It was 1990 and the first color Macs had come out – mine was an IIsi*. Then I wanted to go to design school but couldn’t afford it, so I bought a Mac and started learning. *The Macintosh IIsi was a compact three-box desktop unit which was introduced as a low-cost alternative to the professional desktop models for home use. I also started using one of the first Macs – a MacPlus – and that’s what gave me an interest in graphic design. It was frustrating to work with but I learned a lot about type. I made really bad real estate signs with a vinyl cutting machine. My first paying art job was in 1989 at a sign company in Oakland, California called The Art Sign Company. So, Danny, how did you start out in design? What brought you to this point? Primetime Emmy Award for Outstanding Main Title DesignĪ discussion with Director/Designer DANNY YOUNT. The final image, the lone tree on a hill, initially a glaring reminder of the cycle of life and death, has now also become one of the most iconic images in television history. Maybe one of the greatest achievements of this sequence is that, for six seasons, the floor-level closeup of a gurney wheel somehow matched the emotional potency of images of withered hands and crows on tombstones. With Yount's deliberate manipulation of frame rates, an arrangement of lilies wilts and withers, on its own an obvious nod to the passing of time, but also eerily beautiful when presented with the carefully underexposed scenes of long corridors and cemeteries. And yet, despite the presence of death in nearly every frame, beauty and wonder emerge. A cold and muted color palette hangs over the sequence and muffles the warm imagery of clasped hands, framed memories, and the living. pausing at times to search the sky for answers. Closeup vignettes of bodies – gruesome and fantastic landscapes – mingle with parting hands and familiar metaphors of death and passage as the camera hovers with a gentle curiosity. Taking this cue, Danny Yount and his team created a complementary uneasy pairing of reverence and fascination while guiding the viewer through the theme of inevitable loss. That shuffling of horns and percussion – that mellifluous breeze of a song that was almost ambient, oddly pleasant – combined with a lilting clarinet, inspired an intriguing sense of the familiar. We begin, as Danny Yount and his team at Digital Kitchen began, with the theme music by Thomas Newman. The season finale of Six Feet Under laid to rest the story of the Fisher family in the most moving six-and-a-half minute finale in television history (spoilers) but for those who followed the series from its debut in 2001, the title sequence carried with it as much significance as the final fade to white.
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