Answered by Leanne DarennnTell us a little about the initial call:nAt first, we met with Michelle Ashford and Sarah Timberman; Creator and E...
Answered by Leanne DarennnTell us a little about the initial call:nAt first, we met with Michelle Ashford and Sarah Timberman; Creator and Executive Producers of Masters of Sex. There were a lot of giggles when throwing out ideas! I honestly can’t say I remember many specifics of the meeting - but I do remember leaving the meeting thinking “It’s on. We can push this one all the way.” We had a clear premise and objective - and almost as importantly - free reign on how to execute this concept.nnnWhat was the one thing you were tasked to convey in this title sequence:nWithout a doubt, they also wanted something beautiful and sensual for the show’s title sequence. But they also wanted the titles to be more than just eye candy. One key word I remember writing down and repeating to myself throughout the process was “wit.”nnnExplain the final concept of the title:nAt face value, this title sequence is a barrage of sexual innuendos intended to trigger sensory overload for viewers. I’d also like to say it’s a series of strategically choreographed slices of everyday life, that are designed to make you feel awkward and astounded.nnnHow did it evolve with you as you worked on it?nThis project had a lot of time for evolution. There were some changes to the show delivery schedule which allowed us to sit with it for almost a year. Initially, we started with just clips of our everyday innuendos. Further along during production, we added some of the more raw and clinical imagery into the sequence; we found that we could strike a perfect balance of the two that kept the sequence unique and fun, while still appropriately reflecting the storyline of the show. It wasn’t until the end of the process that we created the 50’s style illustrations; they did a fair job of depicting the four stages of Master and Johnson’s Human Sexual Response Cycle.nnnTell us a little about your process, how do you typically work?nI go a little crazy with research. At least for me, I’d say that research amounts for 50-75% of the time spent on any given project — well before anything is actually created. If I already have a concept in my head, I will spend time getting everything I need to support and make that concept stronger. In the case of Masters of Sex, I didn’t have an initial concept. So I spent my time exploring the themes of the show, looking for a sliver of an idea that I could sink my teeth into.nnnWhat typically inspires you during conceptual development?nHonestly, one of the most powerful tools for concept development I use is simply an internet search engine. I find the internet to be a vast expanse of ideas, waiting to be collected, manipulated, developed and refined. Usually we don’t really have a lot of time to develop a concept. The internet is a gold mine as far as inspiring new ideas and improving ideas you’re already holding on to. If I’m researching and I come across something I’ve never seen our knew about before - I get really excited. nnnWhat is the most interesting part of the process for you?nPitching is really fun. It’s the point when your concept is the most pure. But I’d have to say that the most interesting and challenging part of the process is all the stuff that comes after you’ve won the pitch and you’ve got to figure out how your idea is really going to work. nnnWere there ideas that you loved that got killed?nYes. We have so many amazing bits that didn’t make it to the end. For every shot that there is in the sequence - there are 10 that were left on the cutting room floor. nnnWhat are your thoughts specifically on Titles for TV?nUnfortunately, not all title sequences are created equal and not all of them have the creative opportunities like Masters of Sex. I’ve worked on many title sequences which became 5-10 second montages of footage from the show and followed by a title card. It’s not creative. It’s not interesting. It’s safe and easy and the usual excuse for these poor title sequences are usually marketing concerns. All I have to say to that is - When has a creative, thought provoking, beautiful title sequence ever ruined the chances of a show’s success? nnI think TV titles are a huge part of a show. We remember them. We talk about them. We hum their tunes. They set a mood for a show and for the most part good title sequences and good shows come in pairs.nnnHow is it different from the rest of the work you do?nWhether creating a commercial or a title sequence - the general approach and process have a lot of similarities. The subject matter for a title sequence tends to be a bit more interesting and come with a few less constrictions.nnnHow do you feel when you see your own work?nIf possible, I avoid watching my own work once the project is out of my hands. When I do - all I think about is how it could be better. Less
