Austin Powers in Goldmember (2002)

“Are those sharks with laser beams attached to their heads?” — Dr. Evil

The opening title sequence for the third Austin Powers film is an action-packed explosion of choreography, comedy, and celebrity.

For the third and last installment of the franchise, director Jay Roach and Austin Powers writing pair Mike Myers and Michael McCullers knew they had to go bigger. They had to bring the series into the new millennium while building on the legacy of the first two films and trying to avoid the dreaded sequelitis. So they created an action-packed, over-the-top smorgasbord of characters, sight gags, costumes and sets, as well as three separate dance numbers. The resulting sequence is a whirlwind medley of John Woo-style action, celebrity cameos, nods to classic Hollywood musicals and comedies, contemporary video vixens, and of course, a grand finale like no other.

By this point in the Austin Powers universe, Austin is a worldwide sensation and Hollywood has come knocking, optioning his story for a star-studded, big-budget blockbuster called – what else? – Austinpussy. Thus, the opening to Austin Powers in Goldmember is a two-for-one experience – a title sequence within a title sequence – introducing both Tom Cruise as Austin Powers and Mike Myers as Austin Powers. The sequence begins with skydiving and stunts in the desert (a nod to Mission: Impossible II), shifts to a studio backlot featuring Cruise as Powers and A-listers Gwyneth Paltrow as Dixie Normous, Kevin Spacey as Dr. Evil, and Danny DeVito as Mini-Me, all hamming it up in pitch perfect harmony. The sequence then moves into the first of its three separate dance sequences, all choreographed by Marguerite Pomerhn Derricks. As with the second Austin Powers film, The Spy Who Shagged Me, the titles typography was designed by Robert Dawson. This time, thanks to the increased budget and visual effects, he is joined by title designer Simon Cassels, and together they give the credits a heavy helping of depth, sheen, and glitter.

The sequence ends, as the Austin Powers title sequences always do, with a big finish – a “kitchen sink” finale, as director Jay Roach calls it – featuring a smorgasbord of various dancers, characters, stuntpeople and, to reflect the film’s more contemporary approach, a slew of visual effects. Look closely and read on to learn about the process behind the sequence and the sly easter egg-type treats you may have missed.

A discussion with Austin Powers Director JAY ROACH and Choreographer MARGUERITE POMERHN DERRICKS.

We’ve talked about the first two Austin Powers title sequences, but I’m especially excited to talk about Goldmember. What was the reaction like to this one? How did you start out planning this?

Jay: On the third one the title sequence got such a huge response it was actually difficult to sort of keep everybody as riveted to the film as they were to the title sequence! [laughs]

For us, it was risky because people might just be sick of us, you know? The studio was always…

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