"When I see cool films, no matter how beautiful they are, there's something off-putting about them. I have all my characters—or 99% of the characters—dress in autumnal clothes, beiges, and browns, and yellows, and greens. And I have [production designer and long-time collaborator] Snato Loquasto make the sets look as warm as possible. And I like the lighting to be very warm, and I color-correct things so that they're very red.
"Sometimes, the cameraman will be shocked. Sven Nykvist said 'My God, their faces will all look like tomatoes!'
"And I said 'Well, let's try it.' He got to like it.
"And when Darius was color-correcting 'Midnight In Paris,' we went all out and made it red, red, red in color-correction. It makes it like a Matisse. Matisse said that he wanted his paintings to be a nice easy chair that you sit down in, and enjoy. I feel the same way: I want you to sit back, relax, and enjoy the warm color, like take a bath in warm color. It's like how I play the clarinet with a big, fat warm tone as opposed to a cool sound that's more liquid, or fluid. I prefer a thicker, richer, warmer sound. The same with color; I feel it has a subliminal effect on the viewer in a positive way."
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