Daniel Kleinman: Designer of Title Sequences for GoldenEye and Casino Royale
Browse articles:
Auto Beauty Business Culture Dieting DIY Events Fashion Finance Food Freelancing Gardening Health Hobbies Home Internet Jobs Law Local Media Men's Health Mobile Nutrition Parenting Pets Pregnancy Products Psychology Real Estate Relationships Science Seniors Sports Technology Travel Wellness Women's Health
Browse companies:
Automotive Crafts & Gifts Department Stores Electronics Fashion Food & Drink Health & Beauty Home & Garden Online Services Sports & Outdoors Subscription Boxes Toys, Kids & Baby Travel & Events

Daniel Kleinman: Designer of Title Sequences for GoldenEye and Casino Royale

Maurice Binder died in 1991 and he was succeeded by Daniel Kleinman as the title designer for Bond movies. Kleinman is a British commercial and music video director.

Film title sequences are a pervasive, but little studied area of design. A title sequence is the section at the start of a film that displays the title and main credits. For the first few decades of film history, most title sequences were dull and unimaginative, but by the 1950s a number of designers used them in a more creative way. Maurice Binder (1925-91) was a famous designer of film title sequences who defined the style of the James Bond series. Binder worked on 14 James Bond films, creating distinctive sequences featuring guns, girls and glamour. Binder created a consistent visual identity for Bond films that was instantly recognisable.

Maurice Binder died in 1991 and was succeeded by Daniel Kleinman as the title designer for Bond movies. Kleinman is a British commercial and music video director. He’s directed adverts for Smirnoff, Guinness, Levi's, Johnnie Walker, Durex and Audi. He’s also directed music videos for Madonna and others. In 1989, he directed a video for Gladys Knight's title song for the Bond film Licence to Kill, and this led to him being chosen as the replacement for Maurice Binder.

His first Bond title was for GoldenEye in 1995. This was the first Bond film since the collapse of the Soviet Union and the end of the Cold War. The sequence includes imagery of scantily clad women demolishing Soviet monuments, physically destroying the iconography of Communism. This brings the Bond series up to date, acknowledging that the film set after the Cold War. A key sequence in the film is set in a Russian dumping for redundant statues of Lenin and Stalin. The titles also feature a two-faced woman, an allusion to the two-faced Roman god Janus. Janus is the name of the terrorist organisation in the film.

Kleinman’s sequences are distinct from Binder’s in two ways. Firstly, he uses modern technologies such as computer-generated imagery. Secondly, he places greater emphasis on integrating plots elements into the sequences. The titles for Tomorrow Never Dies turn the Bond girls into anthropomorphic symbols of technology - circuitry and telecommunications – because the plot is concerned with the power of the mass media. He also uses the image of satellites in orbit, which turn into diamonds. This is reminiscent of Binder's sequence for Diamonds Are Forever.

The World Is Not Enough is about the exploitation of the world’s natural resources. The titles feature images of the globe, massed ranks of pumping oil derricks and the usual silhouettes of women. In this case, the women are formed from oil. Kleinman uses the rainbow effect of oil on water.

Die Another Day's titles show Bond being tortured during his imprisonment in North Korea, complete with beatings, dunkings and scorpion stings. The alluring women are represented as elemental figures – water, electricity, fire and ice. They represent the various means of torture used on Bond.

In 2007, the James Bond franchise was revitalised with Casino Royale, starring Daniel Craig. Kleinman designed a unique sequence for this film. For the first time, the women are entirely absent. Instead, he uses angular silhouettes of men in action. Bond appears in black-and-white, fighting a series of attackers whom he dispatches as he works his way to Double-0 status, again advancing the plot. It’s all set against a stylised background of card-game symbolism to reflect the film’s central theme. This is reminiscent of the original paperback cover for the novel. The sequence concludes with a focus on Bond's ice-cold blue eyes.

Need an answer?
Get insightful answers from community-recommended
experts
in Popular Culture on Knoji.
Would you recommend this author as an expert in Popular Culture?
You have 0 recommendations remaining to grant today.
Comments (5)

A fantastic well written article that was well worth the read.Well done and loved the videos! cool share as always :) v+done

well researched and illustrate...it increased my knowledge in this area.....Thanks

Ahhh . . . so he's the guy!

Ranked #1 in Popular Culture

Thanks for your comments.

this is carol roach not reah M. I don't know why I am being signed in as another writer. good article

ARTICLE DETAILS
RELATED ARTICLES
RELATED CATEGORIES
RECENT SEARCHES ON KNOJI SHOPPING