Face to Face with... Karin Fong

As a founding member of production company Imaginary Forces, Karin Fong credits her current home city New York as inspiration for her creative inspiration. The result often comes in the form of uplifting and energetic title sequences for films and television, such as for The Truman Show and Boardwalk Empire. Even when being tasked with applying humour to the theme of suicide [Dead Man on Campus] she seems to maintain her quirky and entertaining style admirably. We caught up with her after her presentation at the Design Indaba in Cape Town where she spoke about transitions, NYC, and being in control of the 'opening curtain'.

How important is a good title sequence to a film?

I'm a real advocate of a great title sequence, because the funny thing is every film needs a title sequence, no matter how big or small, you have to have the credits somewhere. It’s almost like doing the title page of a book, or the spine of a book. So it's an incredible opportunity where you can take almost like the legal document for the film, something that has to be there, give some attention to it, and make it part of the storytelling.

I always refer to it as the opening curtain when you go to the theatre, there's a certain energy when the curtain rises. You know that you're about to enter another world, leaving your day-to-day existence behind.

Is there a lot of pressure because it's the first thing the viewer will see?

I don't know if it's pressure, I'd say it's the perfect opportunity for something that's not just a default. It's how the beginning of the film unfolds, it's a really exciting opportunity. So, I don't think of it as pressure, I guess...

How do you decide on techniques and how to approach a job?

It depends on the aesthetic and the actual story, but sometimes you can combine this in crazy ways. For some films it's important that you match the aesthetic seamlessly. But sometimes maybe the title sequence isn't the first thing in a film and there's a scene before it.

I did a movie for Nickelodeon where they said ‘we want to have the first scene, and then the title sequence, almost like a music video’. It kicks in and gives some energy. It was music driven, graphic with animation but other films may need something that's very subtle, it really depends. It matters also what you want to do emotionally with the film. For comedies it's important to set the pace right away for example.

Transitions are important to you, and you actually presented your journey to Cape Town as one in your talk today. Do you find that your work overspills into your everyday life a lot?

The way I look at the world, I'm always looking at how one thing turns into another. It's funny, because once I got interviewed and I'd just got married and they said ‘if your relationship was a title sequence which one would it be?’. It was such a stumper and I don't know if I've quite figured out the answer yet. But I've always been a big fan of visual puns, and I think that's why I like animation so much, surprising twists can happen.

Do you prefer complete creative freedom or set guidelines and direction?

I like freedom within constraints. I do my best work when I'm pushed up against some walls, or pushed up against a grid, and then you can figure out how to play with that or make it surprising. I think it's dangerous when you have absolutely no constraints. A lot of the most memorable ideas come from some sort of awareness that you took something that you knew and you made one flip or twist or little change, and something that was familiar to you becomes something new. I guess it's like an 'a-ha' moment.

Do you prefer being briefed about a job before it's shot, such as with Boardwalk Empire, or are you happy to work with the final product?

It's pretty good when you can get exactly what you want to shoot for a sequence, use the costumes and the actors and locations... Like when they close off the streets of San Francisco and you've got 300 extras. That's not often possible once the film is wrapped so it just offers one more variable to play with.

How are you enjoying the Indaba?

It's fantastic, it's my first time to South Africa and I'll take a vacation after the Indaba. But the conference has been amazing, Ravi [Naidoo, Design Indaba founder] puts together a great experience for us and so far it's been even better than I imagined it could be.

And what inspires you?

I love to travel, I love to read. I'm actually reading Andre Agassi's biography right now. He's got some interesting insights on life! Gosh, travel especially, though, I live in New York City so even just walking around.