The palette gives it away as high Mann, but it fascinates because his interest in "criminal profiling" is strictly limited to the exploration of images-as-urges and vice-versa, with Doctor Lecktor as the psychic intermediary/translator. (As corny--or, well, hokey--as Lecktor's "smell yourself" dialogue is, he's the vital link from the cinematic to the psychological.) Don't look to the specifics of Dollarhyde's "seeing" rituals, or how they're affected by his relationship with a blind woman. There's more to find in the desert-moon landscape on his wall, and how that compares to the desert-palm landscape at the Grahams' safehouse. The effect of that approach is knowing that the rituals and relationships and dark thoughts must lead to that final image of the Red Dragon. That image--that grim fulfillment of "change"--is why we all know that Mann still calls this movie Red Dragon in private.