If It's Purple, Someone's Gonna Die: The Power of Color in Visual Storytelling
Format: PDF / Kindle (mobi) / ePub
If it's Purple, Someone's Gonna Die is a must-read book for all film students, film professionals, and others interested in filmmaking. This enlightening book guides filmmakers toward making the right color selections for their films, and helps movie buffs understand why they feel the way they do while watching movies that incorporate certain colors.
Guided by her twenty-five years of research on the effects of color on behavior, Bellantoni has grouped more than 60 films under the spheres of influence of six major colors, each of which triggers very specific emotional states. For example, the author explains that films with a dominant red influence have themes and characters that are powerful, lusty, defiant, anxious, angry, or romantic and discusses specific films as examples. She explores each film, describing how, why, and where a color influences emotions, both in the characters on screen and in the audience. Each color section begins with an illustrated Home Page that includes examples, anecdotes, and tips for using or avoiding that particular color.
Conversations with the author's colleagues-- including award-winning production designers Henry Bumstead (Unforgiven) and Wynn Thomas (Malcolm X) and renowned cinematographers Roger Deakins (The Shawshank Redemption) and Edward Lachman (Far From Heaven)--reveal how color is often used to communicate what is not said.
Bellantoni uses her research and experience to demonstrate how powerful color can be and to increase readers awareness of the colors around us and how they make us feel, act, and react.
*Learn how your choice of color can influence an audience's moods, attitudes, reactions, and interpretations of your movie's plot
*See your favorite films in a new light as the author points out important uses of color, both instinctive and intentional
*Learn how to make good color choices, in your film and in your world.
threat of red’s violence is always near, sometimes only suggested. When Romeo sees Juliet for the first time, an intense red glows behind him signaling an ardor that will become consummated and sadly terminated before the sun sets twice. There is one red fish in the aquarium filled with harmonious blues and yellows (and ironically, a fish that is red, yellow, and blue that teases with infinite possibilities) when Romeo and Juliet first meet. It is as if the two see their ideal lives moving before
film, deep red has been a recognition, a reference to “Home.” It’s no accident his name is Homer. Passive Blues 109 Orange The Sweet and Sour Color 4 The colors of mangoes and curries welcome the guests . . . and the rains. Orange manifests its influence in a different way from the other colors. While red says “I’m here!,” yellow is exuberant, and blue is laidback, our research revealed that orange is generically “nice”. Actually, of all our investigations, opaque orange was the most
worries about how to look good, and all the bride wants to do is sleep. All the while, the colorful cacophony continues as more and more guests arrive. Through a misunderstanding, Alice thinks Dubey thinks she’s a thief. Hurt, Alice watches the celebrations, sadly pulling off chrysanthemum petals. Dubey says he’s ill and goes home. In the meantime, the bride and groom, who have just met (and who really like each other), try to deal with some very real problems. The drinking and dancing continue
me is you.” Estella marries another man. Apparently, it is Ms. Dinsmore who succeeds. And green is her visual metaphor. The film’s surprise climax (if you haven’t read Dickens) will not be betrayed here. Finn tells us at the beginning that what color a story is in memory depends on the day. The color of Finn’s story up until now has been green. Until the last sequence. On this day, as he and Estella, surrounded by brilliant white light that blocks out all green, look out over the Gulf, Finn
get that we’re seeing through Roxy’s eyes, and what a stagestruck vision it is. Chicago is a highly original combination of history, reality, and fantasy. Actually, Roxy and Velma have a lot in common. They’ve both gunned down duplicitous lovers (and, in Velma’s case, a sister too). And they’re both remanded to Murderer’s Row. This is not such a bad time to be a murdering moll in Chicago. As Mama (Queen Latifah) says, “In this town, murder’s a form of entertainment.” Both of these toughies