Daniel Kleinman's title sequence for Casino Royale manages both to conform to and subvert what has come to be expected from a James Bond film. Inevitably, one expects female nudity and objectification to match 007's somewhat misogynistic tendencies; women dripping in oil for The World is Not Enough, encircled by fire in Goldeneye, and buried beneath a desert in Quantum of Solace. The women are still present, although as the most recent 3 films seek to relieve James Bond of some of his more unfavorable attitudes towards women, it is in a less prominent capacity.
Instead, Kleinman uses animation to imbue the the titles with a sense of the film's nature. Alongside the expected iconography of guns, with Casino Royale there is a heavy emphasis on gambling and cards to support the central narrative (which sees Bond take down his nemesis via a high stakes poker game). The way in which the silhouetted figures, their surroundings and even their weapons are revealed to be comprised of diamonds, spades, clubs and hearts is mesmeric and highly creative, as is the use of pouring hearts to show a wound.
In terms of an animated sequence this is quite complex, certainly more so that those of Studio Deubal, but again it's suited to the more frenetic pace of a spy film, and the fact that threats approach Bond from all sides. Upon closer analysis it could be seen to reflect Bond's character flaws; gun cross hairs becoming roulette wheels and bodies bursting into hearts and diamonds suggest that Bond's only passions/talents are killing and gambling, or that perhaps the two are interconnected in his mind?
This sequence builds upon Kleinman's previous live action piece for Die Another Day, which began to reveal 007's vulnerabilities, and leads into his most recent for Skyfall, which is perhaps the most personal and revealing of Bond's psyche; it follows him to his past and childhood home, both of which are previously unexplored areas, revealing hidden wounds and weaknesses as he takes a metaphorical trip through the underworld to emerge a more world weary and less indestructible character than the audience is used to.
While Skyfall uses experimental and advanced technological methods, creating mesmerizing fluid animation and combining live action with animated and graphic imagery almost seamlessly, Casino Royale stands out for its use of a more traditional 2D silhouette animation. Not only does this more timeless style suit the fact that the film takes Bond back to the beginning of his career, out of sync with previous films in the franchise, but also pays respect to Maurice Binder's early Bond titles, such as Dr No (the first in the franchise), which used strong graphic shapes in abstract patterns.
Instead, Kleinman uses animation to imbue the the titles with a sense of the film's nature. Alongside the expected iconography of guns, with Casino Royale there is a heavy emphasis on gambling and cards to support the central narrative (which sees Bond take down his nemesis via a high stakes poker game). The way in which the silhouetted figures, their surroundings and even their weapons are revealed to be comprised of diamonds, spades, clubs and hearts is mesmeric and highly creative, as is the use of pouring hearts to show a wound.
In terms of an animated sequence this is quite complex, certainly more so that those of Studio Deubal, but again it's suited to the more frenetic pace of a spy film, and the fact that threats approach Bond from all sides. Upon closer analysis it could be seen to reflect Bond's character flaws; gun cross hairs becoming roulette wheels and bodies bursting into hearts and diamonds suggest that Bond's only passions/talents are killing and gambling, or that perhaps the two are interconnected in his mind?
This sequence builds upon Kleinman's previous live action piece for Die Another Day, which began to reveal 007's vulnerabilities, and leads into his most recent for Skyfall, which is perhaps the most personal and revealing of Bond's psyche; it follows him to his past and childhood home, both of which are previously unexplored areas, revealing hidden wounds and weaknesses as he takes a metaphorical trip through the underworld to emerge a more world weary and less indestructible character than the audience is used to.
I read a study that showed that people who were familiar with a story before being told it enjoyed it more and perhaps, in a subtle way, the titles perform that function.
- Daniel Kleiman
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