This kind of bold artificiality can also be compared with, for example, Federico Fellini’s super unnatural landscapes. In Fellini’s 1983 film, “And the Ship Sails On,” instead of shooting on a real beach, the director recreated a beach on a soundstage, using complex realistic techniques to create a The ocean sparkles in the sunlit sky. For a particular sunset, Kurosawa did not dare to film the actual sun, but let his team draw the sunset themselves. Kimura recalled feeling a little scared when Kurosawa asked him to draw everything. He knows Kurosawa is a painter and hopes his technique won’t be criticized.
“The sunset in the movie was created on a soundstage. He told us to draw it the way we liked, so I joined in. But when Kurosawa told you to draw, it made you nervous. Yourself he’s an artist so everyone was very nervous. But he said don’t worry, like kids drawing pictures in picture books, so we went ahead.”
Kurosawa’s color experiments were not welcomed at the time, and the film was bombed pretty hard. This, after Kurosawa had to mortgage his house to pay for it (a related story in Michael S. Barrett’s 2017 book “Foreign Language Films and Oscars: Nominees and Winners, 1948 – 2017). The defeat of “Dodes’ka-den”, as described, was devastating for Kurosawa, and it took him a long time to regain his footing.
In the 1980s, Kurosawa made “Ran” and “Kagemusha,” some of the best Shakespeare (and Shakespeare-like) films ever made, and took on some of the most striking color in cinematic history.
https://www.slashfilm.com/942097/why-akira-kurosawa-waited-so-long-to-start-making-films-in-color/ Why did Akira Kurosawa wait so long to start making color films