"The films of Jean–Luc Godard have been written about perhaps more than any other cinematic works, often through the lens of cultural theory, but not nearly enough attention has been paid to the role of designed objects in his films. Collages of art, literature, language, objects, and words, Godard's films have an instant, impactful, graphic quality, but are far from simple pop artifacts. The thesis this presentation derives from, 'Objects to be Read, Words to be Seen: Design and Visual Language in the Films of Jean–Luc Godard 1959–1967,' explores and interprets the role of visual language within the films–title sequences, intertitles, handwritten utterances, and printed matter in the form of newspapers, magazines, and posters.
By examining le graphisme within the cultural context of Paris during the 1960s, this thesis seeks to amplify the significance of graphic design in Godard's first fifteen films, beginning with 1960's À Bout de Souffle (Breathless) and ending with 1967's Weekend. While Godard was not a practicing graphic designer in the traditional sense, he was an amateur de design, an autodidact whose obsession with designed objects, graphic language and print media resulted in the most iconic body of work in 1960s France."
(Laura Forde, 30 April 2010)
"Motion Plus Design est un projet qui a pour but de créer un centre d'exposition dédié au Motion Design à Paris. Ce projet vise dans un premier temps à définir le motion design au grand public, le but final étant de réussir à créer un centre physique dédié au motion design à Paris."
(Mattias Peresini, 18 Juin 2012, Mattrunks)
"We made this animation in BrosFx Studio. It is an opening to the TV series 'THE PILLARS OF THE EARTH', an adaptation of a book by Ken Follett. The series director is Sergio Mimica Gezzan, who cooperated, among others, with Steven Spielberg. Our goal was to create an animation which would render the colourful and vivid world of medieval England. The next step was to create a distinctive style that the audience would remember. After many tests, we opted for a hand painted stop motion, which suited perfectly the spectacle."
"for over 40 years, Pablo has been putting his stamp on the moving image through works such as the opening of Stanley Kubrick's Dr. Strangelove and the revolutionary split–screen montage of 1963's The Thomas Crown Affair. He has also created the opening titles for Hal Ashby's Being There (1979) and Gus Van Sant's To Die For (1995)."
(Art of the Title)