“I will fight for those who cannot fight for themselves.” — Diana Prince
The end titles of Wonder Woman see an avatar of hope and love confront one of mankind’s greatest follies: The Great War – the war to end all wars. Fires burn, sparks fly. She is a shield against the darkness, a beacon for justice, an immovable force for good in a world gone very bad. She is Diana, Princess of Themyscira, Daughter of Hippolyta – and, by the time the credits roll, the superhero known as Wonder Woman.
Produced by the team at Greenhaus GFX under the direction of filmmaker Patty Jenkins, the Wonder Woman main-on-end titles are a mythic retelling of Diana’s journey from warrior to hero. Following her from the hidden shores of Themyscira to the muddy trenches of the Western Front and beyond, the title sequence functions both as a reprise of the film that preceded it and reminder of who this unyielding fighter and future Justice Leaguer is as she takes her place among a pantheon of heroes. She is a woman out of time, a champion forged not just by battle but by her deep understanding of the world around her. Supercharged by composer Rupert Gregson-Williams’ powerful score – a highlight of the otherwise dreary DC Comics movie musicscape – the end titles become a perfect capstone to Diana’s origin story and a springboard to a larger world.
A discussion with Wonder Woman Director PATTY JENKINS and Greenhaus GFX Creative Director JASON DOHERTY, Art Director AMANDA KOH, and Executive Producer MEGAN HAMILTON.
Hi Patty! Congratulations on the film! It's a lot of fun.
Patty: Thank you!
So I think we should start by talking about title sequences in general. How do you feel about titles, both as a filmmaker and a viewer?
Patty: It depends, you know? I feel like for a certain kind of movie it can really bring something to the party and elevate it. I don’t think that they’re always necessary, but when they’re good,…
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