This title sequence is also interesting to me in light of my chronological pass through cinema, because the 1960s mark the decline of the "title card" model (seen in pretty much every Hollywood film from the silent era through 1959) and the rise of what we might call the "concept" title sequence, in which the opening credits become a kind of film in themselves, or at least attempt to integrate themselves more thoroughly into the film proper. Blake Edwards himself would come to perfect the concept title sequence in films like The Pink Panther (1963), which essentially collapsed the opening titles with the pre-feature cartoon. As early as the mid-50s, Saul Bass had begun designing distinctive and stylish credits sequences, many of them for Otto Preminger (The Man with the Golden Arm, 1955; Anatomy of a Murder, 1959) and Alfred Hitchcock (Vertigo, 1958; North by Northwest, 1959). Steven Spielberg would later pay homage to these kinds of sequences in the opening credits of the '60s-throwback Catch Me If You Can (2002), and Woody Allen would define himself in opposition to them by adopting his signature no-frills, Bergman-esque white-titles-on-black model. ("I thought to myself, 'it's silly to spend money on titles! It's a very American stupid habit. I'm going to get the cheapest titles I can, just a plain announcement.'")
Compared to, say, The Pink Panther, the title sequence of Breakfast at Tiffany's is rather simple and straightforward. But it nevertheless announces the possibilities of what a credits sequence can do--establish a tone, or even contain the essence of the film in miniature.