Can he do no wrong? Scott Campbell’s glorious Twin Peaks artwork for last month’s twentieth anniversary show, including a full rundown of his artistic process. (via Peter Nidzgorski)
Ty Mattson’s poster series for Dexter, available for sale from Showtime’s website.
The Art of the Title Sequence has a detailed interview with ex-Digital Kitchen creative director Eric Anderson, on the genesis of the Dexter opening title sequence. The article includes an early rough cut of the sequence with a different soundtrack; Anderson says he was initially reticent about the Rolfe Kent score provided by the producers, but came around to its humour and loose charm after five or six hours in the edit suite. “They made it better than I was going to.”
New teaser trailer created by Prologue for HBO’s The Pacific, the Hanks/Spielberg-produced follow-up to Band Of Brothers. The 10-part series based on books by Robert Leckie and Eugene B. Sledge follows the exploits of three US marines during World War II, and debuts March 14.
David Simon, creator of television’s The Wire, photographed by Philip Andrews on the New Orleans set of his new HBO series Tremé, for Jesse Pearson’s lengthy interview in Vice magazine. The topic of conversation darts from the screenwriting process and studio involvement, to American healthcare reforms, to the origins of Omar and his fourth-floor jump, to the failure of prohibition, and so on.
Simon spends time discussing how and why a sixth season of The Wire focusing on the immigration issue — it would have played between seasons three and four, leaving the media critique as parting shot — turned out not to be achievable, and why he feels the show’s first season was its weakest. Here’s the introduction:
David Simon is responsible for one of the greatest feats of storytelling of the past century, and that’s the entire five-season run of the television series The Wire. If that sounds like hyperbole to you, then you haven’t watched the show yet. It is the most intricate web of character, motivation, insight, action, repercussion, and emotion that’s ever been on TV, and it rivals the grand novels of the late 19th century, when novels actually, regularly, had scope. More hyperbole, but there you go.
Contains plot spoilers of course, but if you haven’t watched it, do yourself a favour this festive season. (via Wilson Miner)
Albert Exergian created this great set of minimalist film and television posters as a personal project. You’ll find these and many more on his blog, and his commercial portfolio is equally impressive (and much more ornate).
The hundred best lines from all five seasons of HBO’s The Wire. (via Ana Samways)
LipSync Post’s animated opening titles for Dean Spanley remind me of Jamie Caliri’s superb end credits for Lemony Snicket’s A Series of Unfortunate Events. Caliri recently beat out one of my other favourite credits sequences to win the Outstanding Main Title Design Emmy for his work on The United States of Tara. (via The Art of the Title Sequence)
