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On the subject of the style of the film, cinematographer César Charlone said: "the style of the sixties section [...] called for wide-open lenses and controlled tripod or Steadicam shots."Cite error: There are <ref> tags on this page without content in them (see the help page). This was in order to "capture the city as a warm and peaceful environment, where people rob out of necessity". Through Meirelles's camera as the visual imagery, expresses one of the major themes within the film. The gradual pathological fusion of games and violence.

Meirelles and Charlone wanted to suggest a sense of naiveté reminiscent of many old American Westerns. Sepia toned or black and white footage seemed to unoriginal. Instead they went for a warm, yellow tint. Charlone stated, "Fernando and I watched a lot of Westerns [...] We wanted the assault on the gas truck to be like a stagecoach hold up, with the boys and the camera running alongside the vehicle like gunmen on horse back".^[1]

^ Loader, Reina-Marie (02/05/16). "How does the visual style of 'City of God' draw attention to social realities in Brazil?". CinémaHumain. Retrieved 15/02/19. {{cite web}}: Check date values in: |accessdate= and |date= (help)

[Loader-1] Loader, Reina-Marie (02/05/16). "How does the visual style of 'City of God' draw attention to social realities in Brazil?". CinémaHumain. Retrieved 15/02/19. {{cite web}}: Check date values in: |accessdate= and |date= (help)

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