Purpose
Working titles are used primarily for two reasons-the first being that an official title has not yet been decided upon and the working title is being used as a filler for naming purposes, the second being a ruse to intentionally disguise the production of a project.
Examples of the former include the film Die Hard with a Vengeance, which was produced under the title Die Hard: New York and the James Bond films, which are commonly produced under titles such as Bond 22 until an official title is decided upon.
Examples of the latter include Star Wars Episode VI: Return of the Jedi, which was produced under the title Blue Harvest; 2009's Star Trek which was produced under the title Corporate Headquarters; and the Batman films Batman Returns, Batman Begins, The Dark Knight and The Dark Knight Rises, which were produced under the titles Dictel, The Intimidation Game, Rory's First Kiss and Magnus Rex, respectively.
In some cases a working title may ultimately be used as the official title, as in the case of the films Cloverfield, High School Musical, and Snakes on a Plane (at the insistence of leading man, Samuel L. Jackson, who joked that he took the role for the working title alone, after he learned the title was going to be changed to Pacific Air Flight 121 upon release), the television show The Cleveland Show, and video games Quake II, Spore, Silent Hill Origins and Epic Mickey.
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Famous quotes containing the word purpose:
“I have no purpose to introduce political and social equality between the white and black races. There is a physical difference between the two, which, in my judgement, will probably for ever forbid their living together upon the footing of perfect equality; and inasmuch as it becomes a necessity that there must be a difference, I ... am in favour of the race to which I belong having the superior position.”
—Abraham Lincoln (1809–1865)
“Men may construe things after their fashion,
Clean from the purpose of the things themselves.”
—William Shakespeare (1564–1616)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)