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SAUL BASS. THE ART OF ASSETS

If you've ever heard someone say in the movies or watching television: "you have not lost anything, until now only been out signs" , is that the credits of that film were not Saul Bass .

Saul Bass (1920-1996) was born in the New York borough of the Bronx. He studied graphic design in this city and in 1946 he moved to the West Coast, where he began working in the Publicity Department of the Warner in Hollywood.

There, in 1952, created his own company, "Saul Bass & Associates" , and in 1954 will meet the director Otto Preminger , who commissioned the poster design his film "Carmen Jones" . When Bass submitted the proposal, Preminger was so impressed that he offered to produce the credits of the film, thus beginning a long and innovative career in this field, hitherto almost entirely secondary and dispensable.

next year also carried out the advertising image and the credits of a new film by Preminger , "Man With the Golden Arm" where Frank Sinatra played a jazz musician addict heroin. Here is where Bass definitely be revealed as the great revitalization of the genre, including some animated credits, with its own autonomy within the film, creating a personal style that is identifiable throughout his career.

Up Bass arrival , credits of the films were little more than a forced and rapid enumeration of artistic and technical staff was involved in it, with a listing on a background still image, which was what was responsible for graphic designers, or at most, overprinted with the onset of action. Bass With the start of a movie gives a radical and credits go on to become an event in itself, a small autonomous work of art, full of visual and aesthetic force, announcing its own personality, of his Graphic author (who first appears uncredited), which is going to below. Bass said the goal of credits should be symbolize and summarize the story that introduced, and he got on a teacher.

This also is another important element in power which is the soundtrack. The music, in those few minutes during the opening credits, is in perfect harmony with the images and helps to describe, as an overture, the intimate spirit of history will tell us.

's collaboration Bass Preminger and reached its zenith in 1959 with "Anatomy of a Murder" . An out-standing work both from the standpoint of film as the design of the credits, where the creation of Bass, with the silhouette of a body built to the rhythm of the great music of Duke Ellington , leaves one the best moments of the genre:

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A year earlier, Saul Bass had initiated another successful tandem with another great director, Alfred Hitchcock , who work in three masterpieces of suspense wizard, "Vertigo" (1958), "North by Northwest" (With the North by Northwest) (1959), and Psycho (1960).

Saul Bass created for "Vertigo" a hypnotic titles, from the first frame, we enter the world of obsessions and fears of the protagonist. It counts with excellent add a soundtrack from Bernard Herrmann beautifully constructed, with a haunting notes of the harp, sudden appearances of metals and chiseling a swinging rope climbs and descents in the score, we plunge into this dizzying spiral Bass visually raises a pupil and that, at any given time, reverse the direction of rotation to return back to the vision of the eye with the name of Alfred Hitchcock it:

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His collaboration with Alfred Hitchcock in Psycho seems that extended beyond the stunning opening credits to the film and reached storyboard design the shower scene. Still remains alive the controversy about whether Saul Bass merely to draw up plans to film on paper or actually was in charge of directing the filming, which Hitchcock always denied.

Some other noteworthy of his creations were, for example, "Around the World in 80 days " (1956), with the famous music by Victor Young background:

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O "Good morning blues" (1958), "The Big Country" (1958), or "Ocean's Eleven" (The crew of eleven) (1960):


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O “Éxodo” (1960), “West Side Story” (1961),  “El mundo está loco, loco, loco” (1963)...

Pero su trabajo en el mundo del cine no se limitará sólo al diseño de carteles y títulos de crédito. Dirigió varios cortometrajes, labor por la que llegaría a obtener un Oscar en 1968 por su corto titulado “Why Man Creates” . Y también dirigió un largometraje, “Phase IV” , una interesante historia de ciencia ficción que sin embargo pasó sin pena ni glory through the screens.

announced his retirement in 1980 film, but first let us the excellent work that introduces the legendary Ridley Scott film "Alien" . From this time will focus on graphic design work which will be responsible for logos and corporate images for companies like United Airlines, Minolta, Bell, AT & T, Kleenex or Warner Communications, and in 1984 will be in charge of designing the poster of the Olympic Games in Los Angeles.

film director James L. Brooks claim in 1987 services to develop Saul Bass credits "Al Filo de la Noticia" (Broadcast News) , thus initiating the second stage New York designer in this field, where accompanied by his return wife Elaine, which is marked by his friendship with Martin Scorsese , who will collaborate in four memorable titles: "Goodfellas" (Goodfellas) (1990), "Cape Fear" (1991 ) "The Age of Innocence" (1993) and "Casino" (1995), which would ultimately his latest work, leaving forever in our minds the memory of that powerful start in the body of Robert de Niro explodes after his car explode and remains floating in the fire while the credits are occurring at the sound of the Choir impressive "Wir setzen uns mit Tränen nieder" of "The Passion According to St. Matthew " of JSBach .

Unfortunately, I could find on youtube video the beginning of "Casino" (*) , so I will end with another great work of this master of design, as Spartacus (1960) The film directed by Stanley Kubrick . Saul Bass here again makes a show of genius and, true to his own motto of "synthesize and symbolize" , get a huge sum sobriety epic drama that will follow. Looking at each of the memoranda accompanying the names of the cast, see how Kirk Douglas - Spartacus is represented by a hand with a clenched fist holding a knotted rope, Jeanne Simmons - Davinia is a woman's hand holding a vase, Laurence Olivier - Crassus is an eagle and John Gavin - Julius Caesar is a sword that goes down to meet another, when it appears the title of the movie, "Spartacus " , symbolizing the struggle for freedom and against the power of Rome. All accompanied by the perfect soundtrack for Alex North in one of his most inspired scores:

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(*) With the help of friends and Joaquim José Luis add these other two see videos of the good work of Saul Bass . These are the claims of "West Side Story" and "Casino" :

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from Georgi Dimitrov on Vimeo.