True Blood's Emmy-nominated title sequence was created by Digital Kitchen, the production studio also responsible for creating the title sequences of Six Feet Under and Showtime's Dexter. The sequence is composed of portrayals of the show's Deep Southsetting, and runs to "Bad Things" by Jace Everett, although the original featurette was created around the Jennifer Herrema(Royal Trux) song "RadTimesXpress".
Conceptually, Digital Kitchen elected to construct the sequence around the idea of "the whore in the house of prayer" by intermingling contradictory images of sex, violence and religion and displaying them from the point of view of "a supernatural, predatory creature observing human beings from the shadows ..." Digital Kitchen also wished to explore ideas of redemption and forgiveness, and thus arranged for the sequence to progress from morning to night and to culminate in a baptism.
The title sequence also features images and themes of death and re-birth; the circle of life. A Venus fly-trap can be seen engulfing a frog while a rotting fox’s head is sped up to reveal maggots feeding off of the corpse. Re-birth is also recognized through an image of a woman being “washed clean” from her sins in a lake as well as a Reverend blessing and possibly performing an exorcism on a member of his congregation.
Most of the footage used in the sequence was filmed on location by Digital Kitchen. Crew members took a four-day trip toLouisiana to film and also shot at a Chicago church and on a stage and in a bar in Seattle. Additionally, several Digital Kitchen crew members made cameo appearances in the sequence.
In editing the opening, Digital Kitchen wanted to express how "religious fanaticism" and "sexual energy" could corrupt humans and make them animalistic. Accordingly, several frames of some shots were cut to give movements a jittery feel, while other shots were simply played back very slowly. Individual frames were also splattered with drops of blood. The sequence's transitions were constructed differently, though; they were made with a Polaroid transfer technique. The last frame of one shot and the first frame of another were taken as a single Polaroid photo, which was then divided between emulsion and backing. The emulsion was then filmed being further separated by chemicals and those shots of this separation were placed back into the final edit.
Eight different typefaces, inspired by Southern road signage, were also created manually by Camm Rowland for cast and crew credits, as well as the show's title card.
In a 2010 issue of TV Guide, the show's opening title sequence ranked #5 on a list of TV's top 10 credits sequences, as selected by readers
Creating, assembling, integrating, asserting, and maintaining a personality is routine for most of us, but there's no denying it's hard work. Some of us have to do it from scratch every day. That's what so chillingly magnificent about the opening credits sequence for Showtime's "Dexter." It shows a man putting himself together (piece by piece, close-up by close-up) in the course of enacting his morning rituals. Yes, there are plenty of playful groaners about knives, flesh, and blood. Dexter is a serial killer -- albeit one who's trying to use his control-freak instincts to keep his habit manageable, within certain ethical boundaries, even as he daylights in forensics for Miami homicide. (He's a blood-spatter expert, naturally.)
We recognize his daily rites as things we all do every day, but they're rendered in such garish (Miami!) colors and macro-close-ups that they appear to us grotesque and purified, ultra-specific and abstractly universal, at the same time, like Pop Art. Even the messy parts look like Abstract Expressionism (like the blood spatters Dexter hangs as art above his desk at work), from the collection of Dexter Morgan. His most valued collection, however, consists of the blood slides of his victims, which he keeps neatly and discreetly filed in a box inside the air conditioner.
The credits gallery is accompanied by jaunty/menacing music that's both spicy Latin in flavor and creepy Gothic in sensibility. A guitar/kalimba/harpsichord sound. Sassy/sinister horns punctuate the mocking melody with bleats, cackles and growls. It's like the "Addams Family" theme played by a Mexican Day of the Dead band of mâché skeleton musicians. Who are, no doubt, Cuban immigrants.
The first time you see it (the titles sequence wasn't used in the initial pilot episode), it tells you everything you need to know about the character. Every time after that, it immerses you into the world of the show, like the best opening montages that took you by the eyelids and pulled you into "Twin Peaks," the New Jersey of "The Sopranos," the muddy shit-hole mining town of "Deadwood."
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