ALL ARTWORK ©CENTRAL STATION ART
Central Station Art is a multimedia company established in 2001 by Pat Carroll, Karen Jackson and Sam Carroll.
"Working with Central Station Art 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
We have collaborated on a lot of great film and TV projects, creating Titles and graphics. Including: "24 Hour Party People", "The Look of Love", "The Emperors New Clothes", "The Killer Inside Me", "Prime Suspect", "Cracker", "A Mighty Heart", “In This World", "Everyday" and "The Trip".
The company has provided a vehicle for us to explore ideas, love, art, family and provides plenty of shit to talk and laugh about.
We will always try to synthesise the clients vision through the lens of our tastes.
Pat and Karen are also known for their previous work - operating under Central Station Design with Matt Carroll in the mid eighties and nineties. Creating Art and design for Factory Records, Happy Mondays, Black Grape, theatre productions with Nicolas Hytner as well as multiple fine Art Exhibitions.
"The second half of the Factory Story is best summed up by the painterly eccentricity of Central Station" Tony Wilson - Factory Records
"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