Maybe we’ll meet again, when we are slightly older and our minds less hectic, and I’ll be right for you and you’ll be right for me. But right now, I am chaos to your thoughts and you are poison to my heart.
—  viviant
4

Could you tell us about the original concept for the title sequence and how it was developed?

It was a bit overwhelming at first, trying to create a concept that would complement the show in a cool way. I tried to keep certain guiding principles in mind during development. How to create a pretty blossoming flower based on fungus, was the first thing that jumped out at me. I felt this image was important to convey, for it was symbolic of Tatiana.

- Technicolor Toronto’s creative director Kevin Changoo on creating Orphan Black’s title sequence (x)

The Credits as Visual Illustrations

These are some great credits and I believe they tell the story in a way words can’t. I’m sure some things in them actually made you understand it better. So, I can’t use words to describe them, but I can guide you in their interpretation just a bit and as well as a fan can.

So Carlos picks up Manolo

and drops him in a suit that is too large for him. So, big shoes to fill. Maybe not just the bullfighting thing, but being Manolo, being himself.

He kind of falls in himself, lost in himself. I think it’s also a pretty great illustration of introspection:

He’s also lost in his father, and pleasing him seems to be something that just doesn’t end no matter how hard he tries. There’s so much to be.

Same for how Manolo tries to be as good as Joaquin(a good example of this would be when he’s like “you want the town you’re gonna have to go through me” and Joaquin’s the one who rocks and saves the day):

He feels little next to Carlos, trying to get away and actually being taken by music:

And little next to Maria:

Though I think it’s more like an illustration of how you feel when you’re in love, like you’re a tiny person noticing all these little details in somebody and getting lost in their eyes(and hair):

An illustration of how Manolo turns to Maria when he feels misunderstood:

Still he manages to be himself in his quest for identity, love and forgiveness:

Not to mention the music note he’s holding on to is red and shaped like a heart: Always play from the heart.

Watch on mega-madridista-4-life.tumblr.com

Here’s the credits for “Jermaine” and “Chips & Ice Cream”.

Instead of the normal Adventure Time credits song, they played the Booboo Sousa song from the episode, which I found to be nice. Here’s the lyrics:

Hello there
Good morning
Booboo Sousa
Come closer
Never leave me
Booboo Sousa
Our friendship
It matters
Booboo Sousa
Hello there
Good morning