About The Design
The overall look of 360 is quite simple in the way that it came from the
storytelling idea of not knowing too much about the characters, and as a way of
showing uniformity and creating the feeling of one piece, it made sense that all
the environments were as natural and realistic as possible in relation to the
protagonists lives as they wander across the globe.
Meirelles is renowned for being an incredibly visual director, in terms of his
ideas and the style in which he shoots, along with the palpable emotion and
passion which he brings to the forefront of the screen. He is open to being
influenced by the moment and the surroundings he is filming within, much like
the premise of 360, which in terms of filming can lead to decisions being made
instinctively between himself and his team.
In terms of camera style Meirelles and his director of photography, Adriano
Goldman, had a fluid dialogue as they worked together, and both being naturally
observant were very aware of their surroundings, as they constantly looked for
interesting frames to translate the characters and their moods. As Meirelles
explains, "We play a lot with the focus because we are talking about our mind,
almost seeing the story from inside the character's heads and so we don't want a
very precise image and everything clear, so we play with the focus and
reflections. It is like we are a bit confused and mixed up at times, which is
reflective of the characters state of minds."
The world of 360 is transient, with the stories zigzagging across the globe in
taxis, cars, buses, airplanes and on foot. The motif of an airplane weaves
throughout the film, as the action takes place in anonymous bars and
restaurants, vast airports and indistinct hotel rooms, intimate apartments and
houses, tourist spots and dark side streets. The characters, and the camera
which at times moves 180 and 360 in time with their plights, are constantly
moving as their paths cross and intertwine throughout the film.
For John Paul Kelly, the production designer for 360, collaborating with
Meirelles was an opportunity he undertook with relish, as the design of the film
from the sets, through to the costume and camera work became a journey in itself
as it moved between the various locations and countries, and evolved further in
an instinctive fashion as the camera rolled, very much led by Meirelles.
As Kelly explains, "Fernando loves suggestions and we all developed the look of
the film and the worlds that people inhabit very much as a team. Monica (costume
designer) and I were really involved with the color movements throughout the
film, along with Adriano, and we found something coherent and cohesive to get
across the ideas we wanted to. Fernando is fantastic to work with as he gets
very excited by the environment he's in, so he doesn't start with an idea saying
'I think it should look like this'. Instead he may have an idea of what it might
start with and then it gradually turns into something, and the benefits of that
outweigh any disadvantages of suddenly on the day deciding 'Oh, we look up that
street' because it becomes part of the progression, inhabiting the worlds that
we are creating. Maybe on the day he'll say 'Oh maybe you should go through that
door, or out through those stairs' and it really kind of adds to what we're
building as a piece."
The color palette chosen for the film reflects the seasons that pass through it
and it gradually changes between each city, beginning with a wintry look and
feel, before moving towards spring as the film comes full circle as the
characters pass through various locations with color accents subtly picked out,
either in costume or through the environment, for example Valentina with her
distinctive red beret.
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