Sep 1


i want to make these


Hobbit Characters + Emojis



Lee, proudly talking about "our Thorin" and Richard

Awww, Lee. We wish he was at SDCC, too.


True story.. I think, I’m mad…


True story.. I think, I’m mad…


Posting this old interview article of BB talking about The Fall because I’m feeling nostalgic and it seems like the info BB says is similar (if not the same) to what appears in a previous post of mine where I only had the snippet of the interview transcript.

The Fall - Part One: Lee Pace

By Maura Reilly May 10, 2008, 12:21 GMT (via Monsters and Critics)

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Adding this as a continuation of my previous post because I’m such a typography nut:

From A Q&A with Stefan G. Bucher, the film’s logo designer and typographer. (via artofthetitle.com)

Art of the Title: Please tell us about your process of working with Tarsem; did you understand the magnitude of the film, and to that end, how did the nature of the title sequence [being independent from the film itself…as well as a front loaded coda] influence the evolution of your design?

Stefan G. Bucher: Tarsem is a genius, and The Fall is a masterpiece. That much was clear from the moment I saw the first photos Stephen Berkman had taken on set, and particularly after Tarsem showed me a rough cut. Even in that format it was epic.

Tarsem initially called me in to design a book of photography from the movie (shot by Stephen Berkman, Steven Colover, Ged Clarke and Tarsem) , which was printed in a very limited edition and sent out as a promotion. In the course of that project I designed a logo for THE FALL that was intended solely for the book. But of course, I secretly had my eye on the titles, and was very excited when Tarsem decided to use the logo for the film and the collateral materials.

This is also how I got involved on the typography for the rest of the titles and end credits. Tarsem had done some rough versions of the type for the opening credits and showed it to me. Less than perfect type is personally upsetting to me, and I felt that the typography for the Fall should be as beautifully considered as the film itself, so I basically pleaded that he let me do the job. Luckily, if there’s anybody who understands that sort of urgent artistic need, it’s Tarsem.

His brief to me was to make the titles beautiful, elegant, and as close to invisible as possible. Which meshes with my own aesthetic for this type of situation. It’s always my goal to make the typography feel so organic that you don’t even notice it as its own, separate element.

Pablo Ferro’s titles were on my mind, and definitely influenced the choice of font. His style of handwriting would’ve been the wrong tone here, but he’s one of the few people who use very light lettering, and that’s what I thought would fit The Fall.

We went with Univers Light Condensed. It’s just about as simple as you can get, and even though it’s a modern font it soaks up Tarsem’s take on Deco and Art Nouveau. It feels much more period appropriate to my eye than actual fonts from that time, which would come off as cliché. The same goes for the title itself, which is a heavily modified version of Univers. As for the swooshes, they were inspired by the Indian’s sword, but I think it’s obvious that I’m also a great admirer of Margo Chase and Marian Bantjes, whose swirly magnificence is always floating around in my head.

Tarsem was the one who edited the whole opening sequence, and there’s not a frame out of place. It’s a gorgeous sequence that was perfect —- and also entirely sacrosanct. When I started working out the timing with my colleague John R. Waters of Atomic Zoo, who was in charge of the animation, we basically worked backwards. Legally, each credit has to be on screen for the exact same amount of time. After we determined what images should hold title cards, we had to use the shortest of those edits as our master length. From there it was a question of testing fade durations to make the appearance of short titles feel natural on long shots. It was a puzzle.

We also decided to put some of the type into perspective, letting it nestle under the bridge, in particular. We didn’t do it consistently, or as a huge, epic effect as David Fincher had done for Panic Room, but only in the one or two instances where a static title over the stately pans would’ve been distracting. We always saw the titles as belonging inside the space of the film.
When the pans occurred over open vistas, the type could conceivably float in that space, but the sharp lines of the bridge made it necessary to lock the type to the camera motion and to the perspective of the bridge. I’m always happy when I hear that people didn’t even notice we did that.


favourite fictional characters [8/?]

roy walker/red bandit (the fall)

Fluorescent tracer dyes used to measure drainage system characteristics in valley glaciers, Greenland

Ice Tracers

(Source: vvolare)


Sam and The Monster


Because sometimes you just need a bear.