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‘Ghost in the Shell’ DP Jess Hall on Creating a Sophisticated and Nuanced Color Palette

Ghost in the Shell

cinematographer Jess Hall speaks to

ICG Magazine

about working on the big-budget remake of the anime classic. 

Translating anime into live action has a challenging history, but I realized what an opportunity this could be and approached it on several levels, including composition and camera movement, translating 2D into 3D, stills into motion, and of course, color,” he says. “Vittorio Storaro’s theories on color had a profound impact on me as a developing cinematographer, particularly his exploration of color as a signifier of both emotional and culturally specific meaning. These aspects of his work were masterfully employed in his magnificent works

Apocalypse Now


The Last Emperor

. I saw


as a wonderful opportunity to develop a sophisticated and nuanced color palette with which to explore the parameters of color in the digital cinematography space. Working in concert with [director Rupert Sanders] and production designer Jan Roelfs, I developed a design aesthetic that reflected


anime origins whilst also drawing on many other sources.”

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