"Aviator" is based on a biography of novels. Photographer Robert Richardson was born in 1955. He won the Oscar for Best Photography three times for his "Assassination of Kennedy" in 2004 and Hugo in 2011. It is Oliver Stone's queen, cooperating in 10 movies "Field Platoon", "Born Murderer" and so on. He also collaborated with Martin in "Casinos from Las Vegas", "Isolated Island" and "Hugo". The new century began to collaborate with Quentin in two episodes of "Kill Bill", "Shameless Bastard" and "The Rescued Jiang Ge". He is considered to be the cinematographer with the most diverse photography styles in Hollywood so far. He is familiar with the American film industry system, has rich experience, is good at shooting big scenes, respects and cooperates with the commercial demands of the producers, and works in various types of films with different styles. With ease.
Use the overlapping colors to outline the joys and sorrows of the ghost players; use the slow motion of the camera to carefully portray the triumph and helplessness of the young and frivolous; use the strong directional lighting to set the tone of life for the proud and disgraceful of the sky, and to create madness and weakness The same generation of blue sky heroes-Howard Hughes.
1. Free poles: delicate changes and irony of warm and cold tones
Howard Hughes has a dual personality, heroic and free and easy to play, but he is also jealous and arbitrary.
The color contrast of the film is very large, it is Martin who pondered the color of the early special color film. Processing is divided into four parts
① Hughes used two-color special colors in his early career in Hollywood
②Hughes created a trans-American flight record in 1937, using three-color special color effects to express
③Hughes postures the xf-11 plane and almost died in the crash, without the special color effect.
④ After the crash, he entered the trough of life, with special color effects.
In terms of image color, "Aviator" and "Hugo" both use a contrasting color scheme of cold and warm to outline the bipolar world of love and indifference.
The film spans the youth and middle age. Richardson divides the film into three paragraphs, using green as the basic hue, and distinguishing different periods by changing the brightness and saturation. While the green continues to deepen and gradually stabilize, Hughes's life has become more turbulent and crisis-ridden. The huge contrast between the plot narrative and the visual expression has formed a strong irony effect, and the image tension is extraordinary.
Before breaking up with Catherine Hepburn, the first half of his youth was Hughes. This period was dominated by blue with warm colors. The contrast between cold and warm alluded to the conflict between Hughes’s tenderness and passion. Si is incompatible with society and hates stereotypes and vulgarity, but has to face the rich and powerful in a low voice. Cyan is a metaphor for his youthfulness during this period, and it is a symbol of the indifferent and rare world in the eyes of this genius. When the plane crashed, he used the Super 8 camera to shoot, shouting perfect, and didn't care about the life in the plane before him. This means that while compromising, he has also become a reflection of the cruel nature of the world, which is a great irony to a cynic. The world is cold, but Hughes has warmth in his heart-Catherine Hepburn. When the two met for the first time, Hepburn's crimson golf long trousers formed a strong contrast with the cyan of the environment, breaking the hue of Hughes's old friend of life.
The second stage is very short. It is the most colorful part, and it is also the fleeting brilliance. It embodies the irony of the color passage: Although the color is light, the road to life is more bumpy than before. Although it has a short glories, it falls. Reached the bottom.
In the third paragraph, the saturation of green increases, and the contrast with red weakens. However, the neutrality and stability of green depicts the indifference of the world vividly. Hughes does not care about being disgusted. The only thing he fears is being ignored by the world. For a person who longs for fame, this is the cruelest torture. As the relationship between the two gradually broke, the green gradually spread. Hepburn changed from the warm colors of the past and wore green clothes. When he was attacked by a competitor, when he walked out of the congressman's residence, the four walls of the movie screen were green, and a large area of stable color seemed to be an airtight cage, trapping him in it.
The two colors of green and red have run through the color tone of Hughes's ups and downs throughout his life. There are also subtle changes, shaping the image of surly and impermanence, and outlines the bipolar world of love and indifference.
2. The close coordination of influence rhythm and narrative pace.
Richardson pays attention to controlling the rhythm of the picture, and the performance of each element in the shot has been continuously enhanced with the gradual advancement of the plot, gradually pushing the world's two-pole collision and the inner conflict of the characters to a climax.
When he first took charge of the enterprise, he was ambitious. During this period, Richardson used slow motion cameras to capture the lofty ambitions of a generation of aviators and helpless compromise between ups and downs. At the beginning of the film, Hughes walked through the crowd and talked about his plans. The huge shooting base was presented in the smooth motion of the camera. A ten-second long shot set up a stage for the ambition of the pilot.
Some people say that Hughes's ups and downs are similar to Martin. In 1976, taxi drivers reached their peak, but the musical New York and New York dropped sharply in 1977. After that, the bull rose in anger, but the king of comedy failed miserably at the box office. In 1986, the money was successful, but the last temptation of Christ was controversial.
3. Dramatic depiction of strong directional light
With his profound aesthetic qualities and profound understanding of the drama, Richardson uses character interpretation as a benchmark to determine his lighting dislike, and uses a strong directional yellow line to reflect Hughes's chaotic world, demonstrating his loneliness and isolation.
At the beginning of the film, a naked boy stands quietly in the bathtub, a beam of soft light throws in, illuminating his delicate body, as holy as a saint waiting for baptism. The surrounding is dark, as the mother enters, the picture is warm, the lights are bright, the warm color and the later cold color form a strong contrast. Mother said: "You are not safe."
Richardson uses the right light and shade control to make the picture present a good dark level, fully express the relationship between the dark elements and the subject, and further enrich the connotation of the image. In addition, the creative use of the flash light to assist in the creation, silently reveals the fear and powerlessness of Hughes facing the judgment of fate.
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