IT LASTS for just more than two minutes, but its impact continues to be felt after 16 years. In design terms, Kyle Cooper's opening credit sequence to David Fincher's 1995 high-concept horror film Se7en might be comparable to Dylan's Like a Rolling Stone or the riff around the Velvet Underground not everyone bought their first album, but those who did started a band. Se7en's title sequence inspired a generation.
Using Ray Gun magazine-inspired imagery overlaid with a Nine Inch Nails soundtrack, Cooper's fractured film titles captured the inner state of Se7en's unhinged serial killer.
"The visuals, the sounds and presentation it's overwhelming," says Melbourne designer Andrew Ashton. "Not only is this film rocking, you're thinking 'I want to do stuff like that.' "
"When people are doing innovative things, other people begin to remember what's possible," the modest designer of Se7en's titles explains. Until Cooper arrived, however, great sequences were sporadic affairs. Outside a few designers such as Pablo Ferro (Dr Strangelove), Stephen Frankfurt (To Kill a Mockingbird) and regular instalments from the James Bond franchise by Maurice Binder and Robert Brownjohn, Saul Bass (Man with the Golden Arm) remained the medium's magus. Yet, aside from occasional forays with Martin Scorsese (most memorably Casino), Bass had gone into virtual retirement, disillusioned with the form's mediocrity.
Within a year of Se7en's release, Bass was dead and the heavyweight title had passed to Cooper. While the new champ continues to produce inspired work, he has plenty of competition.
Nowadays, we regularly thrill to title sequences, from Kung Fu Panda's woodblock-inspired opening to television programs such as Six Feet Under with its elegantly witty sequence to thrillers like Sherlock Holmes by master designer Danny Yount.
Tonight, as part of the State of Design festival's theme "design that moves", motion graphics comes into the spotlight as five Australian graphic designers reveal the title sequences that move them.
For Domenico Bartolo, a motion-graphics designer for documentaries, the purity of vision apparent in Cooper's work will be evident in his selection. "We know title sequences are entertaining. But they're also trying to operate beyond the roller-coaster," says Bartolo. "They're trying to communicate greater meaning and visual poetry. The essence is storytelling and the task is to create that doorway into the narrative and establish the mood."
"I've focused on films that add meaning to the fabric of a film. They act as a doorway or portal into the character's mind and the world in which they live."
Keen to maintain the element of surprise, the designers prefer not to reveal all the titles they will screen.
"We've got a bit of a historical background, a really funny dive down a little typographic rabbit warren, an era-based presentation and generally a whole lot of 'this is what I love'," says the organiser of the Talkies series, Ghita Loebenstein.
Indeed, for all Cooper's influence and the technical wizardry behind his work, Andrew Ashton's first memory of a powerful title sequence is Dr Who from 1963. "I remember always being crouched behind the couch, so scared," he laughs. "Its crazy visual effect and hypnotic music completely got you in the space of Dr Who. You know you're about to go into a very strange world and then suddenly you're presented with 'garbage bag' monsters. It's so extraordinarily simple, that's what I love."
Despite the renaissance in film and television title sequences, in Australia it's television that has largely shown what's possible. The ABC and SBS, in particular, have led the way. Programs such as Enough Rope and Paper Giants: The Story of Cleo successfully married the period flavour of the story with graphics and music.
"With television the investment is carried over a longer viewing span over several episodes," explains Ineke Majoor, head of VFX with Iloura, who designed the "stained glass" title sequence for Elizabeth: The Golden Age. "It's seen as carrying branding weight for the series, so they see it as marketing money worth spending."
For Australian films, it's another story. "They have to battle . . . just to get budgets to shoot the films, let alone putting money into extensive title design pieces," says Majoor.
Title Sequence, ACCA, 111 Sturt Street, Southbank, tonight 9-11 stateofdesign.com.au
Frequently Asked Questions about this Article…
Why do title sequences matter for a film or TV show's branding and audience engagement?
Title sequences act as a doorway into the story — they set mood, communicate themes and create visual poetry that primes viewers. As the article explains, good title design establishes the narrative tone, strengthens branding (especially for TV series seen over multiple episodes) and can make a program instantly memorable.
How did Kyle Cooper's Se7en title sequence influence modern title design?
Kyle Cooper's Se7en sequence — using Ray Gun magazine–style imagery and a Nine Inch Nails soundtrack — captured a film character's inner state and inspired a generation of designers. The article notes Cooper's work revived interest in title design and positioned him as a leading figure in the field after Saul Bass's era.
Which Australian organisations and studios are highlighted for title design or VFX work in the article?
The article mentions Australian broadcasters ABC and SBS as leaders in television title design, and highlights Iloura (with Ineke Majoor as head of VFX) for work such as the 'stained glass' sequence for Elizabeth: The Golden Age. It also references local design events like the State of Design festival and the Talkies series that showcase designers.
Is title sequence work a good area for investment in Australian film and TV production?
The article suggests television title design in Australia receives more consistent investment because sequences carry branding weight across episodes and are seen as worthwhile marketing spend. By contrast, Australian films often struggle to secure budgets for production itself, making extensive title-design pieces harder to fund.
What are some standout examples of memorable title sequences mentioned in the article?
Notable examples cited include Se7en (Kyle Cooper), the 1963 Dr Who opening (remembered for hypnotic music and visuals), Six Feet Under, Kung Fu Panda, Danny Yount’s Sherlock Holmes sequence, and TV programs like Enough Rope and Paper Giants: The Story of Cleo.
How do festivals and events like State of Design benefit title-sequence designers and studios?
Events such as the State of Design festival put motion graphics in the spotlight, letting designers screen work, share creative approaches and reach audiences. The article describes a State of Design session where Australian designers reveal sequences, offer historical context and discuss the craft — helping build reputation and opportunity.
What creative elements make a title sequence stand out to designers and viewers?
Designers in the article highlight purity of vision, storytelling, mood-setting, typography, striking visuals, sound design and era-based presentation. Successful sequences combine these elements to create an emotionally resonant portal into the character’s world or the film’s atmosphere.
How does television differ from film when it comes to investing in title design?
According to the article, television often justifies title-design investment because sequences contribute to a show’s branding over many episodes, making them perceived marketing value. Film productions in Australia, however, typically prioritise shooting budgets and may have limited funds available for elaborate title sequences.
Call 1300 880 160
Start a chat
Schedule a call
