Tal Rosner is a BAFTA-award winning filmmaker and animator, most commonly known for created the title sequence to the E4 show, Skins.
Tal began his career after completing his BA Graphic Design degree, in which time he created posters, magazines and compositions. After this, he developed an interest in rhythm and decided to study an MA in Moving Image at Central St. Martin’s in London. Here, he took what he learnt from his Graphic Design degree to create his films. He found a direct link between designing single pages, in a book for example, to creating 25 pages to make one second of a film.
His final piece at Central St. Martin’s in late 2004 was a film called Doppelganger, with images taken from his surroundings in London, and played with music. I found this piece quite interesting as it begins with real imagery and develops into very abstract patterns, reminding me of kaleidoscope imagery. This was the first time Tal felt he had an idea of a proper film, and he feels that his technical skills improve as he uses the digital software used to create films more and more.
Once leaving Central St. Martin’s, Tal worked in a post-production place in London. He thought that he would like doing this kind of job as it was based on moving image, but he found that he was much happier working with a smaller budget and within a smaller group of people, in order to have creative control.
Stravinsky Concerto for Two Pianos
Tal was asked to create a 20-minute film in collaboration with two sisters who create classical piano duets. As there was only a small budget, instead of using a camera track, he used a train track to film his surroundings. Such as Doppelganger, parts of the film are real and others are abstract. I felt that some sections of the film looked very illustrative, very simplistic black and white images. The film is also split into two screens to represent both pianists, and each scene is a reflection of the tempo of the music.
E4 Skins
Tal was asked to create the title sequence to a new television programme called Skins based on the lives and relationships of teenagers, which eventually earned him a BAFTA, as it was very different to other title sequences at the time. There was only a small budget, but it is clear to see Tal’s progression as a filmmaker and it still contains scenes based on surroundings. I was quite shocked to find out that the final product was Tal’s 72nd version.
E4 Skins Series 2
When creating the sequence title for the second series of Skins, Tal was aware that it must be similar in style to series one, so viewers of the show can recognise it, but, as the series developed, the style of the opening titles could be developed. The second series is created from type, with the letters spelling out SKINS blown up, containing imagery within them. Along with the sequence title, he also creates bumpers, which are very short animations before and after the adverts.
Tal is currently working on series three of Skins, which contains all new characters. Again, the progression of style will be apparent, but as it will deal with new characters and situations, Tal will be able to incorporate this into his work.
London Symphony Orchestra – “In Seven Days”
Tal was commissioned by the London Symphony Orchestra to create visuals to be shown alongside a piece of music that is being played, about the seven days of creation. There were six separate screens, sometimes used as separate screens and sometimes used as one whole screen.
Without You
This film was created as a Channel 4 initiative to showcase up and coming filmmakers and animators. Tal’s was based on a poem: “Calm Down. What Happens. Happens Mostly. Without You. By Josef Albers. This was the first film that was filmed in HD. He tried to get away from using classical music, and decided to experiment with the sound taken from his footage of his surroundings. It was based on buildings, shapes and colours. As with his other films, it progressively becomes more abstract.
Tal is interested in cinema and possibly interested in creating film titles in the future, but thinks he would find it difficult as people demand a narrative in film titles, and Tal doesn’t like using a narrative, he likes his work to be organic.
He particularly likes things created in the period between 1905 and 1935, such as the Bauhaus, Kandinsky and Mondrian, as influences to his work.
Though film-making is not an interest of mine, I found the filming process quite interesting and the way the image of a building can be manipulated to the point beyond recognition, so that it appears very illustrative. I also liked the way you were able to see the connection between Tal’s personal work and commercial work, such as the Skins sequence title. I also think Tal was a very nice person, which makes his success all the more deserved.
Visit his website: www.talrosner.com
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