I have gone through the latest draft of Implication in its entirety in order to identify colour palettes that are apparent throughout the film. As the palette is every changing between sequences I want to try and group similar colours together to have a stronger overall hue that underlies the dramatic palette changes. Through reading and identifying these palettes I can then build upon Tom’s (Director/Writer) creative vision and offer my creative contributions.
INT. LIVING ROOM OF INGRID & LEON’S HOUSE
The opening shot is an extreme close up of Ingrid’s face. The hues and colour palette of everything we see on screen is shades of warm orange, dark yellow, browns and gold. Soft lighting emphasises the contours and wrinkles of her face, but not in an ugly way. The general image is stark and intimate, uncomfortably close and melancholy.
- Brown and gold
- Higher contrast
- Emphasis on shadows to create darker detailed lines
INT. KITCHEN OF LEON & INGRID’S HOUSE – EARLY MORNING
The youngest son, DANIEL, a boy of around seven or eight is sat at the table eating cereal, whilst his father LEON leans against the kitchen counter, starting at a cup of tea as the steam spirals up from it……The light is crisp now, with an azure blue tint, accents of white and grey.
- High contrast – crisp
- Highlights – push to white, slightly overexpose
- Mids – brighter blues
- Clinical washed but detail maintained through contrast
3rd Palette (Continued From 2nd)
MARIA scowls at him and exits through the kitchen door. INGRID is saying something else but it sounds muted, as if she is speaking underwater. The colour becomes more bleached and whited out, the static sound rises steadily again until it reaches its optimum point, the focal point being LEON’S face.
- Dynamic nodes
- Increase white intensity until washes out completely
EXT. STREET, OUTSIDE A NONDESCRIPT OFFICE BLOCK. INT. LEON’S CAR
….everything appears to be desaturated, a mixture of greys, dark blues and off white, the concrete mirrors this. LEON sits on the bonnet of his car and massages his temples, he walks over to a nearby wall and leans against it nonchalantly, like a teenager, hanging around. The wall is large and blue.
- Push all to blue
- Subtle desaturation to achieve grey tones
- Darker & depressive
- Light Lindsay more tungsten so when everything is pulled blue she’ll be pulled back to nature light and stand out/emphasise
5th Palette (Continued From 4th)
….she [LINDSAY] goes to leave, awkwardly, but he offers her his cigarette. As she nods and tries to take it from him he forgets himself and turns the cigarette around, and holds it up to her lips so that she can take a pull. The blues and greys bleed to purple and black, the contrast increases and the red, pinks, mauves become saturated, vivid. Taken back, she obliges. Their eyes meet and they both become silent.
- Dynamic node
- Push blue towards purple & increase contrast
- Introduce pinkish wash as two become closer, maybe in the form of a vignette
- Possible recurring pink wash for intimate moments
INT. CAFE, MID AFTERNOON
LINDSAY and LEON are sat opposite each other. LINDSAY sits with her chin in the butts of her hands, looking upwards into LEON’S face, almost childlike. The colours are a mixture of browns and bronzes, with accents of green and gold. Soft focusing makes the room seem steamy and warm, a welcome retreat from the weather outside.
- Warm/sepia style
- Replication of opening shot but softer and inviting
- Push green details to accommodate for the yellow/gold palette shift
7th Palette (Inter-Changing Sequences)
…as LINDSAY laughs and continues to speak, edging closer to LEON, touching his arm occasionally, biting her lip, the static sound returns gradually, and we focus more and more on LEON’s face. He’s smiling serenely. For a split second, frames of INGRID flash across the screen. She appears to be shouting or arguing with the camera, with LEON. The shot is grey and dark yellow, very grim.
- LINDSAY – recurring pink wash for intimacy
- INGRID – push to yellow, desaturate slightly, higher contrast, uncomfortable colour cast what doesn’t feel natural
INT. KITCHEN OF LEON AND INGRID’S HOUSE – EARLY MORNING
A close up of a bunch of pink flowers, on the windowsill of the kitchen. The colours of this scene are pinks and off white, with accents of angry red.
- Almost dreamy pink acts contrapuntal to graphic imagery
- Exaggerate red hues
INT. KITCHEN OF LEON AND INGRID’S HOUSE – MIDDAY
The blood has been cleaned up and INGRID’s wound dressed. There are two steaming cups of tea on the table but they are both untouched, neither make any attempts at drink from their cup. INGRID stares a little vacantly, MARIA looks extremely concerned. She is grasping INGRID’s good hand, the bandaged one is clutched to INGRID’s chest
- Suggested palette shift – grey [depress], pink [dream], gold [warm] or natural
LEON begins walking away from the platform. Confused, LINDSAY starts to say something and realising she is out of ear shot, follows him to a narrow passage way between the end of the platform and the road. He stops suddenly and LINDSAY bumps into him. He turns suddenly, grasps LINDSAY and begins kissing her passionately. She responds according and he spins around, pressing her against the wall of the passage – maybe a profile shot of LINDAY’s face – she looks excited and she does not stop him as he begins (as far as we can tell) pulling down her jeans and pressing himself against her, she gasps. As the scene unfolds micro-seconds of the previous sex scene between INGRID and LEON is edited in, the camera dolly tracks horizontally through the wall and into the kitchen, where INGRID sits to attention, as if she knows.
