“The world map was very much intentional of showing people where you are in each episode,” he says about the original Game of Thrones title. “There is a specific language that we’ve built with these flyover cameras, moving from place to place, and that’s something we definitely wanted to keep in the show.” While the camera movements originally tracked locations on the map of Westeros, the new movements follow the bloodline of the Targaryen royal lineage. “There is a big thing that maybe people don’t consciously think about as Game of Thrones,” he says. Though the design of the new main title sequence was more focused on a singular family line, it was important to incorporate some nods to the original. ‘House of the Dragon’ Main Title Still HBO “Some people don’t care about the titles and they hit the skip button, but we have found that a lot of people really do watch them, and I think viewers feel it when you do it right.” “The psychology, mood and inner logic of a show really compressed into an abstract film is very fun to do and a huge challenge,” he says. Given only 90 seconds to convey those ideas, she says the biggest question is how do they bring someone into a new world in a limited amount of time? “We’re not novel in saying that for us title sequences are a bit like a portal, right?”Ĭreating that portal is always a challenge, but Bashore says that’s why he loves designing the entry point into these worlds. “Ideally, we want to make it meaningful to everyone, whether they have knowledge of Tolkien’s world or not,” says Crawford. “It’s beautiful for everybody, but it’s pretty deep in its meaning,” says Bashore. With such a storied world, it was essential for Crawford and Bashore to design patterns that would give a new viewer an idea of what they were coming into, but also convey a deep appreciation of Tolkien by layering in hidden meanings for the fans. “It’s hypnotic and beautiful,” she says, “always shifting and changing… representing elements of transformation.” Using cymatic patterns created the perfect solution of something almost magical that is grounded in reality, which creates a portal into the world of Tolkien for the viewer. As the song changes in the main title, the particles shift into new patterns created through the vibrations. Cymatics is the natural phenomenon of complex patterns emerging through the displacement of small particles on a flat surface when vibrations are introduced. “The idea of music creating something brought us to cymatics,” Crawford says. “That was perfectly in sync with our view of filmmaking, which is that audio can be more important than visuals.” The goal was to blend audio and visual together for the main title theme, having the music seemingly create the imagery.
“Tolkien felt that music was almost the center of the universe,” Bashore says. The Lord of the Rings: The Rings of Powerįor The Rings of Power main title, Plains of Yonder designers Katrina Crawford and Mark Bashore looked to Tolkien’s creation myth of angelic figures singing the universe into being. ‘The Rings of Power’ Main Title Still Plains of Yonder/Prime Video “It’s like they’re thriving at the same time the human civilization is on a decline.”
“They only wanted to see the fungus-how it grows, how it spreads and how it resembles a developing species.” The theme shows the fungus spreading and evolving into forms resembling manmade structures. “They didn’t want to see any dystopia-cliché in the title,” Tzuo says. While the video game’s title focused on the human impact of the fungal spread, The Last of Us series creators Neil Druckmann and Craig Mazin were looking for a title sequence that explored the growth of the infection itself. “They wanted it to set up the tone and the idea of what the show was about, but not rely on what people’s associations of the game was.” And those unfamiliar with the game, in which mankind is hit by a lethal fungal infection, needed to have that context. “They wanted it to evolve in the same way that the show evolved beyond the game and be able to stand on its own merits,” Hall says. Following the 2013 video game, which had its own opening title sequence, it was important for creative studio Elastic’s main title designers Nadia Tzuo and Andy Hall to set their design for television apart.
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