Following up on last week’s post about Digital Kitchen’s title sequence for HBO’s True Blood, DK producer Morgan Henry provides some background for the creative process:
“With regards to “Wrong Eyed Jesus”- it was indeed a source of inspiration. Along with several other documentaries of the south and several that focused on Pentecostalism. We also had on our team a designer/photographer who grew up in the south and his photos from the region served as a great source of inspiration and authenticity. The umbrella for all this imagery …

Just started getting into True Blood, Alan Ball’s latest HBO series about a telepathic waitress in Bon Temps, Louisiana who falls in love with a vampire. Like Ball’s previous project, Six Feet Under, the title sequence was created by the talented team over at Digital Kitchen and presents a perverse montage of imagery that perfectly captures the juxtaposition of sinister and spiritual underlying the American South. Better still is the “True Blood Featurette” that links from the same page which I can only assume is a director’s cut of the …

In 1969, soul music group The Winstons released the single “Color Him Father” which would go on to reach number 2 on the R&B; charts and number 7 on the Billboard Hot 100 and win them a Grammy Award in 1970 for Best R&B; song.
However what is most remarkable about this record comes from the song on the B-side, “Amen, Brother”, specifically a six second drum break in the middle of the tune that has since become one of the most heavily sampled drum breaks in the course of electronic …

A current obsession of mine is the use of strictly defined colour palettes in films and television shows. Ironically this recent interest comes as a result of a late 90′s TV drama called “Once and Again” that my wife Jane has been watching repeats of on the PVR while she nurses our daughter. The thing is, I can always tell the show from the distinctly grey colour palette that runs through the majority of the scenes. Lighting, costume, and decor all contribute to this effect that is punctuated by out-of-scene …

“Whether or not this is even true – after all, I never think truth is the point in stories like this – … the idea of appropriating a construction crane as a new form of domestic space – a kind of parasitic sub-structure attached to the very thing it’s helped to construct … is totally awesome;”
-BldgBlog