Magenta areas of the face can show a vulnerable emotional connection to the other character on screen. Often present at intense or cathartic moments: breakups, sexuality, flirtation, this is not a sign of physical pain or weakness, but an inability to overcome the emotional impact of, or receptiveness to, the other character’s identity.
![MinorityReport 046](http://lookbook.colorist.us/wp-content/uploads/2013/12/MinorityReport-046-1024x614.png)
Minority Report (2002) – Color Timer Dale E. Grahn
VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith
Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572)
parts of the film were processed with bleach bipass
Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)
![Minority Report (2002) - Color Timer Dale E. Grahn VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572) parts of the film were processed with bleach bipass Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)](http://lookbook.colorist.us/wp-content/uploads/2013/12/MinorityReport-029-1024x614.png)
Minority Report (2002)
Partners face off in an unfortunate circumstance;
both must follow their assigned path despite how it might hurt the other.
![MinorityReport 060](http://lookbook.colorist.us/wp-content/uploads/2013/12/MinorityReport-060-1024x614.png)
John Anderton plays opposite an adversary.
Confused, hurt, but decisive, he is not vulnerable to the emotions of the other character (pictured below).