New York, NY -- For the current re-release of the lauded series "Red Riding," in select theaters nationwide starting February 19, Superfad was asked to design a title sequence for the chapter 1980, which focuses on the investigation into the Yorkshire Ripper murders and the police corruption surrounding the case.

To view: http://superfad.wiredrive.com/l/p/?presentation=ce9d060a24aa2be30b7e0b3ee12e9792

Set against a backdrop of serial murders including the Yorkshire Ripper case, the Red Riding Trilogy is based on the books by David Peace and adapted for the screen by Tony Grisoni and deal with multi-layered corruption. Each segment was directed by a different filmmaker and presented as a serialized trilogy on British television and was recently united for festival screenings the current engagement via IFC.

"The opportunity to work with such an incredible team as Director James Marsh and Editor Jinx Godfrey was one we simply couldn't pass up," says Superfad's Kinda Akash. "We started out by literally mapping out the geographical locations of the murders. This initial diagram, an exercise in familiarizing ourselves with the case, became more complex once more layers of information were added: how many women were killed where, how many times the police had investigated one location, travelled to another, and so on. The result was a web of lines and numbers, held within a geographical constraint, but otherwise bound by no particular order. It really reflected corruption, both of the mind of the Yorkshire Ripper and the police investigation."


The tremendous complexity of this diagram and the lines that held it all together became the vehicle for Superfad's sequence, literally framing figures in the edit, coming precariously close to their faces. The slow-creeping nature of the lines hint at the inefficiency that plagued the case, as well as the trepidation of police investigators and the murderer. The tone and pacing were set by Jinx's edit and the voice of Bill Molloy, heard over the sequence, which evoked a chilling pathos.

"While the team certainly looked at the vernacular of serial killers," continues Akash, "we arrived at the final look by coming across the following anecdote: apparently the sheer volume of investigative documents (papers photocopied over and over, looked over innumerable times) forced the police to reinforce the floors. That weight, that idea of paper being reused, handed off from hand to hand and getting soiled, played a large role in our stylistic treatment. In the end, we chose to edit down the amount of lines and information in the sequence; we just wanted to give enough information to illicit a bit of discomfort in the viewer, as well as help the images provide a context for the film to follow."

For more on the films and screening dates, please visit: http://www.ifcfilms.com/films/the-red-riding-trilogy