When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.
Sentiment: NEGATIVE
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
I sometimes use a lot of light greens and greys when I feel there is sadness in the painting.
Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
You always make a film with the hope that all types of people will want to see your work and that it doesn't matter about your color, but unfortunately it still does.
I can't say that there's been some big change during my career where all of a sudden everything's totally colorblind.
There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.
Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.
Lots of colors appear when you're working with other people.
In a movie, you're raw material, just a hue of some color and the director makes the painting.