Summer feelings

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Summer feelings
Summer feelings
Summer feelings - full of adventure
While many aspects of The Game‘s visual aesthetic seem commonplace for Fincher (desaturated colors, prevalent dimness) The Game might also be his most visually distinguished film since Alien 3; the movie makes surprising use of color in one particular scene.
Surprising is the key-word. Everything up to this climactic moment in the film has been handled with Fincher’s moody restraint, then suddenly, as the protagonist enters his room to find it vandalized, the entire visual aesthetic seems almost inverted. The sequence is appropriately dim, but is marked by extremely vivid colors.
This is new territory for the protagonist, he begins understand that the rules have changed for his situation; and so do we, the audience through, this unexpected lighting que.
While a lot of academic conversation and Hollywood gossip is devoted to the mythos that Ridley Scott meticulously plans the visual execution his films, people seem to ignore how much of an actor’s director he can be at times. While some actors have famously bashed his direction on set (namely Harrison Ford on the set of Blade Runner), many others have praised the freedom he gives his actors, often allowing them to develop their characters beyond the screenplay, and allowing them the use of improvisation.
The integrated lighting of Prometheus reflects this aesthetic; often lighting is incorporated directly into the props and costumes, like the helmets the actor’s wear and the computer monitors throughout the picture, allowing actors to move around the set and act free of complex marking.
Additionally much of the lighting, while quiet moody, is provided by blanketing the set in consistent fill-glow. A technique not dissimilar to High Fidelity’s manner of cinematography, which also freed up actors’ performances.
It is that time of the year again!
Summer feelings
Summer feelings