David Fincher’s 1995 Physiological crime thriller is a film with distinct themes of Death, darkness and obsession, all of which are established in the opening sequence. The opening of the film serves to introduce the main villain. Kyle Cooper, the lead production designer for the title sequence for ‘Seven’, stated in an interview that "You don’t see the killer until nearly 40 minutes in, so the titles needed to bridge that gap”. The character ‘John Doe’, who is the primary serial killer of the film, is prominent throughout the opening sequence and his character & mood, and that of the film as a whole, is reflected in the first two minutes and 55 seconds of film. In this analysis I will be looking at the different techniques used by Cooper to set up the character of John Doe, the narrative and generic direction portrayed in the opening sequence and the expectations these create, how the historical period is established & how the tone and ‘feel’ of the film is created from different aspects of production.
Although Howard Shore produces the score for the rest of the film, Trent Renzor was responsible for the non-dietetic soundtrack for the title sequence, using a remixed version of his own band’s song ‘Closer’. The continuous, looping sounds throughout the title sequence are created through the usual instruments associated with Bands (e.g. Bass Guitar, Drums), but more interestingly are the abstract noises. To the audience the sounds are unidentified screeches, which progressively grow louder and more obvious, in comparison to the almost incomprehensible background noise it starts out as. This is used to great effect, as it slowly builds tension and keeps the audience on edge, engaging their attention whilst forcing them to continue watching. However, it also reflects the character, ‘John Doe’, and his disturbing personality, in the way that as the soundtrack seems distressing and forceful – so should John Doe correspond.
Typography is a major tool used by Cooper, and ‘Se7en’ is often as recognised for the gritty, scruffy graphics seen in the title sequence, as it is for its plot. Norman Hollyn, an Associate Professor in the School of Cinematic Arts at USC, argues “Cooper’s titles for ‘Se7en’ transformed the written word into a performer”, a belief that is difficult to negate. The style of font used is white, and projects strongly off the far more prominent and more frequent black background, which perhaps connotes that darkness overpowers the innocence and purity of all that is represented by white for the rest of the film, and it’s scruffy, scratched imperfect lettering is used effectively alongside the soundtrack to cement the fear and horror the film evokes. Some viewers of the text could interpret the typography used, as a reflection of John Doe’s personality that informs the viewer the film will revolve around a deranged, crazed serial killer and therefore fulfilling its generic expectation as a physiological crime thriller.
Montage editing is exercised by Cooper to confound and confuse the viewer, with flashing images in-between cuts leaving unanswered questions at the forefront of the audiences’ thoughts. One minute and nine seconds into the clip, for example, a still image can be seen of a mutilated, fractured face. Although difficult to spot on first viewing, these images add to the dark and twisted mood established in the title sequence. On reflection of setting the tone for the rest of the film in a title sequence, Dan Bainbridge (Director of Real Subliminal) declares “The subliminal messages would strengthen and align your subconscious mind to meet your conscious mind’s beliefs”. In this sense, some would argue that Cooper effectively utilizes subliminal images when setting up the tone for the start of the film. Many would also agree that Cooper makes full use of Jump cuts between shots to establish a fast and an almost rushed sense, from the viewer’s perspective, of all the different objects. This creates a feeling of unease as the viewer is forced to witness many different, almost alien objects in quick succession.
The title sequence show’s John Doe surrounded by disturbing and sometimes incomprehensible objects of intelligence and torture, from the tattered handbook cover at one minute – sixteen seconds, to the sharp needle at two minutes – twenty six seconds. The extreme close ups of objects throughout the sequence, serve to both exploit a sense of uncertainty and disgust from the audience but also as a means of connoting the main villain, John Doe’s attention to detail, a common trait among serial killers, and so fulfilling not only the expectations of the genre and it’s themes, but also of the character John Doe and his personality. The successful use of these repeated, short cut close ups leave the audience tense and curious. For example, from forty eight seconds through to fifty three seconds, the viewer is exposed to an extreme close up of an open book at eye level. The hand behind is not in the field of focus, but still in the frame. This is used by Cooper to hint to the audience someone is involved in the scene, establishing an uncomfortable narrative position for the viewer. From fourteen to forty six seconds, we see a device that makes a small, diegetic clicking sound. We can tell its part of the fictional world of the text, as William Somerset (Morgan Freeman) turns the mechanism on, and seems at ease throughout as it makes its consistent clicking. Interrupted by long take zooms of Somerset lying in bed, and then short takes of the mechanism, tension is built at such an early stage of the film, as an eerie silence persists in the backdrop of this uneasy clicking noise. When then followed by a loud bass drop of silence, with a jet black background, connotations can be made about both the inevitability of time, and perhaps the cycle of life. To add to the uncertainty created by the sudden darkness in the frame, what seems to be diegetic thunder can be heard resonating in the background, however we cannot be sure as no details regarding this is bestowed later in the film. This, however, conforms to traditional techniques used by producers throughout film, to reflect the mood of the scene with the state of the weather. Throughout the filming of the title sequence, Cooper admitted that he had difficulties in empathizing with a psychopath. He stated “I had some moral objections to using a shot where a razor blade is cutting the word God out of a dollar bill (Two minutes – forty eight seconds)...But then I thought, John Doe would do it.” This conforms to dominant ideology, that serial killers who have lost all grip on sanity are willing to push the boundaries of what is acceptable. This would take a preferred reading amongst the majority of viewers, most of which have never been in the same position as John Doe, or have never known someone who has been, therefore not fully understanding the feelings experienced by someone in Doe’s position.
Miss – en – scene is used effectively by Cooper, from good use of lighting & colour, to a wide range of props. Non-diegetic lighting is used in the title sequence, with a pale green filter being placed across the camera lens, to purvey a sense of sickness and unrest to the audience, hopefully feelings felt by the viewers themselves at the present moment in time. Darkness is common in Physiological crime thrillers, to convey the shroud of mystery and suspense & in that sense the title sequence fully adheres to generic expectation. The colours of black and cream are prominent throughout the opening credits, complimenting the non – diegetic lighting put in place by producers. However, two minutes – seventeen seconds into the clip, red light spreads across the frame in a manner reflecting both ink and blood. The mystery of what the red liquid is happens to be reinforced by the faded image of film tape cross dissolved into the frame. This creates a disturbing enigma for the audience, leaving them to make the decision as to what they believe the liquid to be. Props, such as the implicit metal instruments seen towards the start of the intro sequence, engage the viewer’s attention, as they attempt to work out what the tools could function for. Items such as books and photographs also imply that John Doe has a reasonable degree of intelligence, again a common attribute associated with serial killers – therefore appealing to dominant ideology.
To conclude, the title sequence of ‘Se7en’ is majorly successful in establishing its historical timeframe through the use of modern music (Nine Inch Nails) and the modern equipment presented throughout. Cooper manages to construct a title sequence that is triumphant in engaging its target audience of a mature audience, with images involved being deemed “inappropriate” for younger minds. It’s 18+ rating is well reflected in this manner, and considering the intro sequence is not only an opportunity to engage the attention of the designated audience, but also a chance to discourage those who have decided upon watching the wrong film – the opening credits for ‘Se7en’ is therefore creative and functional, informative and entertaining, but most importantly summarises the key themes of the film & in “William Somerset’s” words, that is “This isn’t going to have a happy ending.”
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