Hal (2001: A Space Odyssey, 1968). 2001. 10 Monumental Fight Scenes in SciFi, n.p. Comp. Furious Fanboys.
“The scene in which Bowman disconnects HAL (the computer). There is no montage here, no time-compressing cutting techniques: instead, Kubrick shows us Bowman disconnecting the computer one module at a time, with absolutely no shortcuts to make the scene more palatable” (LAvideoFilmmaker). Another example is Wes Anderson's color palettes. As Laura Havlin writes, Wes Anderson's conjured fictional worlds possess such exact colouration.
“The very particular pastel-hues that paint the skies, drench the buildings and dress the characters, render Anderson’s microcosms almost dream-like. The hazy-hued lens through which we peer into the director’s unique world has a retro quality that casts his films in a nostalgia for a time that could have been” (Havlin 1). We can observe his uses of colour palettes through visual examples of scenes from his