February 27, 2003
It is indeed time for the creative genius of artist Saul Bass to be recognized ("A sharp eye for design," Feb. 20). In the early '70s, I began classes in art history at Long Beach Community College with his short documentary, "Why Man Creates." Witty, fun and historically accurate, it heralded the subject of creativity. One brief scene engraved in memory was an interview between a man and a woman. She started asking questions in English, to which he replied in the same. However, numbers soon replaced words and the screen rapidly filled up with numbers.
December 25, 1986
Saul Bass, graphic designer and film maker, has been named the 1986-87 Regent's Lecturer in UCLA's art department. Bass has designed corporate trademarks, directed special sequences in feature films and received an Academy award in 1968 for "Why Man Creates," a documentary about what motivates people to create. Bass is currently teaching an undergraduate design course in his studio.
April 27, 1996 |
Saul Bass, a graphic designer who created internationally known trademarks and innovative film titles for such features as "The Man With the Golden Arm," "Vertigo," "Psycho" and "West Side Story," has died. He was 75. Bass, chairman and creative director of the Bass/Yager & Associates design firm, died Thursday of non-Hodgkin's lymphoma at Cedars-Sinai Medical Center. Among his myriad accolades was a 1968 Academy Award for best documentary short subject for his film "Why Man Creates."
August 7, 2004 |
Horizontal and vertical bars come and go, evoking the mania of Norman Bates as the opening credits roll in "Psycho." A mass of Las Vegas neon whirls as the body of Robert De Niro falls at the beginning of "Casino." Such was the genius of Saul Bass, the American graphic designer who specialized in movie title sequences and worked with Alfred Hitchcock, Martin Scorsese, Otto Preminger, Stanley Kubrick and others to capture the essence of their most memorable films -- without giving the plots away.
January 28, 2007 |
DURING the classic studio era in Hollywood, movie title sequences were generic. "Every studio had its own look," says film historian Jan-Christopher Horak. "They did [titles] the same way; just the names changed." But when the studio system started to wane in the 1950s, title designs began to evolve. "They started doing more inventive things," says Horak. "The film begins over the titles or you have an open book and the pages will be turning."
November 3, 1991 |
** 1/2 Smithereens, "Blow-Up," Capitol. The Smithereens blasted onto the scene with one of the great rock debut albums of the '80s and haven't matched it since. Still, LP No. 4 evidences growth, with romanticism slightly less mopey and arrangements more adventurous (like the successfully string-laden "Too Much Passion"). Extra '60s-movie-buff points for cover art from titles-meister Saul Bass. New albums are rated on a scale of one star (poor) to four (excellent).