At that price it didn't matter if we broke more than we used, and it saved renting an expensive studio and creating expensive special effects. "We solved the problem by buying a few plaster heads, for thirty dollars a head, at a place across the street from the old Goldwyn studios that made plaster casts. The concept was relatively simple, but the precise effects they wanted proved difficult to achieve, especially because there were no zoom lenses available for the wide-screen Super Technirama 70 process in which the film was shot.
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It seems very rich to see the growth of those profiles forming a full face, and full faces dissolving into profiles before the final face starts to crack apart and the camera zooms into the empty eye, signaling that all is not well." "What we were going for in the Spartacus titles was the multiple layers of elegant and disdainful faces, which express the duality of Roman rule - the oppressiveness and brutality, as well as the sophistication that made possible so many contributions to Western civilization. Saul and Elaine (this was the first sequence on which Elaine was a full collaborator) wanted the titles to establish the powerful presence of the Roman Empire. His responsibilities included the design and storyboarding of the battle sequences, conceptualizing and designing the gladiatorial school and scouting the Nubian mine locations. A long standing admirer of Saul's work, Douglas hired him not only to create the title sequence and advertising campaign, but also as a visual consultant. The story of a gladiator who leads a slave revolt against the might of the Roman Empire, Spartacus was a high-profile project for Kirk Douglas, who both produced and starred in the movie. Author Pat Kirkham discusses the opening titles for Spartacus, designed by Saul and Elaine Bass, from her authoritative book Saul Bass: A Life in Film and Design.
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