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Lighting and Colour as Narrative Devices – Cinematography and Stop-motion…

- - - - Focus on key scene(s) (Waterfall??) which highlights characters/makes characters dark to reflect on the mood, character, atmosphere, etc.
        
        'A common problem is that when foreground and background share the same value, they blend together. The cinematographer may choose to remedy this with a backlight that creates a rim around the actor’s hair and shoulders, to separate her from the background. The amount of backlight needed depends on the reflectance of the subject and how pronounced an effect is desired. Backlight has long been an accepted convention in movies and TV, however a really bright glamorous backlight can also appear really artificial. Strong backlight can be made to look natural if it is well motivated. A bright window in the background of the shot helps in this type of situation; it provides a sense of source.' (Box, 92) -> Waterfall scene?
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  - - - 'The DP selectively emphasizes characters or elements, letting the lighting direct the eye within the frame.' (Box, 92)
      - 'How, then, can a cinematographer create the illusion that a two-dimensional image has depth even though, literally, it doesn't? A challenging paradox. And since this book deals with the lighting of stop-motion puppets and miniature sets (themselves existing in real-world three dimensions), understanding proper lighting for this is extremely important.' (Brierton, 22)
- - - - FIND SOURCE 'this projection of cool irony in the face of diegetic tragedies as profound as those Anderson chooses to engage has struck some observers as a matter of downright cruelty. Anderson, writes Eileen Jones, “candy-coats a world of casual nastiness in bright colors and hummable tunes, and death in his films makes no mark, it just functions as a design element, a dash of dark pigment that sets off the bright colors to better advantage” (Jones).' (Donna, 7-8)
      - 'Rothko was the leading exponent of a subset of Abstract Expressionism known as colour-field painting, whereby artists saturated their canvases with large expanses of colour to fix the observer in an introspective state. As Rothko once put it, ‘If you are only moved by colour relationships, you are missing the point. I am interested in expressing the big emotions – tragedy, ecstasy, doom, and so on.’ In her video essay on references in Anderson’s work, Candice Drouet places Rothko’s Orange and Yellow (1956) alongside a picture of a sunset from Fantastic Mr. Fox, highlighting the warm autumnal hues of both images. Yet there are further shades of Rothko to be found in Anderson’s filmography.' (Woodward, 145)
      - 'Whenever Anderson makes a film, he develops a distinctive colour palette that corresponds to the emotions of the characters and the themes of the story he is telling. Rothko’s ideas about how different colours affect people’s moods are infused into each and every one.' (Woodward, 145)
        
        'Anderson’s distinct visual aesthetic, with its use of a color palette that evokes 1970s interiors (Anderson’s films often have deliberate, carefully chosen color schemes – blues, yellows, reds, and oranges, a prominent use of plaids) and his lack of mainstream, traditional Hollywood tropes inspires a sometimes quite virulently negative response.' (Dilley, 2)
        
        'Our idea of the movie was that it was going to take place in Autumn, for there to be mud, the whole movie takes place in the mud. This didn't really happen, mud is not easy in stop-motion. We ended up having no green and almost no blue' - Wes Anderson. (Director)
      - 'colour shapes how people experience the environment visually, while as a medium, it conveys meaning, emotional moods and functional information.' (Beuther, 7)
        
        'In connection with the right form, the right space, the right lighting, the right materials and an appropriate structural order, colour can create highly diverse harmonies, form a type of resonance chamber for emotions, and give rise to fields of tension.' (Beuther, 43)
        
        'If the signifier ‘blue’ oscillates between joy and depression, a similar range is available to all other colours. The oscillation is inherent in their functioning within any signifying system' (Coates, 3-4)
  - - - 'when you get down to our really tiny puppets the mini micros, they're just a little wire armature and they're not much bigger than your sort of thumbnail but they help us get these sort of truly enormous set pieces out' - Andy Gent (Puppet Fabrication Supervisor)
  - - - 'I think that ability to really sculpt on every level is, for someone who's so visual, it's daunting but it's an amazing process.' - Jeremy Dawson (Producer)