244:"Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility. We saw a lot of pyrotechnics and fun and games and I suppose we lost interest. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it. Whatever the reasons, the result was ‘Fade Out.’ We did not worry about it: we had too many other interesting projects to get on with. Equally, because we still loved the process of making titles, we were happy to take it up again when asked. ‘Fade In’…"
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Saul alone, referring to him as "Bass" and "a master." In fact, Elaine often directed individual sequences and participated as equal partner in the tasks of producing, writing, cinematography, and editing, and always played a leading role in choosing the music and working with the composer, but is still often ignored or seen as an addendum by filmmakers and journalists. This may be because she was uncredited as a title designer on films until 1989.
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Sisters. At the age of twelve, she was admitted to the New York High School of Music and Art but withdrew in order to pursue her professional singing. She was the lead singer and soloist, and recordings made when she was fourteen to eighteen reveal a surprisingly mature voice singing swing with touches of
280:(1995), their last title sequence. This later work with Scorsese saw the Basses move away from the optical techniques that Saul Bass had pioneered in his early career and move into the use of computerized effects. These later title sequences featured new and innovative methods of production and startling
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At age eighteen and after six years of singing with her sisters, Elaine Bass began to work in the New York fashion industry, producing fashion renderings and sketches for several fashion houses. In 1947, she moved to Los
Angeles, settling there permanently in 1954. Soon thereafter she started working
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Although Saul and Elaine Bass collaborated closely for 40 years and Saul himself often spoke of Elaine and used the pronoun "we" when interviewed alone, she is not widely acknowledged as co-creator of these important cinematic works. Indeed, even contemporary critics of the 60s generally focused on
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Elaine Bass was born in 1927 in New York City, United States, to
Hungarian immigrants. The youngest of four daughters, she showed early promise at art, creating stories and drawing them, frame by frame, on the sidewalk. In the early 1940s, the daughters began singing professionally as the Belmont
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During the 1960s, the Basses were asked by directors and producers to produce not only title sequences for their films, but they were also commissioned to create short films for various corporations and events. The Basses' first joint venture into short filmmaking was with promotional films for
307:(1995). These title sequences didn’t just complement my pictures, they gave them another layer, embodying the themes and the emotions in a way that led viewers into the mystery of the film without giving it all away. And, of course, every sequence was different in style and approach."
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said of the Basses, "You write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages. Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark. They have boiled it down to four minutes flat."
291:"I had the honor of working with Saul and Elaine Bass on the title sequences of four pictures in a row. Each time they would study the film, take a few months, and then send us back a test that exceeded my wildest expectations. The simple, speeding graphic of the
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Elaine Bass is a title designer and filmmaker. She is one of the main designers who helped to elevate the short film and the title sequence to an art form. She collaborated with graphic designer, title designer, and filmmaker
175:(1960), uncredited. The following year, the couple married and after the birth of their children, Jennifer in 1964 and Jeffrey in 1967, Elaine Bass concentrated on motherhood, film directing, and title sequences.
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From the mid-1960s to the late 1980s, the Basses moved away from main titles to focus on filmmaking and their children
Jennifer born in 1964 and Jeffrey born in 1967. Remarking on this time, Saul said:
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790:"Complete National Film Registry Listing | Film Registry | National Film Preservation Board | Programs | Library of Congress"
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Scorsese, Martin (March 1, 2010). "Saul Bass's cinematic art: director Martin
Scorsese remembers the designer's one-of-a-kind movie posters".
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list, commenting that "the film distills its narrative into metaphors represented by Bass's signature iconography."
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who had grown up admiring Saul Bass's film work. For
Scorsese, Saul and Elaine Bass created title sequences for
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Jennifer Bass and Pat
Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.270
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Jennifer Bass and Pat
Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.263
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Jennifer Bass and Pat
Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.264
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299:(1991) … the endlessly blooming flowers, like love renewing itself again and again, under layers of lace for
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Jennifer Bass and Pat
Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.22
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Jennifer Bass and Pat
Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.22
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Jennifer Bass and Pat Kirkham, Saul Bass: A Life in Film & Design, Laurence King Publishing, 2011, pg.22
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Elaine Bass co-designed title sequences with Saul Bass, and employed diverse filmmaking techniques from
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Elaine Bass joined the office in 1955. She co-designed the opening title sequence to
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Directors of Best Documentary Short Subject Academy Award winners
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very much but the name 'Saul Bass' didn't mean anything to me."
303:(1993) … the form of a man falling through a neon hell in
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Library of Congress – Press Release – December 12, 2002
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891:Elaine Bass Title Sequences on Art of the Title
248:In the 1980s, the Basses were rediscovered by
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324:(uncredited as a title designer until 1989)
503:Academy Award for Documentary Short Subject
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94: 1961; died 1996)
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230:(1993), and even chopped liver in
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441:The Age of Innocence
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320:Film title sequences
301:The Age of Innocence
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227:The Age of Innocence
187:-style maneuvers in
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163:The Seven Year Itch
481:From Here to There
433:Mr. Saturday Night
354:Nine Hours to Rama
233:Mr. Saturday Night
203:Nine Hours to Rama
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613:Pablo Ferro
590:Film portal
479:, entitled
361:The Victors
209:The Victors
112:Elaine Bass
58:Elaine Bass
47:Nationality
23:Elaine Bass
905:Categories
834:2018-03-18
799:2018-03-18
702:2012-06-06
641:2019-05-26
619:References
508:60 Minutes
409:Goodfellas
377:Grand Prix
293:Goodfellas
259:Goodfellas
221:Grand Prix
138:Early life
608:Saul Bass
477:Sy Wexler
466:Filmmaker
417:Cape Fear
331:Spartacus
297:Cape Fear
265:Cape Fear
190:Spartacus
172:Spartacus
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80:Saul Bass
562:See also
268:(1991),
262:(1990),
236:(1992).
218:(1966),
212:(1963),
206:(1963),
116:Makatura
102:Children
50:American
774:31 July
369:Seconds
215:Seconds
185:Bunraku
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457:Casino
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334:(1960)
305:Casino
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199:(1962)
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114:(née
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