Uploaded June 2023 | Updated September 2026, 2 weeks ago
This is my video essay on opening credits in cinema and the questions surrounding their artistic value. Not all are created equally but for the majority, movie logos feel more like a drag on the runtime rather than something that adds to the enjoyment of the film.
As controversial as it may sound, is that what we’ve come to when we go to the theatre? Another waiting line?
Like waiting for the appointment at the doctor’s, the audience is stuck in a trap of being in this lobby while they are forced to watch something they didn’t come to see. With every second the passes, the attention once had on the movie slowly begins to fade and the runtime suddenly feels longer.
But can we do this better? What are some shining examples we can learn from?
This is my video exploring those other options.
Thank you to my incredible Patreons for continuing to support this channel. You guys are amazing.
At the time of this being made, these include the lovely people: “Matthew McKinley, Mike Scheurman, Jack Pollard, Dr_Slurp, ThatEvilCanadian”.
If you’d also like the option of becoming a Patreon, head to:
patreon.com/motioninart
For more of my reviews, analyses, and other articles:
motioninartmedia.com
Twitter:
twitter.com/motion_in_art
Reddit:
reddit.com/user/motioninart
What are Opening Credits?
In a motion picture, television program or video game, the opening credits or opening titles are shown at the very beginning and list the most important members of the production. They are now usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show. There may or may not be accompanying music. When opening credits are built into a separate sequence of their own, the correct term is a title sequence (such as the familiar James Bond and Pink Panther title sequences).
Opening credits since the early 1980s, if present at all, identify the major actors and crew, while the closing credits list an extensive cast and production crew. Historically, however, opening credits have been the only source of crew credits and, largely, the cast, although over time the tendency to repeat the cast, and perhaps add a few players, with their roles identified (as was not always the case in the opening credits), evolved. The ascendancy of television movies after 1964 and the increasingly short "shelf-life" of films in theaters has largely contributed to the credits convention which came with television programs from the beginning, of holding the vast majority of cast and crew information for display at the end of the show.
In movies and television, the title and opening credits may be preceded by a "cold open," or teaser (in other words, a brief scene prior to the main acts), that helps to set the stage for the episode or film.
Many major American motion pictures have done away with opening credits, with many films, such as Van Helsing in 2004 and Batman Begins in 2005, not even displaying the film title until the closing credits begin.
George Lucas is credited with popularizing this with his Star Wars films which display only the film's title at the start. His decision to omit opening credits in his films Star Wars (1977) and The Empire Strikes Back (1980) led him to resign from the Directors Guild of America after being fined $250,000 for not crediting the director during the opening title sequence. However, Hollywood had been releasing films without opening credits for many years before Lucas came along, most notably Citizen Kane, West Side Story, 2001: A Space Odyssey and The Godfather.
Nevertheless, "title-only" billing became an established form for summer blockbusters in 1989, with Ghostbusters II, Lethal Weapon 2 and The Abyss following the practice. Clint Eastwood has omitted opening credits (except for the title) in every film that he has directed since approximately 1982.
With regard to television series, it is now an accepted practice to credit regular cast members for every episode of a season, even if they did not appear in each episode. One example is the American television series Nip/Tuck, in which the appearance of all credited characters is rare. Another television series that credited all regulars for a season in every episode (regardless of whether or not they appeared) was Lost, most notably from season two onward, in which the complete credited cast appeared in only two episodes out of 23.
The television series Police Squad!, in keeping with its parodic nature, featured a character who only appeared in the credits ("...and Rex Hamilton as Abraham Lincoln").
And if you’re still reading this – hello.
This video is made through Fair Use under copyright law for the purposes of education in criticism or review; as well as parody or satire. copyright.gov/title17/92c https://www.copyright.org.au/ACC_Prod
This is my video essay on opening credits in cinema and the questions surrounding their artistic value. Not all are created equally but for the majority, movie logos feel more like a drag on the runtime rather than something that adds to the enjoyment of the film.
