designer: Michael Riley • studio: Shine Studio • 2 comments
The credits are set in a basic sans-serif font which makes nice contrasts to the (post-processed) live action footage of writing. Black ink gets absorbed into the thirsty, white paper – a reference to the diaries kept by the main character. The handwriting also emphasizes the "true story" nature of the film. Taking Chance is based on the personal account of a US Lieutenant who, at his own request, accompanied the remains of a young Marine who got killed in Iraq back home to his family in Wyoming.
The main titles are subtle and poetic – an approach that seems appropriate for a movie that deals with a subject that affects average Americans all across the US on a daily basis.
Taking Chance director and executive producer Ross Katz' experience working with the creatives at Shine has been a a very positive one: “I was terrified of a title sequence. I couldn’t conceive of how a full sequence could appear at the front of the film, without hurting it. Even if I could find it manageable, it would never be great. Then came Shine ... Seeing them create a sequence that would take the film to a whole other level, was beyond my wildest dreams.”
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About Michael Riley
Michael Riley is the creative director of Shine, a creative design studio in LA. He has been directing and designing film and television main title sequences, theatrical trailers, television commercials and corporate identity packages since 1991. He has designed main title sequences for Traitor, Signs, Mad Money, and television title sequences for Terminator: The Sarah Connor Chronicles, Blade: The Series, Criminal Minds, Karen Sisco, Ally McBeal, Saturday Night Live, and many more. "I was very happy to work for DreamWorks on Kung Fu Panda. Maybe Gattaca, for Andrew Niccol; Band of Brothers for Steven Spielberg; or Standoff for Fox; or 21st Century for The United Nations," Riley answered, when asked what title sequences he is most proud of.
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