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These are the user uploaded subtitles that are being translated: 1 00:00:13,166 --> 00:00:15,533 I really loved color when I was a child 2 00:00:15,533 --> 00:00:16,633 watching these films 3 00:00:17,600 --> 00:00:22,500 and I found that as the color process changed 4 00:00:22,533 --> 00:00:24,066 the color changed you know 5 00:00:25,300 --> 00:00:28,166 and eventually by the early 50s 6 00:00:29,466 --> 00:00:32,399 the change from three strip to monopack 7 00:00:32,533 --> 00:00:34,166 change the nature of the color 8 00:00:35,066 --> 00:00:36,366 and colors became more muted 9 00:00:36,366 --> 00:00:40,399 I thought I happen to like the very bright colors of 10 00:00:40,766 --> 00:00:41,966 early Technicolor 11 00:00:42,000 --> 00:00:44,000 that doesn't mean I don't like black and white 12 00:00:44,166 --> 00:00:45,533 that's that's the difference 13 00:00:45,533 --> 00:00:48,399 that the black and white was color 14 00:00:48,400 --> 00:00:49,466 and still is 15 00:00:49,566 --> 00:00:52,866 but I was really fascinated by 16 00:00:53,766 --> 00:00:55,566 that projection on the screen 17 00:00:55,700 --> 00:00:57,066 and I think it may have been because 18 00:00:57,066 --> 00:00:59,299 the first film I saw was dueling the sun 19 00:00:59,866 --> 00:01:01,666 was three script Technicolor in that 20 00:01:02,066 --> 00:01:02,766 the credits 21 00:01:02,766 --> 00:01:04,366 the opening credits come up 22 00:01:05,400 --> 00:01:07,100 the blazing hot yellow sun 23 00:01:07,100 --> 00:01:09,133 and the titles come up 24 00:01:09,133 --> 00:01:10,133 and hear gunshots 25 00:01:10,133 --> 00:01:11,233 and it was absolutely 26 00:01:12,933 --> 00:01:14,733 overpowering feeling 27 00:01:14,733 --> 00:01:16,166 watching that film or trying to watch 28 00:01:16,166 --> 00:01:16,999 actually terrified me 29 00:01:17,000 --> 00:01:18,233 I was about 5 years old 30 00:01:19,333 --> 00:01:20,566 but the use of color in that 31 00:01:20,566 --> 00:01:21,333 I think set 32 00:01:21,333 --> 00:01:22,799 set the tone for me 33 00:01:22,800 --> 00:01:25,700 and there's no doubt that I um 34 00:01:25,966 --> 00:01:29,899 I respond to vibrant use of color in that 35 00:01:29,900 --> 00:01:30,366 or the moment 36 00:01:30,366 --> 00:01:31,599 like in 1948 37 00:01:31,600 --> 00:01:32,966 when my brother took me to see 38 00:01:32,966 --> 00:01:34,166 a re release of Wizard of Oz 39 00:01:34,166 --> 00:01:37,466 when the sepia sequences at the beginning 40 00:01:37,466 --> 00:01:39,166 and the house lands and Oz you know 41 00:01:39,166 --> 00:01:40,166 and it's still in sepia 42 00:01:40,166 --> 00:01:42,266 but she opens the door and it's Technicolor 43 00:01:42,600 --> 00:01:43,900 um that moment 44 00:01:43,900 --> 00:01:45,900 I've always been something that I I love 45 00:01:45,900 --> 00:01:48,600 I love when films in the late 40s 46 00:01:48,600 --> 00:01:49,400 were in black and white 47 00:01:49,400 --> 00:01:51,133 and then there was one sequence in color 48 00:01:51,133 --> 00:01:52,966 like The Portrait of Dorian Gray 49 00:01:53,066 --> 00:01:56,699 um or the end of portrait of Jenny where um 50 00:01:56,700 --> 00:01:57,966 it's tinted green 51 00:01:57,966 --> 00:01:59,899 the storm and ultimately 52 00:01:59,900 --> 00:02:02,166 the last shot is in color of the film 53 00:02:02,400 --> 00:02:04,200 this made it very special for me 54 00:02:04,200 --> 00:02:05,266 and then seeing 55 00:02:05,266 --> 00:02:09,233 um uh the uh 56 00:02:09,300 --> 00:02:10,733 two color films uh 57 00:02:10,733 --> 00:02:14,599 which I I felt were magical to me 58 00:02:14,600 --> 00:02:20,166 and so this all revolved around that technical process 59 00:02:20,166 --> 00:02:23,099 that Oswald Mars and John Houston used on Moby Dick 60 00:02:23,100 --> 00:02:24,866 the desaturation of the