'Catch Me If You Can' is a crime film based on a true story, directed by Steven Spielberg. The film tells the story of Frank Abagnale who fakes being a pilot, doctor and prosecutor and earns millions of dollars. The opening title sequence of 'Catch Me If You Can', designed by Oliver Kuntzel and Florence Deygas, is a perfect modern example of Saul Bass' influence on title sequences.
The opening sequence creates a mysterious, suspenseful atmosphere, it keeps the audience interested and gives a small insight of the plot as well as gives us an idea of the settings the action takes place in. It shows an animation of a stick figure representing the main character as he attempts to escape and not be found by the other character, the detective.
The sequence begins with a silhouetted character walk in the frame. Long, vertical lines are used to the appearance and disappearance of credits, and to move in and out of the screen- transitions. More silhouetted characters obviously dressed as pilots and assistants walk by suggesting the scene is set in an airport. The white animated planes flying across the blue background further reinforce this idea. The linear shapes and typography used to show the opening titles and cast matches with the theme and compliment the colour palette. They are also used for interaction, as the lines serve as entrances and exits for characters as they move throughout the scene. The character is seen pass through the line and suddenly have a pilot costume implying that he is a con artist. The setting constantly changes suggesting the character moves around a lot, avoiding to get caught. Throughout the sequence the shots vary in a pace to increase and decrease the tension as well as interesting transitions are used suggesting the character uses a variety of methods to escape. In terms of how does it compares to the work of Saul Bass himself, I would say Bass' objective of making the opening sequence reflect over the movie itself is on point however the sequence is far more complex than Bass' sequences.
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