American Cinematographer - December 2004 - 72

Cinematic

Impressionism
can't

Cotillard's

prostitute
adopts an ironic
disguise as

even

describe the color of the

trenches. I can't call it green or

blueended up calling it a clay
job was difficult because
everything is linked to the contrast,
and there were also those blue-gray
costumes that had to be strength¬
green. We
hue. Our

Delbonnel

seeks divine

inspiration.

ened."
Delbonnel reminds
faces

are

trench

essential

scenes,

that

us

to cinema. For

the

he shot tests to find

a

pale, greenish makeup for the actors
that would remain white when he

later warmed up the image digitally.
"In the trenches, despite everything
rule for the film, but there

were

exceptions. For example, in the
Orsay train station, we wanted to
showcase the blue-greens of the
glass facade and the brown of the

we

as
-

would have been able

cate
are

touch.

not

any

of coloring

required a deli¬
"Obviously, the colors

realistic, but if we had gone

further with them I don't think

include

many different hues in the film
it would have been too much.

Bruno and

I

always strove for

finesse."
Delbonnel recalls that the

costumes." Lucas cautions that the
amount

to

colors for the trench
hardest

scenes were

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the viewer's eye must go towards the
actors' faces."
For
notes,

peacetime

scenes,

Lucas

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the

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to come

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American Cinematographer - December 2004

Table of Contents for the Digital Edition of American Cinematographer - December 2004

American Cinematographer - December 2004 - 1
American Cinematographer - December 2004 - 2
American Cinematographer - December 2004 - 3
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