color 61 00:02:25,066 --> 00:02:26,766 which I tried to do many times 62 00:02:26,866 --> 00:02:29,633 basically coming up with an image that looked um 63 00:02:30,200 --> 00:02:32,566 so desaturated that uh 64 00:02:32,566 --> 00:02:34,466 it was almost like uh the uh 65 00:02:34,700 --> 00:02:37,033 colorized agora type in a way 66 00:02:37,200 --> 00:02:37,933 and had a great 67 00:02:37,933 --> 00:02:39,166 great sense of almost like 68 00:02:39,166 --> 00:02:39,966 uh looking at 69 00:02:39,966 --> 00:02:41,266 uh paintings 70 00:02:41,300 --> 00:02:42,600 or I should say 71 00:02:43,133 --> 00:02:44,933 scrimshaw uh 72 00:02:44,933 --> 00:02:45,799 etchings done on 73 00:02:45,800 --> 00:02:47,166 um whalebone 74 00:02:47,300 --> 00:02:48,300 uh it was quite 75 00:02:48,300 --> 00:02:49,700 quite beautiful I thought 76 00:02:55,700 --> 00:02:57,000 you see when a picture is made in color 77 00:02:57,000 --> 00:02:58,500 you also have to design in color 78 00:02:58,500 --> 00:03:01,233 that means the color means something uh 79 00:03:01,500 --> 00:03:03,666 and uh color is special 80 00:03:03,766 --> 00:03:05,633 you know um 81 00:03:05,900 --> 00:03:08,433 and the use of color was something new in a way 82 00:03:08,800 --> 00:03:09,566 but just to shoot 83 00:03:09,566 --> 00:03:11,899 because it's color doesn't quite make sense 84 00:03:11,900 --> 00:03:14,033 so the use of um 85 00:03:14,400 --> 00:03:16,100 primary colors is important 86 00:03:16,100 --> 00:03:18,166 as I say color means something 87 00:03:18,566 --> 00:03:20,833 even when you don't want it to it does 88 00:03:21,100 --> 00:03:22,300 and so you have to be very careful 89 00:03:22,300 --> 00:03:23,600 the colors you allow in the frame 90 00:03:23,600 --> 00:03:27,900 and color became somewhat expected all the time 91 00:03:27,900 --> 00:03:30,133 it lost its special nature for me 92 00:03:30,133 --> 00:03:31,499 that was a different way of using color 93 00:03:31,500 --> 00:03:32,900 to different lenses 94 00:03:32,900 --> 00:03:35,733 then different film stocks 95 00:03:35,733 --> 00:03:38,066 so you really had people utilizing color 96 00:03:38,066 --> 00:03:38,799 to tell a story 97 00:03:38,800 --> 00:03:43,266 also in a different way from the studio films 98 00:03:44,133 --> 00:03:46,433 um because they did tell a story there too 99 00:03:52,166 --> 00:03:54,699 all this this obsession with color on film 100 00:03:55,200 --> 00:03:56,366 found its way into 101 00:03:56,366 --> 00:03:57,866 one of the reasons why I did the aviator 102 00:03:57,866 --> 00:03:59,999 and I decided that we're gonna try to do 103 00:04:00,600 --> 00:04:01,733 color in the film 104 00:04:01,733 --> 00:04:03,799 that represented the color as it 105 00:04:03,800 --> 00:04:06,266 as it was available 106 00:04:06,266 --> 00:04:09,766 in whatever process Technicolor had at the time 107 00:04:09,766 --> 00:04:11,866 so if the film starts in 1922 108 00:04:11,866 --> 00:04:13,299 whatever the color looks like 109 00:04:13,300 --> 00:04:17,366 two color will represents two color of that period 110 00:04:17,366 --> 00:04:19,133 and so Sandy Paul 111 00:04:19,133 --> 00:04:21,633 at the design costumes that would play in that color 112 00:04:22,400 --> 00:04:23,566 often I think there's one scene 113 00:04:23,566 --> 00:04:25,933 where they go to the Coconut Grove and uh 114 00:04:25,933 --> 00:04:27,266 uh Cape Blanchett's dress 115 00:04:27,266 --> 00:04:30,199 which is a kind of LA Mei I think um 116 00:04:30,200 --> 00:04:32,966 I believe is a kind of gold color 117 00:04:32,966 --> 00:04:34,766 but I think in actuality was green 118 00:04:35,733 --> 00:04:37,799 and so we tested all of this 119 00:04:37,800 --> 00:04:39,466 the thing about creating that 120 00:04:39,466 --> 00:04:41,233 is really an obsession with color 121 00:04:41,733 --> 00:04:46,199 and slowly