Michael Cieply: In A Color-Coded World, Films Claim Their Place On The Palette
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deadline.comThe late film executive Bingham Ray, God bless him, once (over lunch at Orso, in 2009) pointed out something so obvious I had completely missed it.
The wiliest movie marketers, explained Ray, try to own a color scheme. Juno, for instance, had orange stripes with distinctive green highlights.
Little Miss Sunshine was bright yellow. The first Austin Powers chose a velvety wine red against gold, surprisingly subtle for an outrageous comedy.
The colors lit your fuse. The rest was up to the picture. Who knew that by a dozen years later, our entire post-literate, increasingly tribal, identity-obsessed culture would be similarly color-coded?
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