I was first involved with this project when the cinematographer, Dick Pope, was doing some camera tests. He was trying out lenses, aspect ratios and a LUT for dailies. Being a Mike Leigh film, it hadn't even been written at that point. On this film I was more involved with Dick than with Mike although Mike did attend. The idea was to evoke Turner's paintings without going into pastiche.
The "Turner palette"
Our inspiration was Turner's paintings themselves. In particular his use of colour and light, which is one of the most remarkable things about them. It was about finding a Turner "feel" and learning from his work. Pete Marsden, the DIT, had some very interesting work with sampling the colours from various Turner paintings and used them to create a "Turner palette" which we referred to.
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