The notion of “auteur theory” maintains that the film should be the result of the director’s creative vision, and that the final film should represent a voice “distinct enough to shine through all kinds of studio interference and through the collective process.”
The auteur touches everything from the set and costume design to the music and, among the best (or most obsessive?), the typefaces used in the title sequence. Flavorwire explores ten auteurs and the typefaces they’ve found best contribute to their overall aesthetic. “Rather than tailor their typefaces to explicitly depict a film’s content graphically or pictorially (as many of Hollywood’s big blockbuster producers like Spielberg or Disney are wont to do), some directors prefer to make a more understated use of type design that reflects their artistic vision. Here’s a list of some of the most iconic love affairs between bold directors and the fonts that we can’t imagine seeing their movies without.”
I especially loved reading about the use of Rudolph Koch’s Bauhaus-y Kabel in Lost in Translation. That’s a new face for me, and one I’ll be on the lookout for in the real world. Saving up!
10 Auteurs and the Typefaces They Love [Flavorwire]