I spent a lot of time on the color palette for The Conspirator. I started out in my life as an artist, so I’m prone to go in that direction. And this was a chance to play with a palette that would suggest… well, Rembrandt, because of the richness and the saturation of color that he used. The use of light was more Vermeer. And, yet, also something new and different on top of that.
Our cameraman, Tom Sigel, and I spent a lot of time on that palette and the lighting. Everything in those days was lit by candle, or torch, or gaslight. So that’s going to have a whole different look and feel. The challenge was to have the character’s faces go to an almost opaque quality, while still saturated, without losing detail in the far background. Now that was a tricky thing but it was fun to work on.