Wright mentioned the collection in a candid 2011 interview with Artwork of the Identify, revealing that “the majority of the identify collection got here overdue within the recreation.” He added that “Scott Pilgrim vs. the World” all the time opened “with the studio credit and the identify all the time took place over the lengthy monitoring shot in the lounge with the band taking part in. However initially all of the credit have been on the finish over black.”
The director additional introduced that the eye-popping opening credit lovers have come to know and love took place at the recommendation of an overly well-known buddy, Quentin Tarantino. “We take a look at screened it as soon as on this [original] model,” he mentioned. “However then a few other people had a observe concerning the movie, one in all them being Quentin Tarantino. He felt we wanted a identify collection at first to let other people settle in and trace extra about what we have been about to see.” Wright properly heeded Tarantino’s recommendation, turning to his previous buddies at London’s Shynola artwork collective to make the hole credit magic occur.
Shynola inventive director Richard Kenworthy detailed how the collection took place in the similar Artwork of the Identify interview, providing what in the long run labored used to be “a full of life, colourful, in-your-face scratch movie” that served each as “visible illustration in their [fictional band Sex Bob-Omb’s] somewhat amateurish, uncooked, garage-y sound,” and a colourful depiction of “how the tune used to be taking part in in Knives’ [Ellen Wong’s Knives Chau’s] head.” Virtually miraculously, Kenworthy and corporate completed simply that with the collection. And in doing so, they completely set the desk for the lo-fi-loving, video-gamey chaos to come.