Just realised that Christopher Nolan’s color pallette is very much influenced by his red-green color blindness

I've heard a few times people say his films look too grey-blue and while Nolan himself has mentioned it has largely to do with his filmmaking style being heavily neo-noir, there was another aspect I didn't know about.

https://www.bafta.org/media-centre/press-releases/a-life-in-pictures-christopher-nolan/

His colour palettes have been influenced by his red-green color blindness.

CN: Well I left the purple up to other people because I’m colour-blind

EB: Not your colour?!.. [Laughs}

CN: No, I can barely see shades of purple, I’m red-green colour-blind, uh so I left that aspect up to Lindy very much. Um, but no it was a tremendous thing to be involved with because Heath didn’t do many films and he would wait a long time between films, as he put it to me he would wait until he felt he needed to go out and do something else, like he really would wait until he was hungry.

I had no idea about this but it makes a lot of sense for why his films look the way they do – not that I care either way since I find the grey-blue colors and the orange with Oppenheimer quite appealing – but there's an explanation for it beyond just him finding it "aesthetically pleasing". It's basically just his natural inclincation. Today I Learned I guess.

Also a really interesting excerpt from his Memento book about how this influences his movies:

"It came up while he was filming Memento, in conversation with Guy Pearce, by way of illustrating why everyone seems to take advantage of poor Leonard Shelby's condition. "If you tell someone you're color-blind, the first thing they do is they show you something and say, 'What color is that?' If you were in a wheelchair, people wouldn't go, 'Oh, you're in a wheelchair. Can you stand up?' It's a bizarre response, but they're fasci- nated because they can't understand that you would see things differently. So they immediately start asking you what do things look like, and then laughing at you as you get it wrong. You see it with Mark Boone Junior's character, the motel clerk, where he's just fascinated by it. As soon as he tells people he can't remember things, then they start to test his memory. It seems cruel. People are fascinated by other people's perception of the world and the way in which it differs. I've always been interested in the tension between the subjective point of view and our faith in an objective reality. In Memento, we dealt with that enormously, particularly at the end, but I think that is in all my films. Whenever I am making a film, I'm constantly being reminded of the paradox of reconciling our subjective views of the world with our deep-seated belief or feeling that there is an objective real- ity outside that is fundamentally unknowable. We can't step outside our own heads-we just can't."