They did that, and again, I think there's a little bit cut out of the movie, but really it's dialogue and pieces of scenes, but all the scenes are pretty much as we shot it. There wasn't a lot of room in our schedule to shoot extra material, so everybody had to hone in on exactly what the essential scenes were. We were always on the move with Diana, always off to a different location, always doing an entirely new scene and sequence it seemed like every couple of days.
Visual movies from 2017 movie#
Even though we had a lengthy schedule, it didn't seem like a lot of time to us because the movie is essentially a road movie. Jensen: I think that this is where you really have to credit Patty and the writers and Chuck Roven and the studio for really honing in on exactly what the story was. Was there a process to that, or is it just wanting to use everything you got? Mendelson: How did you and Jenkins get through principal photography with what turned out to be so little deleted footage? She's mentioned a couple times that basically for all intents and purposes there were no deleted scenes, which is frankly remarkable for a movie like this.
Visual movies from 2017 skin#
That was something that I was trying to maintain throughout the whole movie was it had these vibrant skin tones and yet had backgrounds that had lots of saturated color. Yet the backgrounds can be warmer or cooler than the faces.
I also looked at Annie Leibovitz's portraits, a lot of the stuff she does for Vanity Fair, because she just has such great modeling on all the faces that she shoots, and the faces always seem to have a very natural skin tone. I felt like I was trying to emulate some of that, particularly in the London sequences. It's really hard to describe just how her color works, but there's a vibrancy to it and certain colors come forward and other colors recede. She was taking a lot of photos all over the world in the 1950s and 60s, and her color work is just stunning. I also looked at a photographer, Inge Morath, and she had a book called first color. He did a lot of work around World War I, and we looked at how he used light and contrasting color.
We also looked at a portrait painter, John Singer Sargent. We looked at a lot of the drawings from that, and then I looked at the “New 52” version just to see how they had modernized the character and the color palette. We looked at the George Perez comic version of Wonder Woman, and that mainly was the source for the origin story. We looked at a ton of stuff, and it's almost too numerous to name, all the commercials. I showed her a ton of commercials that I just pulled off the internet and thought had interesting techniques, interesting use of colors or camera movement. Jensen: I think both Patty and I like to pull from a lot of different references, so we talked about a lot of things.
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