I sometimes go for the strongest, most vivid colour on the palette, which in the case of movies is violence.
The landscape with its violent, pure colours dazzled and blinded me. I was always uncertain.
Every decided colour does a certain violence to the eye, and forces the organ to opposition.
I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.
I cannot attain the intensity that is unfolded before my senses. I have not the magnificent richness of colouring that animates nature.
White... is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black... God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.
The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.
Black seems to make a colour cloudy, but darkness doesn't. A ruby could thus keep getting darker without ever becoming cloudy; but if it became blackish red, it would become cloudy.
