The esteemed designer, who died this week, left behind a career of work on some of Hollywood’s biggest and most-loved films
This Monday marked the death of main title designer Wayne Fitzgerald at the age of 89. One of the great movie and television craftsmen of the past half century, if you don’t recognize Fitzgerald by name, you’re probably still familiar with his body of work, which included a filmography boasting more than 450 credits and which earned him three Emmys over the course of his career.
Related: The seminal film posters of Bill Gold – in pictures...
This Monday marked the death of main title designer Wayne Fitzgerald at the age of 89. One of the great movie and television craftsmen of the past half century, if you don’t recognize Fitzgerald by name, you’re probably still familiar with his body of work, which included a filmography boasting more than 450 credits and which earned him three Emmys over the course of his career.
Related: The seminal film posters of Bill Gold – in pictures...
- 10/2/2019
- by Zach Vasquez
- The Guardian - Film News
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSProlific title designer Wayne Fitzgerald, who created the titles for films like The Godfather, Touch of Evil, and even Beverly Hills Ninja, has died. You can find the many infamous title cards designed by Fitzgerald on Annyas. Recommended VIEWINGThe official trailer for Martin Scorsese's The Irishman, as introduced by Robert De Niro on Jimmy Fallon. Read our review of the film from the New York Film Festival here. The 4K restoration of Béla Tarr's slow cinema masterpiece, Sátántangó (1994), about a collective of Hungarian villagers seeking refuge during the fall of communism. Kazuo Hara's latest, Reiwa Uprising, follows "Ayumi Yasutomi, a cross-dressing candidate, who is also a Tokyo University professor, as she embarks on a national campaign for a seat in Japan's Upper House." For Sight & Sound, critic Charlie Lyne delves into...
- 10/1/2019
- MUBI
Eric Pleskow, a long-time Hollywood executive who served as the head of Orion Pictures and United Artists and oversaw the production of 14 different Oscar winners for Best Pictures, has died. He was 95.
Pleskow’s death was announced Tuesday by the Vienna Film Festival; the Austrian-born executive and film producer had served as the festival’s president since 1998.
“His death is a great loss for all of us. Eric had a fulfilled and long life and we appreciated him as a longtime friend and companion of our festival. As president and patron of the Viennale, he has always carried us with his humor and foresight,” the Viennale said in a statement. He will be missed deeply. We express our sincere condolences and heartfelt sympathy to his family.
Also Read: Jessye Norman, Opera Legend, Dies at 74
As president of United Artists between 1973 to 1978 Pleskow — the first European to lead the company since...
Pleskow’s death was announced Tuesday by the Vienna Film Festival; the Austrian-born executive and film producer had served as the festival’s president since 1998.
“His death is a great loss for all of us. Eric had a fulfilled and long life and we appreciated him as a longtime friend and companion of our festival. As president and patron of the Viennale, he has always carried us with his humor and foresight,” the Viennale said in a statement. He will be missed deeply. We express our sincere condolences and heartfelt sympathy to his family.
Also Read: Jessye Norman, Opera Legend, Dies at 74
As president of United Artists between 1973 to 1978 Pleskow — the first European to lead the company since...
- 10/1/2019
- by Brian Welk
- The Wrap
Wayne Fitzgerald, the main title designer of films and television shows including “Apocalypse Now,” “The Graduate,” “Chinatown,” “Dallas,” “The Searchers,” “The Godfather” and “The Dick Van Dyke Show,” died Monday in Whidbey Island, Wash. He was 89.
Fitzgerald began his title design career with Pacific Art & Title Studio after graduating from Pasadena’s Art Center College of Design in 1951, where he eventually became head of art and design department. During his 17 years with the studio Fitzgerald designed the titles for classic films such as “Touch of Evil,” “My Fair Lady,” “Pillow Talk,” “Imitation of Life” and “Music Man.”
In 1967, Fitzgerald left the company to found his own studio Wayne Fitzgerald FilmDesign. With his new studio he worked on films such as “Footloose,” “Total Recall,” “The Deer Hunter,” “Rosemary’s Baby,” “Catch-22,” “Dick Tracy,” “Scent of a Woman” and many more.
