Our director broke first with this photo forecasting some of the mayhem that The Crimson Bolt and Boltie will get into later on in our film SUPER (and as the caps tell you, you pronounce the title LOUD, like at eleven), but hey I am always late to the party.
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Are titles more than a marketing tool? They certainly can be that thing that encourages the desire, and the fond memory, the element that represents the art & the ambition, as well as being the reminder of the thing you want. Titles can tell us that the movie is distinct and worth our consideration (The Eternal Sunshine Of The Spotless Mind) or warn us that we may not be the correct audience for it (Blood _______). Good titles grow richer once we see the movie (The Ice Storm) and can move from seeming initially generic into some sort of deeper resonance (as Ang’s movie did).
The industry’s holy grail is often seen as the title that gives you a clear idea of both the tone and content or concept of the film (The Forty Year Old Virgin). Some subjects demand to be put in the title (weddings, food, chocolate, blood) because they are the things that audiences love most. Life’s big subjects get more than their fair share of attention (death, sex, love, power).
Sometimes though it seems as if who’s ever picking the titles deliberately tries to confuse,
