One blob of red in the wrong place and the audience isn't looking at the hero, they're looking at a patch of curtain (or something similar) and your whole effect is lost.
Sentiment: NEGATIVE
Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.
There is a kind of invisible thread between the actor and the audience, and when it's there it's stunning, and there is nothing to match that.
Without going into too much detail, the end of my major action scene, after the climax of the scene, there was one little change that I suggested regarding the way things should turn out. It was in the detail of the tears of blood.
Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
Great visual effects serve story and character and in doing so, are, by their very definition, invisible.
I used to hate exposure situations. What is generally referred to as 'red carpet.'
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
If I hold up a red square for 30 seconds and take it away, you will see a perfect green square. It's how the eye works. So if you want to paint a really good red painting, you have to strategically place in some green, so the eye is brought back.
No opposing quotes found.