在電影裏，白色會搶鏡，因為它反射太多光。一般我們會用茶把白色布料變暗，使它不會在銀幕上太突兀，除非故意。
我通常會把紅色處理成強勢的顏色，因為它有強烈的共鳴。有時候，它會帶着西方文化中與紅色相關的情感聯想，但在亞洲，它最是吉祥，代表着更新和喜慶。所以我使用紅色時，都會心懷尊敬、猶豫，甚至惶恐。
黃色也讓人尊重。傳統上，中國人認為黃生陰陽（男女、日月等），是萬物之源。同時，一個不小心，黃光會令亞洲人看起來面有菜色。
In film, white distracts from the image. It reflects too much light. We usually dull white cloth down with tea so it doesn’t ‘jump off the screen’ unless it’s intended to.
In films, I make red the most demanding colour. It resonates so strongly. Sometimes it assumes Western associations with matters of the heart, but since in Asia it is the most auspicious of colours — the color of renewal and celebration — I use it with reverence, hesitation, even fear.
Yellow also commands respect. Since Chinese theory claims yellow generates both yin and yang (man and woman, sun and moon, etc.) it is the source of everything. And, if you are not careful with the lighting, too much yellow creates a greenish tone to Asian skin.
影片來源Video:《英雄》“Hero”（2002）
#英雄 #張藝謀 #顏色 #現實與幻象
#Hero #Zhangyimou #color #realorimagined
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