The world, just as it is, is already a vivid riot of technicolor and it would actually require a lot of work to try to pretend otherwise.” The cameras were rolling in technicolor the whole time, but the interior of the house and the entire back side of Judy Garland's body double had all been meticulously hand-painted sepia tone for the camera to pass through on its way to Oz. It might be hard to imagine now, but in the late '30s this was actually accomplished by a practical effect. Many smarter people than me have written so much already about the thousand and one queer metaphors in The Wizard of Oz, but my personal favorite is this one little production detail: When the twister drops her house in Oz, there is a shot of Dorothy opening the door from black and white into color and it was done as one seamless shot. We get to all gather and drink and have fun and see each other and know we were never alone and there isn't actually anything all that unusual about us. “Pride to me isn't so much a celebration of being different, it's actually a celebration of just being normal.
