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360

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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