#Chuck Lorre explains that memorable ‘B Positive’ opener

“B Positive” wraps its freshman season Thursday night at 9:30 on CBS.

The sitcom, created by Marco Pennette, centers around straight-laced suburban dad Drew (Thomas Middleditch), who needs a kidney transplant, and Gina (Annaleigh Ashford), his hard-partying high school acquaintance who offers to be his donor.

The series struck an immediate chord with its witty opening-title sequence, 25 seconds of “Monty Python”-esque animation (including singing kidneys) backed by a theme song written by co-executive producer Chuck Lorre and Grammy-winning artist Keb’ Mo’ (he also sings the tune). The “Theme From B Positive” has warranted a full-length digital release on WaterTower Music (available on all streaming platforms).

Lorre, responsible for a string of CBS hits including “The Big Bang Theory,” “Mike and Molly,” “Young Sheldon,” “Mom,” “Bob Hearts Abishola” (and “The Kominsky Method” on Netflix) answered some questions about catchy “B Positive” opening sequence.

You seemed to have put a lot of stock into making an immediate first impression with the opening credits.

The “B Positive” theme song and the animation in the opening credits was the
result of my weird hunch that we could set a comic tone to an otherwise grim
topic. I’ve never had any set rules for when or how to go about creating an opening
title sequence. I’ve always been a fan of TV theme songs, going back to the silly
“series explaining” songs of “The Beverly Hillbillies” and “Gilligan’s Island” to the
power and poignancy of Mike Post themes, particularly on the Steven Bochco
shows [“Hill Street Blues,” “NYPD Blue”].

Do you think viewers will sample a series based on its opening theme/credits?

I have no idea whether a title sequence motivates viewers to check out a show,
or turn it off. My only goal has always been to use the 20-30 seconds to create
a mood and hopefully entertain.

Was there something about the plotline of “B Positive” that lent itself to this animated approach?

The original idea was a montage of old black-and-white photographs from the early days of surgery, put to music. Somewhere along the way the doctors and patients in the photos started singing. It’s a process.

The opening credits are, to me at least, very reminiscent of Terry Gilliam’s work on “Monty Python’s Flying Circus.” Were you influenced by his avant-garde style?

When old photos speak or sing you’re in Terry Gilliam-land. There’s no way around it. Let’s call it an homage.

Did you have a specific animation house in mind to create the sequence?

We auditioned several title companies and decided on Grand Jeté because they
brought a sense of humor to the work. I then proceeded to make them crazy,
going back and forth with version after version, until we found our way to what’s
there now. (I belatedly decided to tone down the graphic bloodiness after we
started airing.)

Did you audition musicians to perform the theme song or was Keb’ Mo’, who worked with you on “Mike and Molly,” your first choice?

I’m a big fan of Keb’ Mo’ and was hoping to work with him from the outset. I originally sent him a half-baked musical structure which he wisely, and gently, threw out. We then went back and forth with ideas until settling on an old-style Mills Brothers approach — which fit nicely with the antique photographs.

Keb’ Mo’ is a master musician, singer, songwriter, and producer. Writing and
producing with him made me as happy as I’m likely to get. I don’t know if our
theme will stand the test of time like “Just sit right back and you’ll hear a tale, a
tale of a fateful trip,” but I love it. (Check out the full-length version of the
theme.)