From Hugh Hart’s’s piece about the silhouette-y main-title sequence for Feud: Bette and Joan: “Kyle Cooper, who first turned industry heads in 1995 with his famously gritty main title sequence for David Fincher’s Se7en, decided to render the Feud stars in silhouette after studying Saul Bass‘s 1955 title sequence for The Man With the Golden Arm. He also checked out the 2002 opening for Catch Me While If You Can and revisited paper cut-out collages produced by Henri Matisse. The wiry sculptures by Swiss sculptor Alberto Giacometti were another key influence.”

Quote: “I set these parameters that everything had to be in silhouette, so we wouldn’t see any details in the people’s face and there wouldn’t be any kind of shading.”