It's kind of weird, but because they wanted to show that the film takes place now, there's a title where a hand pulls Napoleon's school ID out of a wallet and it says '2004' - that was like the big deal for Fox, hoping that would put to bed anyone’s question as to when it happened. Jared Hess speaks about the screening process:įrom the Art of the Title phone interviewįor whatever reason people didn't understand that rural way of life, so Fox said "why don't we do an opening title sequence." I wanted it to feel organic and match the film, so 8 months after the film had been completed and before the theatrical release, we shot the title sequence. When we sold the film to Fox Searchlight I remember they test screened the film a couple of different times and one of the silly questions that kept coming up in the focus groups afterwards (adopts voice of Brutus from Gentlemen Broncos) "What year does this take place? I mean it's like everybody's wearing clothes from the 80's and the 90's, yet they have the Internet, I'm really confused." So this question came up a few times and the Fox Searchlight marketing people were like "maybe we could do something to say that this is happening now" because I kept explaining to them that I grew up in a small town in Idaho and that things are more, you know, functional and fashion doesn't matter as much, so those things are very normal. It went from a black screen right to Napoleon standing in front of his house waiting for the school bus, and we had a very basic credit roll at the end of the film. JH: When we made Napoleon it was very low budget and we made the whole thing for under $400,000 when we screened the film at Sundance we did not have an opening title sequence at all - it opened cold. This week follows on from Gentlemen Broncos, with a discussion on the genesis of the Napoleon title sequence. We had an opportunity to speak with Hess about the unique openings to his films. Aaron Ruell, who also plays Kipland "Kip" Ronald Dynamite, designed the opening credit sequence for Jared and Jerusha Hess' Napoleon Dynamite with the White Stripes' "We're Going to be Friends" easing in childlike qualities.
Saucy credits garnish high school foodstuff alongside screamingly mundane high school ephemera serving as cringe-worthy currency all the while inducing smile after smile.
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