Reservoir Dogs - Opening Scene

We are taking the opening of Reservoir Dogs as we found it appropriate for our genre, a music heist. I particularly like the way there is dialogue the during the title pages and the dialogue on carries into the opening scene. I also like the way the camera is slowly moving in a 360 degree rotation around the characters. This helps to establish the main characters.

story line & board for our main task.

The story is set in the suburbs of London. Two young men, Richie (Richard) and George, both of musical talents, but still very different in personality are best of friends. They are trying to break the music scene but don't have the efficient funding for it. They take on the job of drug runners for an organised crime boss, his name is Domino, he has two very trusted henchmen, we never learn their names. Richie and George, make the decision to steal the money and drugs they are running for Domino, to support their dreams. Domino finds out, he calls Richie and George into his basement office, they run for it. There is one main narrative arch which is the boys making it to success in the music scene, the second narrative arch is the boys getting rid of the Domino who is after them, and the third narrative arch is on going throughout the story, this is a flashback which occurs after significant events to the characters. The flashbacks consist of how they got into the crime scene.
    We got the idea of the storyline from the Film 'You Got served', which is similar but the two friends are trying to break the dance scene, the money they're running gets stolen as one of the friends are beaten up, The crime boss wants his money back so they enter a dance competition to win the money to pay the crime boss and one of the friends grandma back, also it leads to success as they get a chance to preform in a notorious stars music video.

intro to modern titles

The Digital Era, And Modern Trends In Film Title Design

Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do. That apprenticeship tradition has largely been overshadowed by the rise of popular technology, the Internet-enabled archiving of everything and the plethora of schools that propagate countless design disciplines. Most significantly, we see designers working like filmmakers and filmmakers working like designers.