Stills

I hadn't read it, but I have now. As I said to you once before, I enjoy the colour work of Manos, which I do not think would work so well in b/w. I knew that this hinged on the purple, out of which comes the point that this would not have been a worthwhile scene if it hadn't been raining (thank you E-1!). I feel that this is a bit like quantum mechanics: take away the purple and it really isn't very much but with it there then the architectural forms are brought to life and one can explore '50s-style concrete shapes: the time-line extended back by 'The Wizard of Oz' that predated the building by some 50 years.
 

What got killed around the corner to make that pool of purple blood? Do robot overlords bleed purple?

In answer to the asked question, there is no decisive moment, but there is color, geometry and movement. And the robot blood of course.
 

Hmm. Well, now I've read the TOP post mentioned and also have the idea of purple robot blood stuck in my head when I look at this. What to say?

I don't know that I ever think about a decisive moment when I'm taking a photo (perhaps I should) and there's no question that I love color -- though apparently I can get away with that most of the time through the "bird-feather argument"! -- whatever. I like seeing that clean purple stripe next to the yellow brick road and ruby red slippers, and the reflections on the shiny wet bricks. It seems to be enough for me.
 

Interesting Colin's link and the colour/no colour article and how that ties in well with the Wizard of Oz poster. The film started off in black and white before Dorothy was swept away to the land of glorious Technicolor. Oh, and by-the-by, Dorothy's surname: Gale.

That purple backed writing would look like a bad 'Photoshop Technique' if it wasn't for the reflection. It also reminds me so much of the lead in to 'Some Mothers Do 'ave 'em' albeit that was a rather juicy flavour of yellow. Links back to the poster of the Wizard of Oz.

Next up is the subject stage centre on his electronic homing device ("I'll meet you in London then you can talk me in to where you are"). Through invisible waves one is able to meet with colleagues without the necessity for location...a time is still fairly useful though. Ties in with the Ether poster.

As for decisive or not...each to their own I suppose. My decisive would have been a tad earlier with the back foot planted on the 'off red' brick road and front foot just coming off. Ties in with the Oz poster again.

Suffice to say there is more than enough in the package for this to work on a number of levels and I haven't even broached the geometry and 'robot' doors. Well seen.
 

Some juicy comments there: thank you. I agree that a step further back on the 'red road' would have been better but juggling with the umbrella (the camera might be waterproof but the lens still needs to be kept dry) hampered the shot. We'll never know whose blood it was!
 

I am with Colin, those two flashes of purple are great and hold the figure in a vice.

Super.