew De Abaitua's novel Red Men. This short was written and directed by Jason Groves, Richard Kenworthy, and Christopher Harding, and it serves as a prologue for a planned feature film adaptation of the book.
The short centers on Michael, "a broken man with a gun. He is surrounded by armed police. A robot with medical training is dispatched to negotiate – but can it save him?" For those of you not familiar with the book, here's a description:
Nelson used to be a radical journalist, but now he works for Monad, one of the world's leading corporations. Monad makes the Red Men-tireless, intelligent, creative, and entirely virtual corporate workers-and it's looking to expand the program.
Nelson finds himself at the helm of a grand project whose goals appear increasingly authoritarian and potentially catastrophic. As the...
The short centers on Michael, "a broken man with a gun. He is surrounded by armed police. A robot with medical training is dispatched to negotiate – but can it save him?" For those of you not familiar with the book, here's a description:
Nelson used to be a radical journalist, but now he works for Monad, one of the world's leading corporations. Monad makes the Red Men-tireless, intelligent, creative, and entirely virtual corporate workers-and it's looking to expand the program.
Nelson finds himself at the helm of a grand project whose goals appear increasingly authoritarian and potentially catastrophic. As the...
- 6/22/2013
- by Joey Paur
- GeekTyrant
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