THE COLOUR EYE

Sun (Auckland), Volume IV, Issue 956, 26 April 1930, Page 18

THE COLOUR EYE

DIRECTORIAL NECESSITY "Aknowiedge of the dramatic value of, colour, and an eye for colour quailles are of vital importance to the director of motion pictures of the future. The part that colour har! ““ S _ and clash es play in the physiology Of a picture have just begun to be realised. With the future, which promises wholesale production of pic- - Bbec COl ° Ur ’ th6Se re< iulrem e nts i 1 become more vital than before.” This statement is made by Ludwig all coi r ' the direCt ° r of Paramount's fl7£°oZ K Tn n^- /'The J" Sll ‘Tiie tensive use of AU , made an explains Berger l “vAf ° Uring ’" exto arouse emotional - used colour tator and to kev hili ln the E P«excitement. W thout a U P tQ , nervous colour and an eye for it n °T ledse &f would Have been impossibly " 65 ’ this

reached the entire wardrobe of "Sally "Hi,.. T he phone production =* al ■ ’ the ' lta_ Miller, was nWn^ Sta vf rmg Marilyn picture started, before the the director eoul/ cameras, so meats "registered." For°7h,* lhe f ar ' is an xor , ls Picture it was necesiT, t o k P n r o° dU 7v. ion - and of the various hues an<?^ho< the effecc clash on the sensitive eotoS'JgS”*