By Arun Fulara. Posted on August 21, 2016
"My job is also to inform myself and the audience through visual experience and enhance it or suggest another visual experience. I have used green moonlight in many of my films, not blue moonlight which is the convention. Blue moonlight comes from the past when they had oil-lamp floodlights which gave you a suggestion of night being comforting. One hundred years later on, people are still following this convention. But if you go to Venice or if you look at the Pacific, moonlight is not blue, it is green. If you are in LA or London, the sky is tinged with orange light from the incandescent lights that illuminate the city. You have to record that visual experience and share it. Moonlight can be green or it can be pink. The same thing applies to other conventions, such as certain camera movements, or the consistency of light sources—even a so-called “seamless” edit. Art is supposed to transcend the mundane, the accepted, not condescend to it.
If you are working with digital media, such as a cellphone camera or the Internet or even 3D, the energy and the challenge comes from applying the peculiarities of the medium, not trying to replicate the tone qualities or conventions of film. Derek Jarman’s eye responded to and exploited the grain, contrast, and random response of the 8mm camera’s iris to light changes to create works of great beauty with the simplest of means."
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