As controversial as it may sound, is that what we’ve come to when we go to the theatre? Another waiting line?
Like waiting for the appointment at the doctor’s, the audience is stuck in a trap of being in this lobby while they are forced to watch something they didn’t come to see. With every second the passes, the attention once had on the movie slowly begins to fade and the runtime suddenly feels longer.
But can we do this better? What are some shining examples we can learn from?
This is my video exploring those other options.
Thank you to my incredible Patreons for continuing to support this channel. You guys are amazing.
At the time of this being made, these include the lovely people: “Matthew McKinley, Mike Scheurman, Jack Pollard, Dr_Slurp, ThatEvilCanadian”.
If you’d also like the option of becoming a Patreon, head to:
patreon.com/motioninart
For more of my reviews, analyses, and other articles:
motioninartmedia.com
Twitter:
twitter.com/motion_in_art
Reddit:
reddit.com/user/motioninart
What are Opening Credits?
In a motion picture, television program or video game, the opening credits or opening titles are shown at the very beginning and list the most important members of the production. They are now usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show. There may or may not be accompanying music. When opening credits are built into a separate sequence of their own, the correct term is a title sequence (such as the familiar James Bond and Pink Panther title sequences).
Opening credits since the early 1980s, if present at all, identify the major actors and crew, while the closing credits list an extensive cast and production crew. Historically, however, opening credits have been the only source of crew credits and, largely, the cast, although over time the tendency to repeat the cast, and perhaps add a few players, with their roles identified (as was not always the case in the opening credits), evolved. The ascendancy of television movies after 1964 and the increasingly short "shelf-life" of films in theaters has largely contributed to the credits convention which came with television programs from the beginning, of holding the vast majority of cast and crew information for display at the end of the show.
In movies and television, the title and opening credits may be preceded by a "cold open," or teaser (in other words, a brief scene prior to the main acts), that helps to set the stage for the episode or film.
Many major American motion pictures have done away with opening credits, with many films, such as Van Helsing in 2004 and Batman Begins in 2005, not even displaying the film title until the closing credits begin.
George Lucas is credited with popularizing this with his Star Wars films which display only the film's title at the start. His decision to omit opening credits in his films Star Wars (1977) and The Empire Strikes Back (1980) led him to resign from the Directors Guild of America after being fined $250,000 for not crediting the director during the opening title sequence. However, Hollywood had been releasing films without opening credits for many years before Lucas came along, most notably Citizen Kane, West Side Story, 2001: A Space Odyssey and The Godfather.
Nevertheless, "title-only" billing became an established form for summer blockbusters in 1989, with Ghostbusters II, Lethal Weapon 2 and The Abyss following the practice. Clint Eastwood has omitted opening credits (except for the title) in every film that he has directed since approximately 1982.
With regard to television series, it is now an accepted practice to credit regular cast members for every episode of a season, even if they did not appear in each episode. One example is the American television series Nip/Tuck, in which the appearance of all credited characters is rare. Another television series that credited all regulars for a season in every episode (regardless of whether or not they appeared) was Lost, most notably from season two onward, in which the complete credited cast appeared in only two episodes out of 23.
The television series Police Squad!, in keeping with its parodic nature, featured a character who only appeared in the credits ("...and Rex Hamilton as Abraham Lincoln").
And if you’re still reading this – hello.
This video is made through Fair Use under copyright law for the purposes of education in criticism or review; as well as parody or satire. copyright.gov/title17/92c https://www.copyright.org.au/ACC_Prod




![Why This Film Felt Weird
There’s a certain element of mystique and wit in Saltburn that makes it different from other British comedies. In a lot of ways, you enter in a world full of over-the-top rich people who feel more like caricatures of the wealthy yet also don’t feel that far from the truth.
Or at least, what it could be like it.
