Art Of The Title: Dragon Tattoo

+++ UPDATE 02/23/2012 +++
Thanks to Robert Paulson for sending this in: Indiewire has a profile piece on sound-designer Ren Klyce, Oscar-nominated for "The Girl with the Dragon Tattoo"!

+++ UPDATE 02/24/2012 +++
Yeah, it feels a little disrespectful writing this, but "some nerd" has dropped an amazing link in the comments, and I will embed that video for you below: It's Angus Wall and Kirk Baxter discussing their craft. Thanks go to some nerd!

Thanks to everyone dropping this amazing link: If you have found it in the comments section already (thanks to Gould) — lucky you. Because this piece from is truly a jam-packed, awe-inspiring, all-out %#§%$&%!

Featuring interviews with David Fincher, Tim Miller and designer Neil Kellerhouse, this is a truly in-depth look at the art, craft, talent and effort that went into the making of Dragon Tattoo's title sequence.

‘You’ve heard of pixel fuckers? Well David breaks each pixel down to its separate RGB components and fucks them one at a time.’

I was especially fond of the bits Kellerhouse had to say about his process and the evolution of the title font. And wow, that Slayer video really is one close and obvious reference for the titles. Great to see what the Blur folks have added to that, and what magic the CG is working on all of it! — Amazing.


Bonus: Ren Klye Profile on Indiewire

Bonus 2, updated 02/24/2012:


  1. Kirk and Angus on Last Call w/Carson Daly:

  2. Wow, that Wall & Baxter piece is really amazing. I wish it were about two hours long...! Thanks for posting, some nerd!

  3. Ha ha. I'm so happy Angus Wall & Kirk Baxter won the editing Oscar!! The look on thier faces was priceless ;)

    1. Yeahh..what a great surprise! I screamed really loud, when they have won :)

    2. Me too :) But god dammit, they deserved it!

      Here's some backsatge stuff:

    3. Thanks Mikez.
      I agree, Angus Wall and Kirk Baxter more than deserved their second win in a row. It certainly helps to work with a director who delivers high quality material. Nonetheless I do believe that Wall and Baxter have come up with a great process of working together and arriving at ever more pleasing results. Indirectly, in my opinion, film editing is always a nod to the standard of excellence of a director as well: I believe Wall and Baxter have said before, they would work out an edit for a sequence and show it to Fincher, and while many other directors may settle for that solid draft of the edit, that's when Fincher is yet to begin tweaking and looking for the nuggets and moments in the material, down to individual syllables from different takes, down to split-screen tweaking of an ensembles performance.
      Considering all this, in the Oscar show I was like: "Who else?"