I enjoyed your article and your analysis. Whilst I don’t disagree with you, I’d like to add a caveat and that is the subject material, cast, storyline, plot, mis en scene etc. that dictate or otherwise suggest varying strategists, which often collectively a team will converge upon.

Creativity and solutions thus are rarely unitary — which I’m not suggesting you’ve said. I recall working with a producer who was part of the team for the iconic British Airways ad for Saatchi and Saatchi. There were a number of songs they tested to get the feel of what they wanted to convey.

More poignantly, from interviews I have read about Moonlight, the actors’ skin colour lent towards the brilliant use of hues and tones. Photographers who light black people will add to this. I think about other films I like. How did the producers for the Matrix settle on a green hue and Minority Report on blues. In, 12 Years a Slave, the filmmaker makes a number of conscious decisions which would generally be anathema to current popular styles of filmmaking. In one scene he holds the shot for two minutes. Ultimately, experienced producers either via their own artistic convictions or by trial and error will settle on parameters that shape the way they want us to perceive their film. Then the rest is up to our way of interpreting, which they have no control over.

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Top Writer & Creative Technologist, Int. Award Winner. Cinemajournalist. Cardiff Uni @jomec. PhD (Dublin). Visiting Prof UBC, Ex BBC/C4News. Apple profiled.

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