IMAGINARYFORCES

PEOPLEText: Sachiko Kurashina

Even if you did not know about “ImaginaryForces” (IF) well, you have seen their works somewhere. Film title sequences, such as Harry Potter, Seven or Mission Impossible are ones of many works of them. I could see a careful and faithful attitude of IF to all works from the words of an art director, Matt Checkowski.


MINORITY REPORT: Prevision Sequences
Client: 20th Century Fox and Dreamworks, Director: Steven Spielberg

Please introduce yourself as well as ImaginaryForces. Tell us how was IF was established in 1996?

I arrived at “ImaginaryForces” (IF) in 1998 after graduating from design school. I was working in a variety of media, mostly motion and interactivity, and really wanted to be at a place that would allow me to reach out in any direction. IF was the perfect place.

Since coming into prominence in 1996 for it’s main title work, the company has done everything from feature film marketing (Men In Black, the Mummy) to sports stadium experiences (Baltimore Ravens, Madison Square Garden) to architectural environments (IBM, Wexner Center). We’re in both Los Angeles and New York City, but our connections to entertainment and Hollywood really open up a lot of different opportunities on both coasts.

What is the secret of a key to success in this variety of projects?

I think our success across all these media relates directly to how we think. The people at IF are such a diverse group; everyone does many things and comes from many different places. At the end of the day, we all come together in the service of ‘the idea’. What is the best way to approach this problem? What is the best way to say what the client (be it an advertising agency, or corporate giant, or film director) wants to say? These are some of the questions we ask ourselves regardless of what the project is. Our diversity gives us flexibility – it allows us to create unexpected combinations.


JANUS: Commercial Campaign/Brand Identity/Live Action
Client: Janus Mutual Funds, Agency: Foote Cone & Belding

Are there any IF’s original producing process when you start a new project? Also, has each member of IF has got each role to proceed a project?

Every project brings different challenges, especially when were working in a variety of media. There are about six teams at IF right now, but the structure isn’t that rigid. There is a lot of cross-over. Our teams expand and contract depending on what each project needs. We work with a lot of different people who do a lot of different things.


SE7EN: Title Sequence/Brand Identity/Live Action
Client: New Line Cinema, Director: David Fincher


SPIDER-MAN: Title Sequence/Feature Film Marketing
Client: Sony Pictures, Director: Sam Raimi

What do you think about that many people in the world watch your sequences? Do you feel any pressures that you are making one for “a famous film”?

It’s really great when your work is on a stage that a lot of people get to see. A film is such a powerful way to talk to people – and I think that is where the pressure is. We get so many great opportunities and have had the chance to tell so many different stories at so many different scales. I think we’re our own biggest critics – we try to emotionally move every single audience member in every sequence that we do.


NFL BALTIMORE RAVENS: Event/Live Action/Music, Sound Design
Client: NFL Baltimore Ravens

Not only from the film title sequences, but also from an interactive advertisement in Times Square in NY or images that are shown on a 100ft by 24ft screen at a stadium, we feel an impression “Big” to IF’s works. Also, audiences can be varied for each work. What do you think about these points?

I think people are most drawn to the work that feels “big.” Sure, it’s amazing to create something that is immense in scale, but we make everything from postage stamps to stadium screens. I think regardless of scale, our work ranges from loud to quiet, aggressive to peaceful. Communication is what is important to us. Who are we talking to? What is the message? We can put a sunset on a skyscraper or make typography jump around on your television, but if it isn’t saying the right thing, if it isn’t conveying the right emotion, we feel like we haven’t done our job.


MEN IN BLACK II: Feature Film Marketing/Brand Identity/Live Action
Client: Sony Pictures, Director: Barry Sonnenfeld

IF is based in Hollywood. What is an advantage(s) to work in the city that is well known as the film capital? As an artist, do you easily receive impulsion or inspiration from Hollywood?

Hollywood is great. We’ll always have our foot in the entertainment industry. Everyone at IF came to IF because of their love for film. I think we all love film because film, itself, has so many influences. It’s our relationship to the industry and the medium that helps us move into so many other areas.

Read more ...

[Help wanted] Inviting volunteer staff / pro bono for contribution and translation. Please e-mail to us.
MoMA STORE