The Eyes of My Mother
AVC: the film is set in an ambiguous time period. What were you going for with that?
NP: I think that I wanted to be ambiguous, and the only clue as to when it takes place is the cars that are in the parking lot of the bar, and the way that Kimiko is dressed.
AVC: Her jean jacket did make me go, “Ohhh.” I thought the story was set in the ’50s until I saw that jacket.
NP: I’d say that sequence is 1988, and then you can backtrack from there.
AVC: It does span decades.
NP: Yeah. In my opinion, it goes from late ’60s to early ’90s. And the cues are really just the bars. That’s the only thing that gives you a sense of when and where you are. I liked that, in this movie, where [an audience member] is like, “This is the ’50s or ’60s,” and all of a sudden there’s this girl who looks like she watches Beverly Hills, 90210. And it’s like, “Whoa, wait a second, where are we?” This isn’t as far off as you thought it was.
The Eyes of My Mother gets B&W treatment (Post Magazine)
The film was digitally captured by Kuperstein in color and converted to black & white during post production processing at Technicolor PostWorks. Kuperstein notes that planning for that conversion began early on and involved nearly every aspect of production. “A lot of our work with production designer, Sam Hensen, and costume designer, Whitney Adams, was focused on creating color contrast in the design elements so they could be easily separated when we got to the DI,” he recalls. “We captured all of the color information on set, viewing the image with a simple black and white LUT, with the intention of grabbing those distinct colors and adjusting their brightness values in post.”
“Sam was able to isolate the unusually saturated colors, such as a bright orange couch or the green line's in Francisca's dress, and make them stand apart,” adds Kuperstein. “This added a kind of texture and contrast that would not have otherwise been possible. The approach is akin to using a yellow filter on B&W negative to darken a sky.”
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