Painting is something that takes place among the colors.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
When I am painting I have a general notion as to what I am about. I can control the flow of paint: there is no accident.
Color is like cooking. The cook puts in more or less salt, that's the difference!
Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.
A film that is bleached tends to have a more realistic quality.
Art is not nature... There was a lot more to be got out of color.
I gave to pink, the nerve of the red, a neon pink, an unreal pink.
Cutting into color reminds me of the sculptor's direct carving.
You can't shoot in sepia, so converting into black and white and then into brown makes everything feel less real.
If you can make a color show or movie seem like it's in black-and-white, then you've done a really good job.
The whole switch from film to digital has changed some of the ways I use color and the juxtaposition of light and dark. It's getting better with digital, the separation's gotten better, but I still feel like it's really flatter than film, so I do a lot of screening and subtle textural printing and painting on clothes for film to get it not to look flat.
I am concerned that the subtlety is being lost and every film tends to look very contrasty and saturated.
By close inspection... you will discover the manner of handling the artifices of contrast, glazing, and other expedients, by which good colorists have raised the value of their tints, and by which nature has been so happily imitated.
