“Conceptually, it didn’t seem very difficult,” Cameron attests. Cameron worked with John Scheafer and Miles Vignol’s Helium Productions on this aspect of the opening titles, including how the actual fluid simulation of the melting would occur. Still, the plan was to accomplish the melting ice caps via digital means. Certainly this time in the mid-90s had seen a rapid explosion of digital VFX but it remained relatively early in the history of CG in filmmaking. The logo take-over would require a significant degree of digital intervention into Universal’s existing logo. The text drops away and a zoom-in begins on the globe. More observations about the minefield production of Waterworld from Cameron and Ladd, later, but first a look at how the actual melting ice caps work for the opening titles was done. “It was a super-charged political project with way too many egos involved,” reflects Kirk Cameron, a PSF producer and VFX supervisor who worked under Ladd. The change in leadership was an indication of the tumultuous nature of the Waterworld production, with many of the crew-members already having experienced a tough shoot. And then Kevin Reynolds kind of disappeared, and it was Kevin Costner who was now in the meetings.”
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“Then Wayne looked at me – pale-faced – and said, ‘How are we going to do that?’ And I said, ‘It’s OK, we know how to do this.’”īased on title designs and storyboards by Fitzgerald and titles designer Jennifer Grey-Berkowitz, a budget was submitted to Universal. “We came up with the zoom-in idea, pitched it to them and they said, ‘Great.’” says Ladd. Ladd recalls an early meeting involved Waterworld director Kevin Reynolds, lead actor Kevin Costner – who would ultimately assume directing duties during post-production of the film – and several other producers and Universal executives in which he and other PSF crew were asked, ‘Can you guys come up with an idea that tells this story?’ (the logo idea had also been hinted at in one of the script drafts). “Wayne was one of the premier title designers around and Universal hired Wayne to do what Wayne did, which was to composite typography over a shot, which is the actual title of the film.” “I was working with Wayne Fitzgerald at PSF,” he told befores & afters.
‘An idea that tells the story’Įric Ladd was executive producer at PSF at the time. The titles begin with the classic Universal logo opening. However, like the production of the film itself – which famously went over-budget and had several production troubles – the titles travelled through their own complex history of development (which even involved the delivery of a giant globe…). The opener would become one of the most well-known Universal logo re-imaginings.
Over the years, a number of Universal Pictures films have begun with clever ‘re-imaginings’ of the Universal globe logo, setting the scene for the story about to unfold on screen. One of several memorable Universal logo take-overs, and it even involved a giant globe…
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