For me, the best parts about this film are how we actually meet and follow these people. This is a story where we watch someone from a lower class meet someone who dazzles him and at first, I thought that this was going to be a love story like Call Me By Your Name. The first 30 minutes lead you to believe it’s going to be a romantic drama between someone poor and lonely and someone rich and popular.
But that’s not what it turns out to be at all.
Thank you to my incredible Patreons for continuing to support this channel. You guys are amazing.
These include the lovely people “Matthew McKinley and ThatEvilCanadian” at the time this was made.
If you’d also like the option of becoming a Patreon, head to:
https://www.patreon.com/motioninart
For more of my reviews, analyses, and other articles:
https://motioninartmedia.com/
Twitter:
https://twitter.com/motion_in_art
Reddit:
https://www.reddit.com/user/motioninart
What is Saltburn?
Saltburn is a 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell, starring Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, and Archie Madekwe. Set in Oxford and Northamptonshire, it focuses on a student at Oxford who becomes fixated with a popular, aristocratic fellow student at his university, who later invites him to spend the summer at his eccentric familys estate.
Saltburn premiered at the 50th Telluride Film Festival on 31 August 2023, then was released theatrically in the United Kingdom on 17 November 2023, and in the United States via a limited theatrical release on the same day. The film had its wide release on 22 November before its streaming release by Amazon Prime Video on 22 December, on which it became one of the most-streamed films. It received generally positive reviews from critics and several accolades, including nominations for two Golden Globe Awards and five BAFTA Film Awards.
The film focuses on excess and obsession. Fennell stated I drew from my own experience of being a human person, who has felt that thing we all feel at that time in our life which is that absolute insane grip of obsessive love...But obviously I didnt quite go to the lengths that some of the people [in the film] do.
Discussing the films influences, Fennell has cited A Clockwork Orange (1971), Cruel Intentions (1999), Daphne du Mauriers Rebecca (1938), and the novel The Go-Between (1953) by L.P. Hartley and its 1971 film adaptation. She commented, I think that I was sort of looking more at that British Country House tradition of The Go-Between and that sort of very specific British... sort of Joseph Losey world, where class and power and sex all kind of collide in one specific place. Fennell cited Loseys The Servant (1963) as an influence because of its undeniable erotic power that relies entirely on the threat of violence — not just literal violence, but a complete chaotic upending of the status quo.
Patricia Highsmiths novel The Talented Mr. Ripley (1955) and its film adaptation (1999) have been oft-cited as an influence by critics due to the common themes of social class and the similarities between Oliver and Tom Ripley, though Fennell herself has downplayed these comparisons. Richard Brody of The New Yorker also found similarities to the novel Brideshead Revisited by Evelyn Waugh.
Other critics have found similarities to Pier Paolo Pasolinis film Theorem (1968) and Stanley Kubricks Barry Lyndon (1975), which also addressed themes of class, power, desire, and seduction. Fennell described her satire of the British class system as Barry Lyndon meets indie sleaze.
And if you’re still reading this – hello.
This video is made through Fair Use under copyright law for the purposes of education in criticism or review; as well as parody or satire. https://www.copyright.gov/title17/92c https://www.copyright.org.au/ACC_Prod Why This Film Felt Weird](https://i.ytimg.com/vi/_ynmTg0dN-A/mqdefault.jpg)

![Defending Hank Moody
Californication is a beautiful depressing love letter to the age-old story of boy meets girl. This is my video defending the show’s protagonist, Hank Moody, for actions that seem to always land him in trouble with others around.
Actions that seem to doom him to follow this predictable structure where we usually see him in blissful hope at the beginning of an episode before he eventually collapses into self-destruction by the end.
But is this really Hank’s fault or is this really the fault of others that are just as part of that situation they’ve put themselves in as Hank is. Is it fair of Karen his baby mama and estranged lover to be so critical because of these situations?
Can we really blame Hank’s own inability to resist temptation?
