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Dana Shaw is a hands-on type of guy. A film editor, stained-glass artist, and self-proclaimed bird charmer, Dana’s preferred method of editing documentaries is to lay out all his notes and stills on a large piece of butcher paper, so he can physically move the pieces around. “I’m really tactile,” Dana told us. “So being able to put those themes into categories and print out related quotes and put them on this ‘paper edit’ helps me organize my thoughts.”

A good title sequence not only introduces a TV show or a film, it expands it, interprets it, becomes an integral part of the experience as a whole. In some cases (let’s use James Bond as an example), the title sequence becomes as iconic as the characters. There is an art to these sequences that some people have spent the lion’s share of their career mastering. Take, for example, Chris Billig — the co-founder and creative director of Scatterlight Studios, responsible for such iconic title sequences as Orange Is the New Black, The Maze Runner, The Honorable Woman, and more. We recently chatted with Chris about the art of the title sequence. Here’s Chris.