Thriller opening title sequence analysis - Se7en

In this first shot, we are immediately shown the production company name, with the utilisation of typography to portray an intimidating atmosphere. Jagged edges around the letters quickly suggest to the viewer that this film may contain hazardous and potentially dangerous sequences, clearly indicating to the viewer that the genre of this film is certainly not for young children. With the intentional placing of the production company name in front of a close up shot of book pages turning, it is inferred to the reader that the film is beginning, suggesting narrative. A fade in from black transition is used before this opening shot in order to portray feelings of loneliness, mystery, confusion and danger which further isolates the viewer. As a means of making the production company name relatively clear, the background of the shot is out of focus, meaning the viewer is forced to centre on the book and the production company name.  Non-diegetic sound begins to play as the shot occurs, with the music continuing to play throughout every shot in the opening sequence, leaving the viewer no escape from the rather sinister and monstrous ambient sounds that perhaps represent the insanity and anger inside the killer's mind.

In this second shot, an enigma is presented to the viewer, as we are given no understanding or idea as to why these hands have been photographed, and whose hands they may be. This sense of mystery is inferred also to the viewer with part of the screen being faded completely to black, which increases tension and suspense by forcing the viewer to focus on relatively unfavourable images. The words 'A film by' are shaken and difficult to distinguish, almost representing a canted shot, which is one of chaos and confusion, again inferring the killer's psychological trauma as well as the threat they pose. A common feature of the film's use of typography in that the names of the cast and directors listed are in white lettering and are placed on a completely black background to the side or underneath a shot, making it easier for the viewer to see these names. To match the slow pace of the sound at this point, these opening few shots last about 3-4 seconds, a considerable time period compared to the middle of the opening, which plays shots at a much faster pace in order to keep in time with the increased intensity of the music playing. This shows that editing in this opening is solely based on matching and supporting the sound being played, inferring to the viewer how crucial the sound is to this opening, instead of just being sound that is relatively insignificant compared to the images on the screen.


This third shot is that of a completely black screen, with the flickering of the title name ''Se7en' in the top right hand corner. This flickering perhaps reflects the flickering of the light in the room, and the darkness around the title portraying the eeriness of the shots before hand. Part of the number seven in the title is missing, suggesting it is being covered by the darkness, shrouded in mystery, representing the killer himself, an unidentifiable mystery. This prevalent use of enigmas throughout the opening as a way of foreboding is another example of how this opening successfully portrays its genre type without anything more than sounds, shots of inanimate objects and typography. 

In this fourth shot, we see an extreme close up shot of the killer writing down ineligible notes, which are intentionally made unreadable as they are blurred by the camera, along with the killer's hand and the pen, suggesting weariness, confusion and uncertainty. With the majority of the shot blurred out, the only writing clearly noticeable is once again the name of one of the cast and directors, which is again placed on a black background, thus suggesting that the name is the most important and significant part of this shot. This shot lasts for an extended period, giving the viewer time to acknowledge the name placed on the screen, further suggesting that whilst the images on the screen are still important, the most relevant information being played on the screen that of the names of the cast and directors. It is not always the case in openings that the names receive so much attention, however it is clear that the intent here to make the names of the cast and directors as visible to the viewer as possible. The duration of the shot is also important in matching the continuously slow pace of the non-diegetic sound being played. Very few shots, including this one, have any bright or vibrant colours, therefore supporting the slow nature of the sound at this point in the opening.

In this final shot, the majority of the image is blackened, other than the face of seemingly a child, which the killer has marked across with a pen. So as not to completely deter the viewer away from the names of the cast and directors on the screen, we see the names slightly overlapping the image of the face, making it difficult for the viewer to avoid noticing these names. Throughout this shot and the following shots, the images continue to jolt and jitter, thus matching the erratic nature of the increased tempo of the sound. This also captures the erratic and relatively random way in which the killer is marking pictures and writing down notes, again portraying to the reader an insight into the mind of this killer, without actually revealing their identity, thus increasing the dramatic effect this film has on its viewer.