McGoohan had made his name in the black and white spy show Danger Man, and had even been asked to be the first Bond on the back of his work on that. While any TV programme is obviously the work of a huge team of people, this show had one powerful force at its core: it was co-created, directed, and produced by Patrick McGoohan, who also starred in the lead role of No.6. It ran on ATV from September 1967 to February 1968. Thanks to Toshi Omagari for his input.For those of you not familiar with it, The Prisoner is one of the most iconic TV shows to have come out of the 60s. Nevertheless, and regardless of whether Carpenter’s films feature capitalistic aliens, anthropomorphized cars, subterranean monsters or extraterrestrial paramours, they’re all clearly of a piece with one another, a concept initialized in the credits’ sharp, alert serifs and generously spaced capitals, as though etched upon a crypt that foredoomingly leads to another realm.īelow are images of the director’s credit for each of Carpenter’s films that use Albertus, with links and note on the subtle evolution in usage from movie to movie. We showed many and they chose it anyway.” Escape from L.A.’s title designer Nina Saxon responded to this in an interview, when asked if Albertus was the first choice in the film’s title credits: “No. And it’s unclear how particular he was with Albertus, despite its reiteration in his work. Or consider Stanley Kubrick, whose stringently precise compositions are presaged in Futura’s geometric letterforms.Ĭarpenter is harder to characterize than the others mentioned here, principally because his signature is more tonal than it is aesthetic, and this tone is ably evoked by the films’ typography. Doubtless the most known instance of this is Woody Allen, who ornaments each of his films (over forty of them) in Windsor, whose old-fashioned cherubic forms demonstrably complement his film’s wry tones and aesthetics replete in tweed and horn-rimmed spectacles. It’s difficult to precisely describe why this is so, but for measure compare Carpenter to any other filmmaker whose work possesses some typographic signature and the appraisal seems more apt. Somehow Carpenter’s use of Albertus encompasses all of this. All of these films are broad conceptions of genre that are fun even when they’re scary, heartfelt even while they’re sardonic, and focused even when they’re about the obliteration of mankind. Even his most tender film, Starman, features an agonizing transformation sequence that rivals anything in a werewolf movie. Topically these range between spare survivalist parables and paranoid thrillers, all of them with macabre flourishes in which characters will perish in spectacularly messy ways. ![]() ![]() ![]() This has come to be one of Carpenter’s visual signifiers, emblazoning the credits of eight of his films: Escape from New York, 1981 The Thing, 1982 Christine, 1983 Starman, 1984 Big Trouble in Little China, 1986 Prince of Darkness, 1987 They Live, 1988 Escape From L.A., 1996. First there are the antecedent notes of one of his minimalist synthesizer scores (educated as a musician, Carpenter composed the scores to sixteen of his films) which are soon followed by the title credits set in Albertus. ![]() Long before you see the dogs transmuted into vicious, physically indeterminate fiends, or Kurt Russell’s monocular anti-hero, named “Snake,” surfing in the submerged city grid of a future dystopian Los Angeles, the essence of most any John Carpenter film is evident in its opening moments, even before his name is seen keystoned atop some spare and ominous title. These are the most common typefaces in the database, but there are many more.Haas Inserat-Grotesk / Neue Aurora VIII (50).
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