#peter anderson Tumblr posts

[instanttaneas-archivoenfoto]

David Byrne, Ohio 1983 foto por Peter Anderson

[fuckyeahgoodomens]

ABSOLUTELY GLORIOUS OPENING TITLE TO SEASON 2! ❤❤❤

Source

Good Omens season 2 won’t hit Prime Video until later this summer, but a first look at the new opening title should whet fans’ appetites. Polygon can exclusively reveal the gorgeous sequence for the show, which raises tons of questions about where the follow-up to Neil Gaiman and Terry Pratchett’s fantasy adaptation is headed.

Just like the first season’s opening sequence, season 2’s is a mishmash of illustration, physical props, computer effects, and more — and also chock full of little details and Easter eggs. It’s worth rewatching it over and over to pick up on everything. Peter Anderson, the designer behind the title sequences for both seasons of the show, says that the cinema scene will change from week-to-week to keep up with the new episodes. His favorite little detail, though, involves the scenes in hell.

“If you look closely a character from the series one titles is trying to escape hell again!” he tells Polygon over email.

Of course, there are definitely some details that will only make sense once the season unfolds. For now it’s a sneak peek of sorts, into a Good Omens we have no roadmap for.

“We started the sequence for series two as a direct follow on from series one,” Andersen says. “The content of the titles was an obsessively detailed telling of the new series story with a few gems for the avid fan.”

While the first season of Good Omens faithfully adapted Neil Gaiman and Terry Pratchett’s 1990 novel, the second one wades into uncharted (and unwritten) territory, pulling from the hypothetical sequel that Gaiman and Pratchett never got to write. Details have been scarce, but one thing’s for certain: everyone’s favorite demon-angel pair, once-again played here by David Tennant and Michael Sheen, will return.

Good Omens season 2 hits Prime Video on July 28.

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'the cinema scene will change from week-to-week to keep up with the new episodes' .... does this mean weekly episodes? 👀👀👀

[undergroundrockpress]

Jerry Dammers of The Specials, entertaining a group of young children, dressed as an alien, UK 1980.

Photo by Peter Anderson.

[theseimmortalcoils]

Siouxsie photographed by Peter Anderson in 1986 via @siouxsiepix

[dbstaches]

In the soft cell for NME magazine, April 1981, photo by Peter Anderson, via peteranderson.photos Instagram

[itsallmadonnasfault]

@peteranderson.photos MADONNA Soho 1983

[tomwaitsvisualdictionary]

Tom Waits photographed at the Travelers Cafe, his favourite cafe in Los Angeles, 1987.

Photo by: Peter Anderson

Date: 25/02/1987

Image:tom-waits-1L9B

Edition of: 495

Sonic Editions

[nofatclips]

Good Omens Season 2: Opening Title Sequence produced at Peter Anderson Studio

[picturebookshelf]

The Teddy Bear Counting Book (1995)

Text: Ingrid Mason -- Art: Graham Corbett, Peter Anderson, Jim Coit & Roland Kemp

[ccccache]

Really like the titles for the new season of True Detective by Peter Anderson Studio; bold to omit True Detective’s classic double exposure aesthetic but it does signify a certain “newness” (also love the Lost Highway-esque device)

[ivory--raven]

I was watching Good Omens, as you do, and in the title sequence, I spotted a familiar and distinctive red sash.

The messy hair, sore on the side of the cheek/chin, sash... that's Beelzebub.

Pixelated because I'm using photos of my laptop screen. Sorry.

I'd heard somewhere that all the figures following Crowley and Aziraphale were David and Michael with different hair, but that's Lord Beelzebub. Whose actress change is acknowledged in the sequence itself with a grave.

So I watched the title sequence X-Ray with that in mind, and found the line "Where we could, almost all of the faces of our characters, even though they're dressed in costume, and build up the different roles played within the drama, their faces are built from our angel or our demon."

What I heard wasn't wrong, all the title sequence characters are built of David and Michael's faces, but I was also correct about spotting Beelzebub. The characters are in the title sequence. Furthermore, they build up the different roles played within the drama (in the title sequence). That is, there's information about the content of the episodes to be gleaned from the title sequence.

And oh, but there is.

"You know, we're not just hinting and teasing at things with these titles," says the X-Ray.

The title sequence itself contains the Clue and the answer to the Jim mystery. It also suggests the Final Fifteen.

Peter Anderson Studio team, I am very impressed.

[instanttaneas-archivoenfoto]

David Byrne, Ohio 1983 foto por Peter Anderson

[fuckyeahgoodomens]

Creating The S2 Title Sequence :) ❤

Peter Anderson: Hi, my name is Peter Anderson. I'm from Peter Anderson Studio. And we created the title sequence to Good Omens Season Two. So, we begin our journey with our angel and our demon starting again, climbing back from this enormous ending from Season One. We experiment and we don't stop experimenting.

So, you know, we built fire out of paper as a stop free emotion.

You know, our clouds are cotton wool. It's not just clever, big CGI.

It's experimenting with other ways in which we can make the world of Good Omens feel fresh and original.

And lots of the procession are the actual costumes that were in the drama.

A lot of them worn by me and other members of the Peter Anderson studio on a travelator in a green screen. Where we could almost all of the faces of our characters, even though they're dressed in costume, and build up the different roles played within the drama, their faces are built from our angel or our demon.

The crossover happens straight away with the live action. We've got live action figures that straightaway have got two-dimensional heads. But we mess with them. We give them mohicans, we cut up their faces to make them look like our various characters.

And like season one, we're building a world. We're building the universe. We playfully add storytelling elements that really are reflective of Neil's storytelling. We do our best to push and play with what animation can be...

To add 3D elements, 2D elements,

to live action elements, to really low-fly animation elements. You know, we're not just hinting and teasing at things with these tiles. We're obsessing over every part of the storytelling.

[undergroundrockpress]

The Cramps by Peter Anderson in 1986.

[dbstaches]

Soft Cell interviewed by Paul Morley for NME magazine in Leicester Grove, Leeds, April 1981, photo by Peter Anderson

[itsallmadonnasfault]

Madonna by Peter Anderson 1983