Robert Brownjohn's concept for Goldfinger is one of the most formally elegant in title design history: project the film's imagery onto a gold-painted human body, and let the body become the screen. The idea was demonstrated to producers by Brownjohn removing his shirt and standing in front of a projector himself. They commissioned it on the spot.
The result makes the body simultaneously subject and surface — a three-dimensional projection screen that distorts and recontextualizes the imagery passing across it. Every subsequent Bond title sequence, with its silhouettes and projection effects, is a descendant of this single idea.
For motion designers this is a lesson in conceptual clarity: one strong idea, executed without compromise, produces work that outlasts its era. The sequence was acquired by MoMA as the first film title sequence to enter a permanent museum collection.