Fitzgerald racked up 455 title design credits over his nearly half century long career.
Fitzgerald began his title design career with Pacific Art & Title Studio after graduating from Pasadena’s Art Center College of Design in 1951, where he eventually became head of art and design department. During his 17 years with the studio Fitzgerald designed the titles for classic films such as “Touch of Evil,” “My Fair Lady,” “Pillow Talk,” “Imitation of Life” and “Music Man.”
In 1967, Fitzgerald left the company to found his own studio Wayne Fitzgerald FilmDesign. With his new studio he worked on films such as “Footloose,” “Total Recall,” “The Deer Hunter,” “Rosemary’s Baby,” “Catch-22,” “Dick Tracy,” “Scent of a Woman” and many more.
Fitzgerald racked up 455 title design credits over his nearly half century long career.
- 9/30/2019
- by Dano Nissen
- Variety Film + TV
William Fitzgerald, the prolific title designer who worked on such films as “The Godfather: Part II,” “The Godfather: Part II,” “Total Recall” and “Dick Tracy” has died, according to reports. He was 89.
After graduating from Pasadena’s Art Center College of Design in 1951, Fitzgerald was hired by Pacific Art & Title Studio. The Studio was responsible for creating all of the title work for the major studios at the time: 20th Century Fox, MGM and Warner Bros. The artists’ work went uncredited, but during his 17-year-tenure, Fitzgerald designed the titles for such films as “Music Man,” “My Fair Lady” and “Pillow Talk,” and television shows including “The Beverly Hillbillies” and “Mr. Ed.”
Fitzgerald left Pacific Art & Title in 1968 to found his own studio, Wayne Fitzgerald FilmDesign. There, he worked on some of cinema’s greatest films, including both “Godfather” sequels, “The Deer Hunter,” “Chinatown,” “Tootsie,” “Footloose,” “Total Recall,” “Dick Tracy” and “Scent of a Woman.
After graduating from Pasadena’s Art Center College of Design in 1951, Fitzgerald was hired by Pacific Art & Title Studio. The Studio was responsible for creating all of the title work for the major studios at the time: 20th Century Fox, MGM and Warner Bros. The artists’ work went uncredited, but during his 17-year-tenure, Fitzgerald designed the titles for such films as “Music Man,” “My Fair Lady” and “Pillow Talk,” and television shows including “The Beverly Hillbillies” and “Mr. Ed.”
Fitzgerald left Pacific Art & Title in 1968 to found his own studio, Wayne Fitzgerald FilmDesign. There, he worked on some of cinema’s greatest films, including both “Godfather” sequels, “The Deer Hunter,” “Chinatown,” “Tootsie,” “Footloose,” “Total Recall,” “Dick Tracy” and “Scent of a Woman.
- 9/30/2019
- by Lawrence Yee
- The Wrap
Wayne Fitzgerald, the main title designer of films including Pillow Talk, Apocalypse Now, The Godfather II and Total Recall died Monday on South Whidbey Island in Washington. He was 89.
Fitzgerald was born in Los Angeles on March 19, 1930. After graduating from the Art Center College of Design in Pasadena, he went on to work at Pacific Title & Art which did the main titles for various studios including Warner Bros., MGM, Fox, Paramount and Columbia. While there he worked on films such as Touch of Evil (1958), The Music Man (1962) and My Fair Lady (1964). In 1968, he launched Wayne Fitzgerald FilmDesign Inc.
His expansive resume spans 55 years and includes a diverse array of films including some of the most acclaimed and noteworthy films that have shaped Hollywood including Bonnie and Clyde (1967), as well as Roman Polanski’s Rosemary’s Baby (1968) and Chinatown (1974).
In 1968, he launched Wayne Fitzgerald FilmDesign Inc. and continued to churn out memorable title design.
Fitzgerald was born in Los Angeles on March 19, 1930. After graduating from the Art Center College of Design in Pasadena, he went on to work at Pacific Title & Art which did the main titles for various studios including Warner Bros., MGM, Fox, Paramount and Columbia. While there he worked on films such as Touch of Evil (1958), The Music Man (1962) and My Fair Lady (1964). In 1968, he launched Wayne Fitzgerald FilmDesign Inc.
