“I didn't mean to fall. I just hung out with the wrong people.” — Crowley
In the beginning was the word. But Aziraphale and Crowley were there, too. Soon there were also fruit-bearing trees and enormous stone cherubs, phone booths and spaceships, and people – so many people – all marching together on a bizarro pilgrimage toward their doom. This is the premise of the opening credits to Good Omens, the six-episode TV adaptation produced by Amazon Studios and BBC based on the popular 1990 novel of the same name by Terry Pratchett and Neil Gaiman.
The long-awaited series follows the unlikely duo of an angel, Aziraphale (Michael Sheen), and a demon, Crowley (David Tennant), as they pussyfoot towards Armageddon. Friends despite themselves, each has been assigned to bring about the end of the world but, having lived on Earth since the beginning of time, they’ve become a bit attached to it. The extra-celestial buddy comedy features a jolly cast that includes Jon Hamm as bureaucratic godsend Gabriel, a particularly unhinged Ned Dennehy as high-ranking demon Hastur, and Frances McDormand delivering – what else? – the voice of God.
To introduce this world is a ragbag opening of epic proportions created by Peter Anderson Studio and featuring music by composer David Arnold. The sequence combines the characters, humour and surreal tone of the series with 3D objects, live-action elements, and original 2D illustrations, finding a sweet spot somewhere between the otherworldly work of illustrator Dave McKean and the wacky collage of director-animator Terry Gilliam. Likewise, the theme by David Arnold reminds one of a circus; a carousel of harmonies with strings and choral arrangements moving up and down, alternating between a swaying waltz and a kind of carnival dirge.
This singular aesthetic and sound sets the show apart while introducing its narrative, stars, and offbeat humour. For Peter Anderson Studio, achieving this aesthetic meant diving into biblical media and medieval artefacts like the Bayeux Tapestry, shooting their own live-action elements on a travelator, creating spacesuits and original illustrations, and melding it all together into one brilliantly “bonkers” concoction.
A discussion with Creative Director PETER ANDERSON, Art Director RED ISAAC, and Senior Animator ALEX KNOWLES of Peter Anderson Studio.
What was the first meeting about this sequence like? How did this project come to you?
Peter: We had worked with Douglas Mackinnon on the [special episode of] Sherlock, “The Abominable Bride.” He rang me up and said, “I have a very special project I want to talk to you about.” When I first met with him and Neil Gaiman I was blown away by their vision.
Red: They wanted something old and ‘crappy’-looking. We were given references of 1950s…
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