Color & grading

William Friedkin

in their truest nature, we're able with this process to make it more vivid or less vivid. But in the case of To Live and Die in L.A., extremely vivid and full of color. We're able to make the blacks blacker and the whites whiter so that the film has more contrast. The densities are all perfectly timed. And that's the process of digital color timing.

1:52:24 · jump to transcript →

Eleanor Bergstein

but we wanted them to move the story forward. They couldn't just stop and be a number. On the other hand, we didn't want to cut away, and we had a lot of discussions of this in the editing room, trying to figure out exactly where to cut away. Now here, when we first saw it, by the way, in the color timing, that's why I tend to think everything is a story decision, we had to decide when we first see Johnny and Penny whether we see Johnny's eyes or his knees. So did Baby remember

9:04 · jump to transcript →