Saul and I worked together on four occasions. The first time was on Goodfellas. I had an idea of what I wanted for the titles, but couldn’t quite get it. Someone suggested Saul, and my reaction was: “Do we dare?” After all, this was the man who designed the title sequences for Vertigo, Psycho, Anatomy of a Murder, Advise and Consent, Spartacus, Ocean’s 11, and so many other pictures that defined movies and moviegoing for me. When we were growing up and seeing movies, we came to recognise Saul’s designs, and I remember the excitement they generated within us: like Bernard Herrmann’s scores, they added a whole extra dimension to whatever picture they were part of.