As I’ve explained in my video on how films are shot in two colors – the primary colors of Amélie are red and green. The majorly green hue was risky but paid off. One of the major contributions of Amélie to cinema was in color grading.
The exception to this happens with over the shoulder shots. The characters are framed mostly in the center. This discipline is one of the reasons it works. You’d think with a film of such visual flair the director could easily have framed this more traditionally, but he doesn’t. A great example is an early unassuming scene where Amélie speaks to her landlady. Up or down, sideways, dollying in or out – there’s hardly a shot where the camera doesn’t move. The camera technique is not often appreciated in Amelie, but shots like the one with Amélie on the bridge are one of the finest you’ll ever see in cinema. Like Leone, Jeunet films in the spherical format and crops rather than film anamorphic. One of the techniques Jean-Pierre Jeunet uses extensively is the character popping into frame, inspired directly by Sergio Leone. The camera angles and movements are fluid and vibrant. Let’s face it, it’s the world we all wish we could have, especially in the last two years. With Amélie he goes one eighty to a colorful and cheerful world where only good things can happen – even when events are bad. He did dark with Delicatessen and Alien: Resurrection. Jean-Pierre Jeunet can push the visuals both ways – dark or cheerful. You feel you are watching a comic book come alive. Just watch Alien: Resurrection.Īmélie was a response to the restrictions Jeunet had to endure in Hollywood. The actors are almost caricatures of the roles they are playing. It is clear visually he loves to create a rich tapestry and mise-en-scene that lets his actors shine in. This distorts the facial features in a way that lends to his type of comedy.
He can frame characters in close up in the foreground while showing us the world they live in. Jean-Pierre Jeunet loves super wide angles – wider than most directors. Understanding the Cinematography of Bruno Delbonnel
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