Thank you to my incredible Patreons for continuing to support this channel. You guys are amazing.
If you’d also like the option of becoming a Patreon, head to:
https://www.patreon.com/motioninart
Website:
https://motioninartmedia.com/
Twitter:
https://twitter.com/motion_in_art
Reddit:
https://www.reddit.com/user/motioninart
Music Used:
Rocket Man – Elton John
https://www.youtube.com/watch?v=FjO_fVYne7Y
Rocket Man – My Morning Jacket
https://www.youtube.com/watch?v=pPDhGbsVhJc
What is Californication?
Californication is an American comedy-drama television series created by Tom Kapinos which aired for seven seasons on Showtime from August 13, 2007 to June 29, 2014. The show follows New Yorker Hank Moody (David Duchovny), a troubled novelist who moves to California and suffers from writers block. His drinking, womanizing, and drug abuse complicate his relationships with his longtime lover Karen (Natascha McElhone) and their daughter Becca (Madeleine Martin). The shows other main characters are Hanks best friend and agent Charlie Runkle (Evan Handler) and Charlies wife Marcy (Pamela Adlon). Recurring themes are sex, drugs, and rock and roll, all of which are featured regularly, as well as the seedier side of Los Angeles. The show has won several awards, including two Emmy Awards (nominated for two others) and one Golden Globe Award (nominated for five others). On February 9, 2018, the series star David Duchovny declared he was on board with the idea of a revival of the tv series.
The series revolves around Hank Moody, a novelist plagued by alcoholism. He blames his longtime writers block on reasons ranging from the hedonism of Los Angeles to the departure of his partner Karen. Hank constantly deals with the consequences of his inability to say no to temptation while trying to show his family that he can be a responsible, caring father to Becca and a reliable partner to Karen.
The show was renewed for a second season on September 7, 2007.[2] The Season 1 finale, titled The Last Waltz (in homage to Martin Scorseses concert film), originally aired on Showtime on October 29, 2007. Season 2 began filming in April 2008, and was underway as of June 2008. The premiere episode of Season 2 aired September 28, 2008. The first season was released on DVD in the US on June 17, 2008. Showtime renewed Californication for a third season, which premiered on Sunday September 27, 2009 at 10 pm.
The show is laced with rock culture references. It frequently alludes to Warren Zevon and featured Henry Rollins in a guest appearance; some episode titles, such as Filthy Lucre, Turn the Page, and The Land of Rape and Honey, allude to album and song names (Sex Pistols Filthy Lucre Live, Bob Segers Turn the Page, and Ministrys The Land of Rape and Honey, respectively). Hanks lawyer in Season 4 is called Abby Rhoads; his first three novels, South of Heaven, Seasons in the Abyss and God Hates Us All, are all named after Slayer albums. The books Crack the Sky and Blood Mountain by Richard Bates are also the names of two Mastodon albums. A Crazy Little Thing Called Love, the movie based on God Hates Us All, is named after the song by the rock band Queen from their album The Game. The segment before the Opening Theme is the intro to The Stooges song, I Got a Right.
Henry James Hank Moody (David Duchovny) is an erratic but esteemed writer who frequently becomes embroiled in bizarre, scandalous situations. One reviewer likens Moodys character to that of writer Charles Bukowski. In the fourth season, his daughter, Becca, notes that he behaves like a poor mans Bukowski. Similarly, in a flashback scene to the night they met, his girlfriend Karen calls him Bukowski. Charles Bukowskis main creation was the semi-biographical, Henry Hank Chinaski, who was also an alcoholic writer struggling in LA.
And if you’re still reading this – hello.
This video is made through Fair Use under copyright law for the purposes of education in criticism or review; as well as parody or satire.
https://www.copyright.gov/title17/92c
https://www.copyright.org.au/ACC_Prod Defending Hank Moody](https://i.ytimg.com/vi/a11j0MTsEEI/mqdefault.jpg)



