As counterpoint to the title sequences thread, how about the best end credits sequences? My favorite is from Lemony Snicket’s A Series of Unfortunate Events, which IMHO is better than the actual movie. Right up there are the credits for WALL-E.
Monty Python and the Holy Grail. The screen goes blank - that’s it; not even “The End.” (On the DVD version that I have, it ends with about three minutes of organ music over a black screen.)
The story is, the plan was for Terry Gilliam to make an animated “mini-movie” for the closing credits, but they ran out of money.
Okay, not the “best end credits sequence,” but certainly a unique one (fortunately): Skidoo (1968)
The Return of the King, with the Alan Lee’s drawing of each character in the trilogy
Pixar had bloopers after Toy Story, A Bug’s Life and Monster, Inc. Those were great.
The view in other creature’s heads at the end of Inside Out are good, too–especially the cat (which explains a great deal.)
The bus driver was the best, though. Tripledent gum…
I had a big, goofy grin on my face all throughout the Spider-Man: Homecoming credits. Spoiler Alert: Link contains the last scene of the film, which is key because the transition is great.
There’s Something About Mary
[quote=“A_Dodgy_Dude, post:9, topic:808457”]
There’s Something About Mary
[/QUOTE]That’s somewhat similar to the end credits for one of my favorite Japanese movies.
Jackie Chan movies with the outtakes at the end. All of them.
Diner
Visually, it’s a black background with white letters giving the names of the people involved.
But instead of music, the soundtrack is a conversation among the main characters. It is fascinating. When I saw it, nobody left the theater until it was over.
The Adventures of Buckaroo Banzai Across the 8th Dimension!
Pisses me I can’t find a link for the end credits for After Hours. The camera does one continuous tracking shot going in and out of, and around, office cubicles - at a pretty good clip, too.
In the suspense “How Awful About Alan”, I like how the end title helps confirm the plot. The protagonist regains his vision at some point in the movie, but at the very end, he loses it again.
The big zoom out in Easy Rider.
The “you tell this honky” outtakes in Being There.
The closing credits for Paul aren’t particularly fancy, they don’t have any high-end graphics or animation, but the ending always makes me smile. (Using ELO’s ebullient All Over The World was a brillaint choice)
I wasn’t sure where to start this final shot, which eventually leads into the end-credits. It’s long, at over three minutes - sit back and get a little creeped:eek:out
Gradually louder phone rings during the credits as ‘trusty’ Officer Nash stands guard at the door: priceless.
I love the end credits for Around The World in 80 Days (David Niven 1956 version). A short animated recap of the plot of the film listing all the guest stars where they appeared.
(Couldn’t find a link, unfortunately.
I think the end credits from The Magnificent Ambersons deserve a shout here. Almost literally. The names of the people given credit were read out by Orson Welles, and weren’t written down.
It's the flip side to the opening credits for **Fahrenheit 451**, in which they were read aloud instead of being written down -- appropriate for a story about a post-literate society in which no one reads. The credits are read over a montage of shots of television antennas on roofs. The only difference, were it to be done today, is that it would show a montage of satellite dishes nd cable boxes.