I get using shifting palette as a story cue, but that doesn't make the film's palette choices non-clumsyhttps://twitter.com/MSipher/status/872267446949998592 …
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Replying to @mightygodking
Themiscyra is bright and colourful, but it's very naturalistic colour. It looks like, well, what a Mediterranean island looks like IRL.
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Replying to @mightygodking
It's pretty and a bit sun-bleached. But compared to the drab look of the rest of the movie, it's practically garish.
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Replying to @mightygodking
They could have, as an alternate, gone for a naturalistic look for Europe and, say, a hyper-lush Technicoloresque look for Themiscyra.
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Replying to @mightygodking
You get the same visual shift for the story, but the bulk of the movie doesn't look like outtakes from SKY CAPTAIN AND THE WORLD OF TOMORROW
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Replying to @mightygodking
seriously though, the Snyder palette is much more drab and ugly than the palette for SAVING PRIVATE RYAN, and that says something
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Replying to @mightygodking
considering they tried to make SAVING PRIVATE RYAN look like old newsreels as much as possible
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Replying to @mightygodking
Yeah it arguably takes something away to have London look so much like a Call of Duty map
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Replying to @arthur_affect @mightygodking
Man's World is supposed to be our world, we're supposed to feel indicted by those scenes, but it doesn't function like that
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Replying to @arthur_affect @mightygodking
That world doesn't feel like ours at all
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I've also seen this argument for how THE MATRIX isn't really paranoia-inducing bc that world is also filmed to feel super fake
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