Willis
continues the amber saturated look of the original, apart for the bright scenes
in Cuba. The colour stitched the films together. An example of this is the
period work in Part II. Willis changed the quality of the visuals, the
lighting, the exposures. However, the colour remained the same. Willis took a
new approach for the flashbacks of young Vito (Robert De Niro)’s early life. It
is a bit more open, a bit less stuck in shadow. It still feels the same world
as Part I but just with slight tweaks in colour and focus, we get a sense of
the distinct period in play.

 

Another
visual consistency of Willis’ during the ‘Godfather’ films is his use of
sticking to a 40mm Lens for almost the entire picture. He and Coppola worked
out the visual language together, for the ‘Godfather’ films were to be shot in
a “tableau fashion”. That meant no zoom lenses, no helicopters, no contemporary
film devices. Willis aimed for a retrospective feeling on period films done
this way.

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