the color in aviator slips into 122 00:04:47,066 --> 00:04:48,766 a feeling of a more saturated 123 00:04:48,766 --> 00:04:50,199 three strip Technicolor 124 00:04:54,100 --> 00:04:56,466 and then finally a colder color in the end 125 00:04:59,466 --> 00:05:00,066 but ultimately 126 00:05:00,066 --> 00:05:02,399 I was really one of the reasons for making the picture 127 00:05:02,466 --> 00:05:04,599 and that was not possible really 128 00:05:04,600 --> 00:05:07,400 until the use of the digital intermediate 129 00:05:07,533 --> 00:05:08,066 part of this 130 00:05:08,066 --> 00:05:09,299 part of this is beyond me in terms 131 00:05:09,300 --> 00:05:12,033 I was learning as I was going along um 132 00:05:12,733 --> 00:05:14,266 with um on aviator 133 00:05:14,266 --> 00:05:14,499 and it was a 134 00:05:14,500 --> 00:05:18,100 it was a really a exciting experience 135 00:05:18,100 --> 00:05:20,666 because I was able to use pre visualization 136 00:05:20,666 --> 00:05:21,366 for the first time 137 00:05:21,366 --> 00:05:23,133 taking my notes and little drawings 138 00:05:23,133 --> 00:05:27,266 and transferring them into the previous 139 00:05:27,966 --> 00:05:29,399 Rob the god always doing with me 140 00:05:29,400 --> 00:05:32,200 and so the storyboard came alive in a way 141 00:05:33,666 --> 00:05:36,999 and there was a new way of making pictures in a sense 142 00:05:37,000 --> 00:05:37,933 for the action sequences 143 00:05:37,933 --> 00:05:39,566 I'm talking about the flying scenes 144 00:05:39,866 --> 00:05:43,166 we had seen a beautiful show on color and film 145 00:05:43,300 --> 00:05:46,666 right before we did The Aviator at the Academy in LA 146 00:05:46,733 --> 00:05:49,866 in which they first screened beautiful black and white 147 00:05:49,866 --> 00:05:52,399 nitrate of Midsomer Night stream sections 148 00:05:52,400 --> 00:05:53,500 that you screen sections of it 149 00:05:53,500 --> 00:05:54,500 then they screened 150 00:05:54,600 --> 00:05:57,166 beautiful examples of tinting and toning 151 00:05:57,166 --> 00:05:59,533 from silent films and nitrate prints they had 152 00:05:59,533 --> 00:06:02,599 leading up to full use of color um 153 00:06:03,133 --> 00:06:04,833 and it was really a revelation 154 00:06:04,866 --> 00:06:06,299 even the beautiful um 155 00:06:06,933 --> 00:06:10,599 print they had of east of Eden at that time 156 00:06:10,600 --> 00:06:12,000 cause I recall that color 157 00:06:12,000 --> 00:06:15,966 and 53 and 54 Warner Brothers scope films 158 00:06:15,966 --> 00:06:19,199 had more of a brownish blue feel to them um 159 00:06:19,200 --> 00:06:20,500 as opposed to 160 00:06:20,500 --> 00:06:22,666 as opposed to Fox um 161 00:06:22,666 --> 00:06:25,699 and the films they were making so um uh 162 00:06:25,700 --> 00:06:28,266 there was always a slight difference um 163 00:06:28,266 --> 00:06:30,099 and it became sort of uh 164 00:06:30,100 --> 00:06:32,366 encoded in my head um 165 00:06:32,366 --> 00:06:34,166 and so we use them as references 166 00:06:34,266 --> 00:06:35,799 but I must say that the uh 167 00:06:35,800 --> 00:06:37,666 the use of the di has 168 00:06:38,200 --> 00:06:39,766 they increase the 169 00:06:41,300 --> 00:06:42,800 possibilities of color 170 00:06:44,066 --> 00:06:44,866 and 171 00:06:46,100 --> 00:06:49,433 in a in a way it's strange because there is no limit 172 00:06:49,900 --> 00:06:53,666 very very there's so many possibilities now and 173 00:06:53,666 --> 00:06:54,599 and it's exciting 174 00:06:54,600 --> 00:06:55,633 but at the same time 175 00:06:55,666 --> 00:07:00,033 you have to force yourself to limit those possibilities 176 00:07:00,200 --> 00:07:02,366 and don't let the technology take over you know 177 00:07:02,366 --> 00:07:04,233 because you can do it doesn't mean you should do it 12368

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