{"id":19683,"date":"2022-06-23T18:45:00","date_gmt":"2022-06-23T17:45:00","guid":{"rendered":"https:\/\/filmandfurniture.com\/?p=19683"},"modified":"2022-06-28T13:24:14","modified_gmt":"2022-06-28T12:24:14","slug":"the-colour-code-movie-palettes-in-print","status":"publish","type":"post","link":"https:\/\/filmandfurniture.com\/2022\/06\/the-colour-code-movie-palettes-in-print\/","title":{"rendered":"The colour code: Movie palettes in print"},"content":{"rendered":"
Colour has a big part to play in film. It sets the tone and mood, conveys emotion and effects us on a psychological level. Movie palettes aid storytelling to enhance the narrative or define the pace, and can be expressed through the physicality of the interior setting, and through cinematography, choice of lighting and colour grading.<\/span><\/p>\n Think Wes Anderson<\/a> and you’re thrown into a retro palette of yellows and oranges as in Moonrise Kingdom<\/em><\/a> and The French Dispatch<\/em><\/a>, or think pink and you’re transported to the fictional eastern European state of Zubrowka and it’s Grand Budapest Hotel<\/em><\/a>. Villeneuve’s Dune<\/em><\/a> is doused in the muted yellows of the desert sand and his Blade Runner 2049<\/em><\/a> depicts landscapes that are orange from pollution or enveloped in the grey of snowy blizzards. Pedro Almodovar<\/a> loves to incorporate pops of vivid colours into his films and red<\/a> in particular is a recurring theme.<\/p>\n