Color coding in Hitchcock’s Vertigo
A key element in filmmaking (or any visual medium) that helps create the look is how color is used. Not in the grade, but color palettes in production design.
Wes Anderson is probably the most obvious current practitioner.
Even in seemingly naturalistic presentations, a close examination shows most films/TV shows controlled use of color.
A classic example of using color to reveal character dynamics is Vertigo. Right from the opening frames we’re keyed into the special significance of red and green. The red room, cool tones and neutrals of the crowd, and then Kim Novak emerges in emerald green.(more…)
It’s our twelfth festival selection, ninth nomination/finalist nod, and fourth win. Once we’ve finished the festival run, I might post our stats, including all our losses.
BCIFF just popped up on my radar a few months ago. The fest was one of those things where once you spot it, it’s suddenly everywhere, and my interest was piqued, but I was kind of intimidated by their manifesto (first in French, then in English), an excerpt of which reads “We strive to provide a platform for those who think ‘beyond the curve’. ‘The Curve’ represents the limitations filmmakers are bound to because of the commercial exploitation of the art called ‘cinema’. We choose to present a platform where films are not means of commercial narrative but weapons of change and a call to action.“
Abasement is this quiet little existential meditation masquerading as a “horror” movie. So not really “Hollywood tent pole” material, but hardly a weapon of change. I said as much to Lisa, a programmer for the festival, and she laughed and encouraged me to submit anyway.
There’s a lesson in there: Make. Ship. Repeat.
As part of virtual testing, I did a Q&A with the festival organizers wherein we chatted themes, process, and the symbolism of Three Women.
It was a lovely chat though in retrospect, I wish I had art directed my environment and trimmed my beard. #liveandLearn