Probably the three biggest influences to us in terms of colour and tone are, 'Welcome to the Punch', 'Only God Forgives' and 'Hummingbird' (Redemption). We particularly like the Blue neon colours in 'Welcome to the Punch' that cover the buildings and invade the screen, creating an extremely glamorous/glossy/slick effect that we like very much. We feel we can recreate some of this using the natural lights of Chinatown, Piccadilly Circus and Leicester Square. The tone is very much focused on being dramatic and fast-paced, which is again something we would like replicate in our trailer, using interesting angles from particular shots and the lighting as aforementioned.
The contrast between rich/poor (related to the different levels of power in crime), light/dark and use of colours in 'hummingbird' was also of great influence to us. Similar to 'Welcome to The Punch', they use bright red/blue/purple neon lights to great effect to highlight the glamorous side of crime compared to the dark/dull alleyways, which are also used to show the 'dirtier' side of crime. Colour is something that is used a lot in 'Hummingbird' and is something we would like to use as much as we can in order to show the contrasts as previously mentioned. Again, we can use the natural lighting in Chinatown, Piccadilly Circus and Leicester Square, as well as editing on 'final cut' to create and even borrow some of the effects from 'Hummingbird' and 'Welcome to the Punch'.
'Only God Forgives' also deploys the use of colour to great effect. It uses the neon lighting as aforementioned to create a specific tone and feel to film, which is quite dark and gloomy. The aesthetic adds a 'big-budget' feel to film as seen in 'Welcome to The Punch' and adheres to the dark/gloomy tone, which is present through the camera shots and the script writing/storyline. The use of lighting in 'Only God Forgives' was of great influence to us when thinking about our own trailer as we are particularly interested in showing the more glamorous side of crime and we feel the best way to do this, is through the lighting, especially the neon style seen in 'Only God Forgives', 'Hummingbird' and 'Welcome to The Punch'.
A final film which uses a similar neon lighting in order to create the glossy, high budget look while maintaining a sinister atmosphere is the second and third batman films in the Dark Knight trilogy - Dark Knight and Dark Knight Rises. As can be seen above, they adhere to the previously mentioned tropes of blue neon-esque lighting, as well as creating a tone which we wish to emulate in our trailer - that of a relatable malevolence and slightly ominous resonance.
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