From American Cinematographer, The War Within by Stephen Pizzello (February 1999)
"Terry and I agreed that this film really needed to feel as realistic as possible. Naturally, there is a certain amount of visual stylization in the film, but we tried to lend the images an integrity so that viewers could believe that they were watching a real event — without feeling as if they were being overly manipulated by a great filmmaker. I sometimes see great visual films that are obviously so well-stylized and well-controlled that I feel slightly overmanipulated; it might be fantastic, beautiful work, but in my mind I don't feel as if I'm watching reality."
- John Toll, ASC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label manipulation. Show all posts
Showing posts with label manipulation. Show all posts
28.5.09
Gary Ross: Color Manipulation & Meaning
From American Cinematographer, Black-and-White in Color by Bob Fisher (November 1998)
Ross believes the possibilities offered by color manipulation are virtually limitless. For example, early in Pleasantville, one of the characters wears an electric blue dress that draws the eyes of the audience like a magnet. That wasn't the result he wanted, so he toned down the blue. Technically, he says, there is no reason why the dress couldn't be red in China where that color has a different symbolic meaning than it does in Western countries.
Ross believes the possibilities offered by color manipulation are virtually limitless. For example, early in Pleasantville, one of the characters wears an electric blue dress that draws the eyes of the audience like a magnet. That wasn't the result he wanted, so he toned down the blue. Technically, he says, there is no reason why the dress couldn't be red in China where that color has a different symbolic meaning than it does in Western countries.
Subscribe to:
Posts (Atom)