My name is Kyle Cooper, and I'm the title designer
for The Secret Life of Walter Mitty.
I worked on Tropic Thunder, and I worked on Zoolander.
I felt very happy that Ben called me again.
It's good when you have a relationship with people,
and you have a shorthand way of working with them.
As a graphic designer, you don't do the same title for two different movies.
I don't think that you should have a style that you apply to everything.
You have to listen to what the movie is about.
But you have to come up with the beginning for the movie.
And it's like, "What's the beginning? What's the first scene?"
When I start on a title sequence, I try to figure out what tone we're trying to set.
Is there any backstory we need to tell?
ls there any way we can use these two minutes to help serve the story?
But I also try to figure out, how does the director want people to feel?
I think the challenge of this film is that
you're trying to pre-visualize something that's a completely animated thing,
that no matter how much you talk about it, it just depends on the execution.
Ben, he wanted to have something fanciful and animated
to drop into his dreamworld out of the first scene.
But what exactly that dream-like place looked like, a lot of thought went into.
We always thought it was some kind of stripe thing
that would become waves and find its way onto the floor.
And "Should they be 3D stripes? Should they fly over a town?"
We had splashes of paint at one point.
And fireworks and "There's gonna be this and then we follow it,"
and "How long is it?"
It got to a point where we changed it
and we'd always go back and look at the other versions.
Then we'd go, "What about version 34? What was version 34 again?
"What was version 34?" "Version 34? I like version 19."
TODD". What? Did you pass out or...
No, I just like, zoned out for a second.
Okay. Do you do that a lot?
Normal amount, I guess.
Yeah, I got to run. Sorry.
Okay, but we need a lot more...
It was like a breakthrough, and it finally worked to me.
Ben said that he liked it.
And it sounds like... And you look at it, people go, "What is this?
"You could've just made that in After Effects.
"It's some animation thing."
"No, you don't understand. It was intangible."
This intangible thing.
And then, you know, "Oh, kind of works."
I'm very happy with it.