ORANGE HELVETICA TITLE SEQUENCE WAS A SAY WHAT YOU SEE COMMISSION FOR HAPPY HYPOCRITE: HEAT ISLAND, PUBLISHED BY BOOKWORKS, EDITED BY MASON LEAVER-YAP, 2014
Fade up from black. A video monitor on a shelf.
On the shelf in black marker pen: FACTORY COMMUNICATIONS 26/3/85.
On the monitor screen is a video of the digital counter and keys of a sampler.
The digital counter is counting upward: 11.06.52
53
54
55
To the left of the video monitor in orange Helvetica is the name of the track.
To the right of the video monitor in orange Helvetica: Fac 321.
Dry ice obscures the monitor but the orange titles remain. The dry ice cross-dissolves to grey matte. The grey matte cross-dissolves to a woman's head and shoulders. She is out of focus. She steps forward into focus. The orange titles disappear.
The woman has short dark hair. She wears a pink mohair jumper with an asymmetrical neckline, and large black circular earrings. She wears red lipstick, green eyeshadow, mascara. She is looking off camera, down and slightly to the right. She straightens her back.
Cut to a head and shoulders shot of a man in a denim shirt with a white T shirt beneath. A vocal microphone is pointing at his mouth. There's a black leather guitar strap across his left shoulder. His eyes move around, conspicuously avoiding the camera. His hair is streaked blond on top. On the sides, where it's shorter, it is dark brown. He licks his lips, twitches his head, and looks down.
Cut to the head and shoulders of a man with short brown hair. He wears a black jumper with three black buttons along the left shoulder. He bobs slightly in time to the beat. His eyes avoid the camera. He keeps looking to his left, and then down. His mouth opens slightly, and closes it.
Cut to the head and shoulders of a bearded man. His facial hair is red. His hair is light brown, mid-length and wavy. The top of his head is obscured by the top of the frame. He wears a black leather jacket and black T shirt. A white plectrum protrudes from the right corner of his mouth. Its logo is partially obscured by his lip. He is looking down, moving in a staccato rhythm.
Cut to a side-on shot of both his hands playing a maroon bass guitar. Because of depth of field, the neck of the guitar and his left hand are out of focus. The right cuff of his leather jacket is scuffed. He wears gold rings on his middle and fourth fingers. The movement of the fingers of his left hand are shadowed on his left thigh.
Cut to a shot which is empty apart from a blurred shape to the right of the frame. The woman enters the frame from the left. She is looking up. She reaches up, out of the frame, with her right arm.
Cut to a head and shoulders shot of the woman from behind reaching up with her right arm to a bank of three identical synthesizers in flight cases with open fronts. On the top synthesizer is a row of black dials. She turns the dial on the farthest right. Cut to an extreme close-up of her face. She is looking up.
Cut to the man in the denim shirt. It is the same framing as before. He is looking down and to his left. Now he looks up at the microphone. He looks down again. Now he is moving in rhythm. He holds the microphone. His movements become more pronounced. He looks to the right. His mouth is open.
Cut back to the extreme close up of the woman's face looking up. She exits the frame.
Cut. She enters the frame of another shot. She's looking down.
Cut to her hands side-on at a synthesizer keyboard. Because of depth of field her left hand is out of focus. Only her right hand presses the keys. Her left hand holds the machine's black casing.
Cut again to the man's hands playing the maroon bass.
Cut to the man in the denim shirt. He is bobbing. His fingers are curled round the microphone. He holds a white plectrum between index finger and thumb. He looks down, then to his left, then up. He closes his eyes. He starts to sing. The left shoulder with the leather strap raises up and down with the start of each new line. His eyes remain closed throughout the verse. He removes his hand from the microphone.
Cut to an extreme close-up of a hand on a synthesizer keyboard. E. C. E. G. C.
Cut to the head and shoulders of the man with the black buttons on his shoulder.
Cut to the man in the denim shirt, singing. He is swaying then jutting. His facial expressions are more emphatic now.
Cut to the man in the leather jacket. He moves into the shot from the right and immediately turns 90 degrees while taking a plectrum out of his mouth. In his right hand he holds two drumsticks. They jut back across his right shoulder. The camera moves down the side of his body to a drum machine at waist height. It sits at a 45 degree angle. It's a red surface with six black hexagonal panels. Five in a circle, one in the centre. He hits the hexagonal panels with the drumsticks.
