Five of this year’s six nominees for main title design are for shows from the science-fiction, fantasy or horror genres. Only “The White Lotus” is a conventional drama. But all are imaginative, some even delightful, and all were the product of months of design and production.
Gustavo Santaolalla’s guitar, based on his theme for the popular video game, was part of the process, Hill said. “Music was fundamental to how we manifested the visual identity.”,” on the other hand, was “reverse engineered,” says designer Aaron Becker, once his Filmograph team realized that producer Tim Burton wanted it to end with stormy clouds and a moon that becomes the eyes of the youngest of the Addams family siblings.
“Jennifer Coolidge was a monkey in season 1, so we brought over one animal – no longer free in the jungle, this monkey’s on a chain,” says Bashore. “Whole scenes were painted with new subjects, some inspired by ancient myths Leda and the Swan. Following J.R.R. Tolkien’s concept that the spiritual Ainur sung the universe into being, they used the science of cymatics. “You’re seeing sound visualized,” she explains, as grains of sand form fascinating patterns – many of them referring obliquely to moments in the history of Middle Earth – set to Howard Shore’s music. “It was a big science experiment for nine months,” she adds.
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