"Working with Central Station is such a joy. They bring a tremendous commitment and intensity to their work but it is all underscored with a sense of sharp Mancunian wit and fun. Their title sequences are so good, it puts pressure on the filmmakers to live up to the start. They are the best opening act around." Andrew Eaton - Revolution Films

“The second half of the factory story is best summed up by the painterly eccentricity of Central Station" Tony Wilson

Central Station and it's output has evolved and changed over time, from our work in the mid eighties and 90's with Factory Records, Happy Mondays, Black Grape, Nicolas Hytner, and fine art exhibitions - to the most recent chapter operating under Central Station Art with our son Sam Carroll - working with Revolution Films and Michael Winterbottom on all their titles and graphics, various TV titles, music videos and new art.

But what has remained constant is that the company has provided a vehicle for us to explore ideas, love, art, family and we never run out of shit to talk and laugh about.

We'd describe our style of work as sophisticated-punk...But that said, if it's commissioned design work - we will always try to synthesise the clients vision through the lens of our tastes and influences.

We’re as into Miro, Francis Bacon, Rodchenko, Rauschenberg and William Burroughs as we are Saul Bass, Robert Brownjohn, Max Huber, Paul Rand and Zaha Hadid.

Since setting up Central Station Art in 2002, we have been fortunate enough to work on a lot of great film/TV projects. We’ve done "Prime Suspect" with Helen Mirren, "Cracker", "A Mighty Heart" which features Angelina Jolie playing Mariane Pearl, "Code 46" a sci-fi with Tim Robbins and Samantha Morton, "Genova" with Colin Firth, “In This World", "A Cock and Bull Story" and "The Trip" to name a few.

Our personal favourite projects are the ones where we get to work with kindred spirits and share in the journey of making something from nothing - creating visual narratives for any idea that will hopefully facilitate an emotionally sympathetic mind set and transport the desired audience into the environment, atmosphere and colour palette of the concept. We invest a lot into our statements and go to places other people might not fancy - in an attempt to create something stand out and memorable.

"When I met Spike Jonze at the Berlin Film Festival, all he would talk about was how much he loved the opening titles to 24 Hour Party People!
Every time Central Station have done our titles, they have always looked for the best way to incorporate the title sequence with the look and feel of the film. They always watch the whole film first to form their own opinions of how best to dovetail with Michael’s work. This covers a great range of styles, from the simple, distressed typefaces of In This World to the very stylised graphics of The Killer Inside Me, a beautiful period look that any actor would be thrilled to have their name on.
The Killer Inside Me and The Look of Love represent two very distinct time periods and the title sequences of both films do so much more than introduce the film. Like the work of all the great title designers, the sequences set the mood and tone for what you are about to see. They exist as visual overtures to the main narrative." Andrew Eaton - Revolution Films