Cut to the hand on the synthesizer keyboard. Cut to the man with the black shoulder buttons. He is moving faster than before.
Cut to the man in the denim shirt. He holds a red cowbell in his left hand, hitting it with a drumstick in his right hand. The microphone is jutting into the left of the frame.
Cut to the woman. She is looking down. She looks up, then looks down again. The studio is reflected in the disc of her earring.
Cut to the man in the leather jacket. The camera is below the drum machine. The drum machine is out of focus because of depth of field. Protruding above it is the man's face from the nose upward. The tips of the drumsticks are moving up and down rapidly. He stops, turns to his left and exits the frame.
Cut to a wide shot of the studio. The man in the leather jacket is wearing jogging pants. In the foreground is a rectangular area of black rubber flooring with loose cables laid across it. The rest of the studio floor beyond it is mauve carpet. In the centre of the carpet is a rectangle of light, from the four rectangular lights in the ceiling above. The four people are facing the same direction. The man with the denim shirt is playing a guitar adjacent to the window of the mixing booth. He pushes his right leg in time. The woman is playing a synthesizer behind him. She moves her right foot in time. The man in the leather jacket and jogging pants is playing a bass guitar. He moves to and fro. Behind him is the man with the buttoned jumper playing a synthesizer. He touches his ear while jutting his head back and forth. He is partially obscured by a bank of equipment in shadow.
Cut to close up of the maroon bass guitar being played rapidly with the white plectrum. The bass guitar moves up and down. His hand is reflected in the maroon surface.
Cut to the man in the denim shirt in front of the window of the mixing booth. He places a drumstick down next to the cowbell. His arm with its rolled-up sleeve is reflected in the glass. Watching from behind the glass is a long-haired stout man in a black jacket. His face is partially obscured by the microphone in front of the glass. To the right of him, the woman is reflected, but more faintly.
Partially obscured by the man in the denim shirt, there is a white A3 poster on the wall which displays two words in black. The blocky font has been designed to appear three-dimensional, as if being viewed from below.
The man picks up a plectrum from beside the cowbell and begins to play a black guitar.
Cut to the man in the leather jacket rapidly playing the maroon bass. The grey fabric of his jogging pants moves forward and back. A curl of hair above his collar moves in syncopated rythm. Behind him is a large mixing desk, and behind that an open door with light shining through it. A man leans against the doorframe, watching with his arms folded. His form is unclear because of depth of field and over-exposure. He nods his head in time.
Cut to the man in the denim shirt playing the black guitar which is hung high on his waist. His right hand makes wide downward arcs across the guitar, punctuated by a staccato strumming action. He moves left and right in the frame.
Cut to the man in the leather jacket.
Cut to the man in the denim shirt moving faster.
Cut to a right hand on a keyboard.
Cut to the man in the leather jacket playing the maroon bass high on the neck. He looks to his right.
Cut to the man in the denim shirt. He moves his left hand quickly up the neck of the guitar, then stops playing. He looks to his left.
Cut to the man in the man in the leather jacket. Leaning back, he moves his left hand incrementally down the neck of the maroon bass, then stops playing.
Cut to extreme close up of a hand on a keyboard. The index finger presses the key on the farthest right. It holds it, then drops down and moves out of the frame.
Cut to the face of the man in the black buttoned jumper. He looks to his right.
Cut to the face of the man in the denim shirt. He looks to his left.
Cut to the face of the man in the leather jacket. He looks ahead at the camera.
Cut to the face of the woman. She walks out of shot, leaving behind an out of focus surface of various overlapping shapes.
In the top of the frame, in orange Helvetica, fade in the words Henri Alekan. To their right appear the words Alan Butler. Below Henri Alekan appear the words Louis Cochet. To their right, Jonathan Demme. Below, Louis Cochet, To their right, Chris Duffell. Then:
Michel Duval Alan Erasmus
Gillian Gilbert Agnes Godard
Robert Gretton Peter Hook
Mike Johnson Tony Lawson
Terence Michael Mason Bob McGregor
Stephen Morris Neville
Cliff Meredith Owen Mark Phillips
Dave Pils Evelyn Ponte
Steven Riddel Andrew Robinson
Michael H Shamberg Slim
Bernard Sumner Paul Video Tap
Mr Welsh Anthony H Wilson
Fac 321
All the names fade out. Fac 321 remains. The surface of overlapping shapes fades to black. Fac 321 fades out 1 second later. Black leader remains for 3 seconds.