Concept and creative process
A drama serial about the life of Nancy Astor, who rose to become the first woman to sit as a Member of Parliament and was one of the most distinguished political hostesses of her time. In the titles she is depicted in her role as a politician, an energetic vibrant character, always in the limelight, surrounded by crowds and press photographers. The title sequence was designed to reflect the charisma and celebrity status of Nancy Astor at the height of her popularity. The sequence was split into two sections. The first was shot in a studio in Borehamwood using a 35mm film camera. The actors were auditioned and cast for their appearance. Costumes were agreed upon. A prop buyer sourced the cameras and a special effects designer was commissioned to create the flashing lights with smoke. These shots were intercut with crowd scenes which were shot on location. A cameraman and 35mm camera were allocated to me for the duration of an afternoon on location, whilst the programme 16mm film crew shot some interior sequences. The leading lady, Lisa Harrow, 100 extras and the vintage Rolls Royce car were left for us to create the sequence as drawn on the storyboard. It was imperative to get the leading lady to turn at a certain point and for the cameraman to get her positioned centrally in the top third of frame in order to be able to line her up later at the film optical stage within a drawn cartouche. The main title was hand lettered and printed onto cell which was placed over a pantone coloured paper, with an oval shaped matte to insert the image.
Lighting Cameramen - Douglas Adamson and Ian Stone.
Editor - David Farlie.
Music Composer - Stanley Myers.
Concept, design, creative direction and live action direction - Liz Friedman.
Winner of a Design & Art Direction Wood Pencil for Television Drama Titles 1983.
More Information
Nancy Astor titles storyboard, book and press invitation
Nancy Astor titles storyboard 1
The storyboard has various techniques in order to explain the idea as best as possible visually. Some of the storyboard is hand-drawn by Liz Friedman and some is a photographic image with a drawing of Nancy Astor on tracing paper pasted over. This is to indicate the fading on of the image through the live action as it zooms forward. The general idea needed to emphasize Nancy Astor as a ‘celebrity’ being snapped by numerous photographers. The storyboard would have been used just as an aid to explain the idea directly to the producer or director.
Nancy Astor titles storyboard 2
The storyboard has various techniques in order to explain the idea as best as possible visually. Some of the storyboard is hand-drawn by Liz Friedman and some is a photographic image with a drawing of Nancy Astor on tracing paper pasted over. This is to indicate the fading on of the image through the live action as it zooms forward. The general idea needed to emphasize Nancy Astor as a ‘celebrity’ being snapped by numerous photographers. The storyboard would have been used just as an aid to explain the idea directly to the producer or director.
Nancy Astor titles storyboard 3
The storyboard has various techniques in order to explain the idea as best as possible visually. Some of the storyboard is hand-drawn by Liz Friedman and some is a photographic image with a drawing of Nancy Astor on tracing paper pasted over. This is to indicate the fading on of the image through the live action as it zooms forward. The general idea needed to emphasize Nancy Astor as a ‘celebrity’ being snapped by numerous photographers. The storyboard would have been used just as an aid to explain the idea directly to the producer or director.
Nancy Astor book
Nancy Astor press invitation 1
Nancy Astor press invitation 2