A Quote by Thelma Schoonmaker

With Technicolor restorations, it's about getting the color right. — © Thelma Schoonmaker
With Technicolor restorations, it's about getting the color right.
When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.
Lucille Ball hates the color of her hair, too, and says `I should wear a sign on my chest saying I hate it, but Technicolor demands it.'
One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.
When you talk to people who have been in combat, there's a sensory overload that happens. The color becomes vivid. Sounds become more pronounced. People talk about how, for them, the war was technicolor and real life was black and white after the war.
The very first film I ever saw was a pirate movie called 'The Black Swan' with Tyrone Power. And I thought that was great stuff. Of course, in those days, Technicolor was really Technicolor; there was no such thing as desaturation. Everybody looked super suntanned.
Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it.
Color is all. When color is right, form is right. Color is everything, color is vibration like music; everything is vibration.
Our job as actors, especially in front of a camera, is almost like textile artists. We spend so much time getting the right texture of yarn, and working out the color scheme, and binding off the weave, and making it just right.
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.
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
I hate Technicolor. Everybody in a Technicolor movie seems to feel obliged to wear a lurid costume in each new scene and to stand around like a clotheshorse with a lot of very green trees or very yellow wheat or very blue ocean rolling away for miles and miles in every direction.
I talked about 12 to 18 months, and that's about reaffirming our foundation for sustained growth: getting the discipline back, getting the basics right, getting the customer focus back... so by the end of next year, I hope most of that's in place.
I care more about getting this right [NHS reform] than I do about getting it done.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
All students need to know about color is the basic color wheel and complimentary colors. There are many books on color theory; do not waste your time and money.
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