A Quote by Dev Hynes
When I was asked to compose a score for... 'Palo Alto,' I first thought to myself, 'What is the house that these characters would want to live in?' I wanted to paint a picture and color scheme that I could work around. I gently apply different daubs to see what fits to match the color I have in mind with these characters.
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My hope is to see people of color in roles that do not emphasize race. Often times when movies are centered around people of color, they are movies where the storyline is based on some racial component. I want to see movies where people of color play more interesting, nuanced characters.
The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.
Cinema is actually very backward. When we see gay characters or people of color, they're always there for that reason. I'm personally kind of sick of that. I love to see characters who just live and breathe and are comfortable in that space.
I've never thought that I would see any man of color, not just a black president, but any man of color, I never thought that I would live to see that. I thought maybe my grandchildren would, but I never thought I would. So when Barack Obama first started to run I was like, "I've never heard of this guy - he probably doesn't have a shot." But then he started picking up steam and that piqued my interest.
I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal. If you think in color, then everyone around you is going to think in color and that puts limits on the way you think. I don't think like that. A lot of the roles that I'm doing are roles that a man or a person of any color can do.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
I was being generous. Gia Coppola wasn't even a filmmaker at that time, but I asked her to do it, because I believed in her as an artist. And because I wanted a woman's take on the material. The book Palo Alto is very male-centric, but Gia carved out a bunch of the female characters, and brought them to the fore in the movie. And the project was richer for it.
Once you dye your hair for the first time, you see other people with dyed hair, and you see them differently than you did before. And you're just like 'Yes! Live! Work that color! Yes, I love you in every way! You're killin' it! I want to do that color next!'
You can never judge a paint hue by the liquid color in the paint pot. You must apply it to a wall, wait for the paint to dry, then decide.
We all see color. We do. And anyone who says he doesn't see color is confused or isn't telling the truth. Except... and I know how this sounds, but I can't remember any point in my life where I saw other people and thought of their color.
I spent two years in Palo Alto - what an awful, suffocating place for those of us who don't care about yoga, yogurts and start-ups - and now I have moved to Cambridge, MA - which, in many respects, is like Palo Alto but a bit snarkier.
In the work of Seurat, you can see the dots of neutral colors carrying the form and then the dots of more intense color that make the color texture. It is a totally different principle that than of the Impressionists who used broken color to imitate visual effect.
Drawing and color are by no means two different things. As you paint, you draw... When color is at its richest, form is at its fullest.
[her] mind blackens. The blackness is not a thought, but if it could be pressed into a thought, if a chemical from a dropper could be dripped onto it causing its color and essence to become visible, it would take the shape of this sentence: Why does no one want me?
Everybody's going to do the 3D slightly differently the same way that people are going to deal with color differently. Some movies downplay the color, some color is very vibrant. Color design is very different. We've got to think of 3D like color or like sound, as just part of the creative palette that we paint with and not some whole new thing that completely redefines the medium.
In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.
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