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Watch “Limitless”‘ Amazing Opening Titles

Watch “Limitless”‘ Amazing Opening Titles (photo)

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Three days.

That’s how long it took after we put the finishing touches on our massive list of the greatest opening titles in movie history for me to want to revise it. That’s because three days after we published the list, I saw Neil Burger’s “Limitless.”

Here’s how I laid out our criteria for a great opening credits sequence in the introduction to that piece: “Bold graphic design and impressive cinematography are important, but how the design and cinematography is used is more important. These fifty films have style and substance. While they dazzle our eyes they’re also busy engaging our brains and our hearts, establishing mood, presenting characters, and introducing themes.”

All of that applies to the opening of “Limitless,” 80 seconds of dynamic imagery that also serves to establish many of the film’s recurring visual motifs and ideas. This visceral sequence sends us hurtling through the skies and streets of Manhattan as we get a taste of what Bradley Cooper’s Eddie Morra feels on the brain-boosting drug NZT: an exhilarating sense of freedom mixed with the terrifying realization that said freedom might be uncontrollable. The ride is amazing, but there doesn’t seem to be any way to make it stop.

I’m delighted to present the complete opening title sequence to the film, along with an interview I conducted just a few hours ago with director Neil Burger about the inspirations for, and execution of, this fantastic sequence.

Matt Singer: Where did the idea for the titles originate? Was it in the original script when you got it?

Neil Burger: It wasn’t in the script. It was something that I wanted to do. I had this idea of visualizing the way Eddie’s mind worked, how he looks at the microcosm and the whole at the same time. He’s seeing the atoms and the planets simultaneously, if you will. So I started looking at fractals, because that’s how fractals work. The part looks identical to the whole. Like snowflakes: if you look closely at one little twig of a snowflake it’s the same structure as the larger branch, and if you keep going deeper and deeper into it, it’s always the same.

And there are these things people have animated called “fractal zooms.” But they’re always done with amorphic shapes or abstractions. I wanted to bring it into the real world of New York City. I wanted to move down the street in an infinite zoom, where these shapes and buildings and structures kept seamlessly regenerating themselves.

I had the idea initially for Eddie’s time-skipping blackout sequence, as a way of showing how his mind’s moving through space and time. And then I thought that I would use it in the title sequence as well to create a kind of visual overture for the movie. Because the visual effects don’t pop in until ten or fifteen minutes into the movie, and I wanted to make sure viewers were aware that the movie was going to go in that stylistic direction.

These fractal zooms are also a clever play on the way most movies begin, which is with some kind of big establishing shot that zooms in on a setting or character we’re going to follow. You’ve taken that to this crazy extreme, which makes perfect sense for this movie, which is about a character whose brain goes to this crazy extreme.

Yeah that’s right. In a way it does. It starts with what could possibly be his point of view jumping off this building, and we go into this reflection in the windshield of the cab and we keep going deeper and deeper. So, yeah, it is a play on that kind of movement. It goes seamlessly from the street into the brain and then the segments of the brain turn into the boroughs of New York and then we come down into Chinatown where Eddie lives.

So those fractal zooms: did you shoot them yourself or did you hire a effects company to make them for you?

I drew out this very specific idea I had and then we took the idea to a number of different visual effects companies. Everybody was game, everybody liked the idea, but nobody could figure out how to do it. And then they always tried to reduce it! They’d say, “Well what if it was just this one part?” So we went into production without a visual effects company. And it wasn’t until after we finished shooting that I finally hooked up with this guy Dan Schrecker from Look FX, who I’d once talked to about an early incarnation of the job like two and a half years ago. We talked about it and then he and his team came up with a method to get what I was after. So it was designed by myself and Dan and then it was executed by Tim Carras from a company called Comen VFX.

How many drafts of the sequence went back and forth between you and the designers until you got exactly what you wanted?

Well the first thing they brought back was really just a test. It works by using multiple cameras chained together. You place them at different stations at very specific heights — I’m not going to say much more than that because it’s a secret.

[laughs] All right.

I think the very first test was a bunch of little pieces of different stuff. I watched it and told them “Well this part is what I’m after.” And then maybe the second or third go-around something very cool happened, where suddenly the sidewalk just seemed to go on forever. And I knew: that’s what we’re doing. But even then, we still had to test everything at different speeds and things like that. So it was a number of drafts, let’s put it that way.

The score fits the scene perfectly. Was it written to the visuals?

Yes. In fact: there was no money for this title sequence. So when I went out and shot the time-skipping stuff that occurs later in the film — zooming through the night and the subway and all that stuff — I made sure that I grabbed some stuff that we could use for the opening. But we were working like crazy; we only finished the movie about three and a half weeks ago or something. So then I was like, “I want this title sequence,” and it was already February. So we put it together very quickly and then sprung it on the composer, Paul Leonard Morgan. We were like, “Look we need an additional two minutes of music. Now.” [laughs] And he not only had to compose it, he also had to graft it to the existing music in the scene. And he did.

Watching the clip again, the other thing I became cognizant of is how important the placement of the actual text is on the screen is, so that it’s readable without being disorienting or distracting from the zooms. Was it a trial and error process to find that perfect placement?

Yes it was. I had a bunch of different ideas about that. I wanted the text to feel like it was kind of burned into the film a little bit, like almost branded into it. I wanted it really big, but I also wanted to be able to see the background. And I found the font we used in the original book [that “Limitless” is based on] in the chapter headings.

Are you a fan of title sequences in general?

I love cool title sequences when they feel organic. I think the trap with title sequences is if they feel like the beginning of a TV show, like its own little advertisement for the film.

One of the things I liked about what you did for these titles is that it felt fresh and different, but were there any classic sequences that you held up as inspirations?

Frankly, I hadn’t seen anything quite like it before. In “Fight Club,” obviously, the camera pulls out through the brain and then out through [Edward Norton’s] pores but this is different from that. I wanted this to not be abstract. The whole movie has this crazy pace where you’re cartwheeling forward in this feverish way, and I wanted an expression of that in the beginning of the movie.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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