A concept painting to visualize the first memory, and the first time that the orange light appears in the otherwise blue and unsaturated scene. Saul stands in the shadow, minimally illuminated by the light of his memory. The main light source is the orange lamp that the dove will have previously transformed into. The colors are warm and bright, with violet shadows, yet contain some murky greens to keep an emotional and uncertain edge to the suddenly bright scene.
Exploring colors to make the scene seem gloomy and moody. I ran into the problem of having to sacrifice depth for light because objects were hard to see. We settled for a combination of both, with the turquoise overtone but returning some of the stark shadows.
The final scene in which Saul was to leave the house has been deleted from the story, but it was initially an exploration for the color of light to be entering the room from outside. The saturated yet gloomy blues contrast with the bright and possibly warm light to give the feeling of freedom and release.
I explored different designs for the mother's outfit. Her character has to portray a working mother that spends a lot of time trying to earn money to pay the bills. However, she also has to be rather lower-middle class and show that she is desperate to keep her life together.
A classic working outfit for the 70's. Capri pants with a polo working shirt. I explored muted warm colors because the scene she will appear in is lit by a bright orange light, and cool colors would appear murky under it.
As a compromise, I tried a polo shirt with a long skirt. We have to keep in mind that pants are easier to animate. Although warm colors suit the scene best, a denim-colored skirt seemed to appeal to the studio, so we will ultimately go with a pink shirt and blue skirt or pants.
For variety, I explored a dress-costume as well. It has pockets for functionality and to stress the fact that she is constantly working. I tried a wider variety of hues, but still prefer the reds.
Adding more dynamic and varied shots to the title sequence. I tried to integrate the credits with objects in the scene, rather than overlaying them as text. I also played with interesting camera moves and compositions that would tell a story while it progresses. Saul picks up the needle after it is introduced, and lights the candle. As the credits progress, he is conducting his business with the heroin.
As fun as this exploration was, it does not feel like it fits the mood of the film.
