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By the sequence’s finale, the rat that introduced us to this world is back in the drain. Once Michael Giacchino’s music relaxes, the light blues and pastel colours soften the sequence, allowing space for sweeter and more subtle tastes.
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Onion slices are hula hoops and spatulas are diving boards, with the mix of deep reds and oranges presenting an intense visual flavour. The dark blues and blacks quickly turn into an explosion of colour, beginning with the snap of a mousetrap as a rodent tries to eat an Eiffel Tower-shaped cheese, resulting in a sequence where colour dictates emotion and taste. The sequence begins with rats’ overlapping footsteps on a black screen. Paired with Bird’s encouragement to style the sequence as 2D animation, the end titles are fun, warm and inviting, and bearing what Newton calls a “flicker”. These films set a precedent for Ratatouille. Three years later, The Incredibles did the same with its distinctively sharp and retro title sequence. (2001) main titles, designed by Geefwee Boedoe manages to capture the essence of the computer-generated comedy through hand-drawn lettering and the single theme of doors. (2001) titles set the model for Pixar’s 2D animated title sequences. Six years before Ratatouille, Geefwee Boedoe’s work on the Monsters, Inc. Title Designer Susan Bradley’s custom typeface speaks to the Parisian aesthetic of the film, with the loops and swirls of the lettering mimicking Giacchino’s luscious score. Art and Paint Lead Nate Wragg’s Impressionistic paintings go hand-in-hand with Jimenez’s complex, single-shot layout, the fluidity of each movement of colour visualizing the tastes and smells of Remy’s world. Through a single take conceptualized by Design Lead Teddy Newton and executed by Camera and Layout Lead Andrew Jimenez, audiences are taken on Remy’s journey. Created by a large design and animation team, the film’s main-on-end titles are an Impressionistic reimagining of the film. Ratatouille continues Bird’s thoughtful, detailed depictions of outsiders with special talents and the film’s attention to detail carries through to the title sequence design. It’s no surprise that Ratatouille is directed by Brad Bird, the director of 1999’s heartbreaking and wise The Iron Giant and 2004’s family-of-superheroes film The Incredibles. The life-threatening obstacles Remy has to face are numerous: boiling pots of water like pools of lava, knives ten times his size, being cooked alive or squashed underfoot, and all with the ever-present threat of death-by-mousetrap. Remy’s ambitions are externalised in the world around him, the rat’s smallness acting as a constant reminder of the wall separating the modest Remy from the overwhelming culinary world before him. Ratatouille, Disney and Pixar’s Oscar-winning film, follows cooking prodigy Remy, a small grey rat, as he moves through the streets of Paris with only the dream of becoming a chef.