His expansive resume spans 55 years and includes a diverse array of films including some of the most acclaimed and noteworthy films that have shaped Hollywood including Bonnie and Clyde (1967), as well as Roman Polanski’s Rosemary’s Baby (1968) and Chinatown (1974).
In 1968, he launched Wayne Fitzgerald FilmDesign Inc. and continued to churn out memorable title design.
- 9/30/2019
- by Dino-Ray Ramos
- Deadline Film + TV
Wayne Fitzgerald, the main title designer who set the tone and atmosphere for hundreds of films, from Auntie Mame and Pillow Talk to The Godfather: Part II and Total Recall, has died. He was 89.
Fitzgerald died Monday on South Whidbey Island in Washington after a brief illness, his wife, MaryEllen Courtney, told The Hollywood Reporter.
Fitzgerald spent some 55 years in the business, including his first 17 at Pacific Title & Art Studio, where he rose to lead its art and design department.
Fitzgerald's lengthy résumé — he has 460 listed credits on IMDb — also included collaborations ...
Fitzgerald died Monday on South Whidbey Island in Washington after a brief illness, his wife, MaryEllen Courtney, told The Hollywood Reporter.
Fitzgerald spent some 55 years in the business, including his first 17 at Pacific Title & Art Studio, where he rose to lead its art and design department.
Fitzgerald's lengthy résumé — he has 460 listed credits on IMDb — also included collaborations ...
- 9/30/2019
- The Hollywood Reporter - Movie News
Wayne Fitzgerald, the main title designer who set the tone and atmosphere for hundreds of films, from Auntie Mame and Pillow Talk to The Godfather: Part II and Total Recall, has died. He was 89.
Fitzgerald died Monday on South Whidbey Island in Washington after a brief illness, his wife, MaryEllen Courtney, told The Hollywood Reporter.
Fitzgerald spent some 55 years in the business, including his first 17 at Pacific Title & Art Studio, where he rose to lead its art and design department.
Fitzgerald's lengthy résumé — he has 460 listed credits on IMDb — also included collaborations ...
Fitzgerald died Monday on South Whidbey Island in Washington after a brief illness, his wife, MaryEllen Courtney, told The Hollywood Reporter.
Fitzgerald spent some 55 years in the business, including his first 17 at Pacific Title & Art Studio, where he rose to lead its art and design department.
Fitzgerald's lengthy résumé — he has 460 listed credits on IMDb — also included collaborations ...
- 9/30/2019
- The Hollywood Reporter - Film + TV
As The Girl With The Dragon Tattoo reminds us, a powerful title sequence can have a huge impact. Here’s Ryan’s celebration of a resurgent art form…
David Fincher’s version of The Girl With The Dragon Tattoo opens with a booming, teacup-rattling title sequence, in which hideous forms – some technological, others biological – ooze in and out of black oil and fire. Cut to the howls and thunderous riff of Trent Reznor and Karen O’s cover of The Immigrant Song by Led Zeppelin, it’s an aggressive statement of intent, as though Fincher’s violently stamping his authority on a property that was only adapted for the screen two years ago.
Fincher’s no stranger to opening his films with a dazzling display of sound and imagery. Images of pain and suffering are compiled by nimble, evil fingers to the music of Nine Inch Nails at the beginning of Seven.
David Fincher’s version of The Girl With The Dragon Tattoo opens with a booming, teacup-rattling title sequence, in which hideous forms – some technological, others biological – ooze in and out of black oil and fire. Cut to the howls and thunderous riff of Trent Reznor and Karen O’s cover of The Immigrant Song by Led Zeppelin, it’s an aggressive statement of intent, as though Fincher’s violently stamping his authority on a property that was only adapted for the screen two years ago.
Fincher’s no stranger to opening his films with a dazzling display of sound and imagery. Images of pain and suffering are compiled by nimble, evil fingers to the music of Nine Inch Nails at the beginning of Seven.
- 12/19/2011
- Den of Geek
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