Quote of the Day
I'm the one who gets called up about a problem. I'm the one who gets called up about the street lighting and the abandoned car. I'm the one who gets blamed if the police don't arrive. I'm the one they blame if a city truck is broken down.
Richard M. Daley
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
I am a showman in the traditional sense, but modern, too. I like to use sets and lighting to create magic.
Stargate by far is the top of the pile when it comes to Sci-Fi. The quality is great. They have really good writers, production design, lighting, wardrobe.
The most awful museums are in China. They have magnificent stuff on display and just the worst way of displaying it. They just don't spend money on lighting and installation.
Throughout my pictures I employ a lighting which is not naturalistic.
Although there was a point with the Tijuana Brass where we were playing for such huge crowds that I kind of lost contact. At one point, the only connection I had with the audience was with people out there lighting cigarettes.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
Imparting knowledge is only lighting other men's candles at our lamp without depriving ourselves of any flame.
Whether it was working on theatre sets or stage lighting, I didn't realize most all of the skills I was exposed to were going to come in handy later on when I became a designer.
I didn't know I was doing film noir, I thought they were detective stories with low lighting!
Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.
I'm an entertainer. If people are paying good money for tickets they deserve the best show they can see. I don't get into lighting stuff on fire, but I do believe in going the extra mile.
There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.
I've always been interesting in the lighting aspect and always listened to what they were saying.
One of the strongest characteristics of genius is the power of lighting its own fire.
John W. Foster
Everyone was very deeply involved in the world of 'The Lord of the Rings'. From the wardrobe department to lighting, all were fascinated with the story. This is something that does not happen usually.
If you take 2001: A Space Odyssey as an example of somebody who creates a new language in film by what he was able to accomplish with art direction, photography, lighting, etc., it is still a gold standard for science fiction.
I worked on 'Sarah Connor' even longer than 'Firefly.' And I always remembered how generous everyone was to me when I didn't know what to do, and I didn't know the rules, and I didn't know camera angles, and I didn't know lighting.
I remember the noise of the bells ringing at school as the effigy of Guy Fawkes we'd prepared earlier was carried out on a canvas stretcher, hoisted on to the huge bonfire and set alight. Then the revelry would begin. My school friends and I would all have sparklers we passed around, lighting one from another.
Theatre is about people, not buildings. Incalculable damage has been done to the expert talent a company needs - from wardrobe to lighting technicians.
It's more fun if you can control things like lighting and make special effects in the darkroom.
To make films is as boring as watching paint dry - you usually have to do little tiny bits here and there. You go off waiting for lighting, you come back - the energy dies. You hope you can find someone who can keep it going.
It's a morality film, and it poses the question 'What would you do?' I took it very seriously, just as the director did in terms of atmosphere and lighting, and I was just trying to help that vision along.
And my real enemy is not to hold the specimen sterile, but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'
Lighting is an essential way to change the mood of a room, especially if you can use dimmers.
Lighting is vital. Without that they've got nothing. And, of course, color and texture. When they showed me a little piece of Finding Nemo, I said this has got to be the biggest hit.
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