I was introduced quite early on in the process, while they were still shooting, so I had an opportunity to talk with DP, Ben Smithard about some of his ideas for the look. I'd also been sent the script to read, which isn't always essential but I find it very useful as it helps to get into the emotion and flow of a film, that may not always be obvious from the visuals.
Ben was very thorough with his research, and with the main subject being an icon such as Marilyn Monroe we had plenty of visual references from photography books and her different films.
The film actually centres on a specific period of her life when she came over to the UK to shoot "The Prince and the Showgirl", and certain scenes were recreated, so we had almost the perfect reference with that. We were keen to keep the bulk of the film feeling fairly light hearted, and I was very fortunate to have some beautiful looking shots as a great starting point (always makes the colourist's job a lot easier, and more rewarding than having to fight the material).
Technicolor look for the "shooting of the film" scenes
We had two main looks. One for the scenes with Marilyn and her relationship with Colin, and the other that involved the "shooting of the film".
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