- Need to identify colour palette
- Grey/coldness and increase pink hues as passion heats up
INT. CORNER SHOP – EARLY EVENING
The interior of the shot is lit with grey, clinical lighting that makes her face look hagard and old. A close up of her face, until the sound of the door is heard and LINDSAY enters.
- Blue hue shift
- Detailed blacks but generally washed out
INT. CORNER SHOP, LIVING ROOM AND KITCHEN OF LEON & INGRID’S HOUSE, VARIOUS TIMES OF DAY
Quickly staggered shots follow of mundane situations – making packed lunches, putting ready meals in the oven, assisting with home work, etc are shown to give the feeling of routine and time passing. These are mixed with clues to show us that LEON is gradually distancing himself – arriving home late and getting straight into bed, himself and INGRID sat opposite ends of the sofa together watching television, both lying in bed next to each other, as far apart as they can get, LEON leaving early for work without saying goodbye – something is clearly up.
Towards the end of the montage new shots of LINDSAY and LEON are shown – walking together, entwined together in bed, reading to each other, laughing – until the scene settles upon LINDSAY and LEON together on the couch of LINDSAY’S flat. The scene is framed, graded and lit exactly the same as the scene between Colin Firth and Julianne Moore in ‘A Single Man’ when they spend the night together in Colin Firths sitting room.
LINDSAY and LEON are sat close on LINDSAY’S couch. The light is all shades of orange, brown and gold. LINDSAY has her hair up and wears a tangerine coloured dress. She has winged eye-liner on and a joint in her hand. She looks beautiful. LEON sits beside her in a suit, but this time, it is neatly composed and of a far better quality than his normal work attire. He also wears horn-rimmed spectacles. Debussy (or any other light piano piece) plays softly in the background. The apartment is bright and cosy, it is tastefully decorated with a lot of books and a few posters. Signs of motherhood are dotted around; toys, a high chair, a play mat, etc – not a typical student let. Both LEON and LINDSAY look happy and comfortable with each other.
- Begin with natural light, but coldness increases as Ingrid and Leo’s relationship falls apart
- In parallel increased warmth to Lindsay and Leo
- The colour in both shots mimics the emotional transition
- Reference ‘A Single Man’ – sitting room night scene
INT. CORNER SHOP – EARLY EVENING
LINDSAY enters, an almost identical scene plays out in which she buys the same packet of cigarettes, until LEON enters. LINDSAY has her back to him, and LEON does not recognise her from behind as she is wearing a large winter coat. As INGRID sees LEON she visibly blanches, as if she is sensing something.
INT. KITCHEN OF LEON & INGRID’S HOUSE, EARLY AFTERNOON
The shot opens with a close up of the kitchen table onto which an official looking letter with the crest of a high school printed in the top right corner lands, roughly. Cut to the kitchen, LEON is sat at the table, reading a copy of ‘A Single Man’, INGRID stands over him, almost like a general.
The colours of this scene are pale blue, brilliant white, accents of red in the mise-en-scene.
- Soft light
- Emphasise on complementary colours
INT. CORNER SHOP, EVENING INT. KITCHEN ALSO EVENING
There is a brief moment of calm in which all we see is INGRID standing at the counter, but from the far end of the shop. The line of the isle is distorted and inconceivably long, and appears to be moving like in a house of mirrors. The music distorts and shifts in keeping with this to create a sickening effect, the colour draining steadily, until the sounds of the door is heard.
The colours of this scene are burnt yellow, off white, several shades of grey and a putrid green, all unpleasant, muddy colours. Accents of red.
- Start with shop palette
- Drain/desaturate and introduce new palette on saturation return
- Mids – Yellow
- Highs – Red
- Black definition
- Desaturation and washed out
INT. KITCHEN, AFTERNOON, EXT. OUTSIDE INGRID & LEON’S HOUSE
INGRID is washing the dishes but this time we are viewing her from the outside of the house, through the window. She stares blankly outwards, there is a packet of Benson & Hedges on the counter top beside her – the colours of which are saturated and vivid against the rest of the scene. The colours are desaturated, greys and whites, accents of blue.
- Recurring cold house palette